Introduction to this Stone Soup Art Activity In a way, the new year really starts with spring. Spring is the time for planting the garden and cleaning house. It is the time when trees get new leaves and when you can play outdoors well into the evening. It is the season when cycles begin again. Plants come out of dormancy, fruit trees flower, butterflies and bees are out in force, and the fruits for later in summer begin growing. It is is a time of promise. This picture of spring is a painting by a seven-year-old from the island of Cyprus. Look at this picture. The tree, flowers, sheep, and vivid colors all crowded together recreate one of those important spring feelings—the feeling of bright fresh air, wonderful days bursting with new life. I’ve chosen this image by a young child because, in its exuberance, it has many aspects of abstract art. This is Spring as a riot of color. As a feeling of bursting. As energy. Project: Make a Picture That Records a Personal Feeling of Spring Close your eyes and make yourself feel the way you do on a warm spring day. When you have this feeling in mind, use your imagination to find an image out of your own life that matches this feeling. Maybe in your imagination you see a ball game, or you and your family working together in the garden, or birds in the branches of a tree, or something you saw in a park. Perhaps, like Myra, who painted this picture, your sense of spring is a fruit tree in bloom with bees and butterflies flying about. Your goal is to bring to life the smell and feeling of Spring using images out of your imagination that are based on things you have seen with your own eyes in the real world. Take from the style you find in this picture by a young a child the confidence of the young child — which is the confidence of the artist. Be bold. Take risks. Embrace color. From the May/June 1985 issue of Stone Soup Spring, by Myra Nicolaou, 8, Cyprus
Writing Activity: writing sequels, and increasing contrast, with “A Ride With Fate” by Robert Katzman, 12
Introduction to this Stone Soup Writing Activity “A Ride With Fate” is an emotionally powerful story about a boy who makes a couple of wrong decisions. The mistakes he makes lead to an accident in which he and someone he cares about are physically hurt, and an elderly man, a friend of Billy’s, is made very sad. Project 1: Write a Sequel I care about Billy, and I care about Mr. Reed. One reason I care about Billy is that he is not a “bad” boy. The mistakes he makes are errors of judgment and I think he will learn from his mistakes. And I like Mr. Reed because he is a kind man who understands that growing is a long, hard process. I think he is a wise, patient man, and a very good friend for Billy to have. I have spent some time wondering what Billy, his father, and Mr. Reed did and talked about in the days following the accident. You might also think about this and even write a sequel to the story. Project 2: Contrast the Beginning With the Ending One reason the concluding scene in “A Ride With Fate” is so effective is that the beginning of the story contrasts with the ending. Beginning with the second paragraph, notice that the world is like paradise—the land is beautiful, Mr. Reed is strong and healthy, Billy is happy, and the horse is handsome and powerful. After this initial paradise is established, most major scenes in the story hint (like Billy’s bad grade in school) that the good, perfect times are coming to an end. Slowly but surely the tone of the story changes. The perfection of the beginning gives way to the dramatic conclusion. Use this technique of contrast between beginning and ending in something you write. You will have to think of the ending to your story before you start writing. If your story will have a happy ending, make the beginning unhappy and troubled. Slowly ease the tension until you get to the happy ending. And if your story will end with strong, difficult emotions and consequences, make your beginning a time of calm happiness and carefully move your story toward the dramatic conclusion. A Ride with Fate By Robert Katzman, 12, Philadelphia, Pennsylvania Illustrated by Heidi Hanson, 11, Florida, New York From the May/June 1985 issue of Stone Soup Billy woke up in a cold sweat. His pillow was wet. He got out of bed and hobbled to the window. His leg was still hurting him from the accident. Billy looked out the window and remembered. He remembered it well. Twelve-year-old Billy McCall lives down the road from Mr. David Reed. Mr. Reed is seventy-one; old, but healthy and strong. The ninety-nine acres that Mr. Reed owns was once a dairy farm but is now where he boards horses for their owners. Mr. Reed takes care of thirteen horses. His horse, Buck, is the strongest, and is the leader of them all. No wonder; Buck is a Tennessee Walker thoroughbred. Mr. Reed enjoys riding Buck. In the summer Mr. Reed would ride Buck almost every day. In winter when the grass is usually covered with a couple feet of snow, Mr. Reed would give the horses hay, but Buck would get hay and oats. Every week Buck was groomed, and once a month his hooves were cleaned. Billy was walking up to Mr. Reed’s farm to ask him if he could ride Buck. If he could, this would be the twelfth time. Billy could only go on weekends, so he had to finish all his homework before he went. Billy didn’t like to walk on the road. He didn’t like the paved roads, the cars, the electric fences or the TV antennas on every roof. Billy didn’t like any of these things. You could do without them, he thought. So instead, Billy walked through the field that joined Mr. Reed’s property with his. It was two o’clock Saturday afternoon, and there wasn’t a cloud in the sky. Billy saw Mr. Reed as he was finishing painting the fence that led from the barnyard to the pasture. “Hi, Mr. Reed. Are you enjoying this summer weather we’re having?” “Yeah, I am, Billy. By six o’clock tonight this paint will be as dry as a horse’s throat without water. I guess you want to take Buck out, right, Billy?” “Yeah, I do. It’s a nice day, and I’ve got all my homework done, too.” “O.K. He’s in the first stable. I’m going to wash this brush and go inside. When you come back give Buck some corn. You know where it is.” “Don’t worry, Mr. Reed, I will.” Billy got Buck out of the first stable and tied him to the part of the fence that was already dry. Before Billy went to the saddle shed which was next to the first stable outside the barnyard, he stopped and looked at Buck. He saw his brown hair gleaming in the summer sun. He saw Buck’s broad chest, his strong muscular thighs, and his mane blowing free with the wind. Billy got the saddle and put it on him. The other horses in the barnyard talked to each other, probably about what they will do, and where they will go when Buck is ridden away, Billy thought. Billy fastened the girth under Buck’s stomach, adjusted the stirrups, and got on. He rode Buck down the lane and onto the road. Billy was always careful with Buck while riding along the narrow country highway, because he knew Buck was one of a kind. Billy rode Buck along the road for about a half hour and then decided to turn off of it. He rode through a field that was once a thriving dairy farm in the late eighteen hundreds. The land was rich and fertile. No one owned it now, but somebody was supposed to buy it in October. Billy led Buck down to the
Writing Activity: defining character with non-standard English, with “My Country and the Way to America”, by Huong Nguyen, 11 (a harrowing tale)
Map of Vietnam This is one of the most extraordinary stories Stone Soup has published in its long history. This activity focuses on how to effectively use non-standard English to define your character. “My Country and the Way to America” is a difficult story to read. It describes awful situations in which people die. The story is best read with an adult. If you are not familiar with the Vietnam War and the so-called “Boat People” who fled the country in the years following it, then please also read this introduction to that war before reading the story. Project: Using non-standard English to define your character. Huong had something to say. Despite the fact that she didn’t know English well at the time she wrote this story, she said what was burning in her heart with the words and grammatical skills in her possession. Huang’s story is written in what we call non-standard English. In other words, it is full of grammatical “errors.” But, in this case, the grammatical errors contribute to the effectiveness of the story. The language in which the story is written lacks many of the small connector words that we usually use when we speak or write English. The verb tenses are also not always correct. But, in this story, these “errors” focus our attention on the actions that are most important, giving the prose an incredible sense of rawness and urgency. “After three days or four days out the ocean, the boat have a hole and the water coming,” conveys the isolation and fear that overwhelms this boatload of people stuck in a sinking boat in the South China Sea more effectively than a perfectly written sentence would have. In the case of Huong’s story, her unusual way of writing English makes her story all the more memorable and, as a work of literature, all the more effective. This story was written in 1985. In 2017, as I write this, children and families are once again fleeing in small boats from wars and mistreatment. This time, these frightening, and often fatal, voyages are taking place in the Mediterranean Sea as people flee the wars of Afghanistan, Syria, South Sudan and trouble in other countries, such as Eritrea. Huong’s story brings the reality of the boat trip alive to us in a way that news articles do not. How can you use this idea of non-standard English? For most writers, it is in writing dialogue that non-standard English is most useful as a literary tool. I suggest two projects. In one, create a character whose English is almost normal, but has a few small quirks that makes it unique. Once you have mastered a character with a few eccentric turns of phrase, write a story in which the whole story is told through a character whose language, like that Huong, is different from normal. If you choose a very young child as your character, then that story might explore the difference between what the child can say and what the child can see and understand. To prepare for these projects, listen carefully to how people talk. Listen to people talking the way you listen to music. For teachers, you might refer to William Faulkner’s “Sound and the Fury ” for a sense of how an adult writer uses non-standard English for expressive intent.
