Duncan Tonatiuh was born in Mexico City and grew up in San Miguel de Allende, Mexico. He graduated from Parsons the New School for Design, where he studied writing and illustration. He divides his time between Mexico and New York City. This is his first picture book.
Dear Primo: A Letter to My Cousin
Hardcover
$16.95
- ISBN-13: 9780810938724
- Publisher: Abrams, Harry N., Inc.
- Publication date: 03/01/2010
- Pages: 32
- Product dimensions: 8.60(w) x 11.10(h) x 0.30(d)
- Lexile: AD610L (what's this?)
- Age Range: 5 - 7 Years
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From first-time Mexican author and illustrator Duncan Tonatiuh comes the story of two cousins, one in America and one in Mexico, and how their daily lives are different yet similar. Charlie takes the subway to school; Carlitos rides his bike. Charlie plays in fallen leaves; Carlitos plays among the local cacti. Dear Primo covers the sights, sounds, smells, and tastes of two very different childhoods, while also emphasizing how alike Charlie and Carlitos are at heart. Spanish words are scattered among the English text, providing a wonderful way to introduce the language and culture of Mexico to young children.
Inspired by the ancient art of the Mixtecs and other cultures of Mexico, Tonatiuh incorporates their stylized forms into his own artwork.
F&P Level: M
F&P Genre: RF
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Publishers Weekly
Carlitos lives in Mexico and his cousin Charlie lives in an American city. Though they have never met, they compare their daily routines through letters. “Every morning I ride my bicicleta to school,” Carlitos writes. Charlie takes the subway, which he compares to “a long metal snake.” Tonatiuh draws from ancient Mexican art for his collages—always shown in profile, Carlitos and Charlie have oversize hands and feet and stylized facial features, almost like stone statues—while skyscrapers and graffiti provide modern flair. It's a subtly reflective story about friendship and commonalities. Ages 4-8. (Mar.)Children's Literature - Ken Marantz and Sylvia Marantz
Charlie, who lives in America, exchanges letters with his cousin Carlitos in Mexico. Carlitos describes his life on a farm amid the mountains, including the Spanish names for what is around him. Charlie in turn depicts his city and skyscrapers. They talk about their different ways of getting to school, subway versus Bicicleta; the games they play, basketball versus futbol; the foods they eat; and what they do with their friends. Carlitos and his parents shop in an open-air market, while Charlie and his mom go to the supermarket. They write about the entertainments around them and their holiday traditions and celebrations. Together they conclude that they should visit each other. The boys are depicted on the cover in a stylized manner influenced by some ancient Mixtec and other Mexican artifacts. The illustrations combine Tonatiuh's hand drawings with other pre-structured materials, colored and collaged digitally. They are just detailed enough to compare the lifestyles of the cousins. Along with a glossary, the author has included a note about the relationship of his life as both a Mexican and an American to the story. Reviewer: Ken Marantz and Sylvia MarantzSchool Library Journal
K-Gr 3—Tonatiuh compares and contrasts the daily lives of two cousins, or primos. Charlie is American, and Carlitos is Mexican. Charlie enjoys a slice of pizza after school, while Carlitos helps his mother make quesadillas. Charlie cools off in an open fire hydrant, while Carlitos jumps into a small rio. The writing is simple yet peppered with imagery that enhances it significantly: "Skyscrapers are buildings so tall they tickle the clouds" or "The subway is like a long metal snake and it travels through tunnels underground." Twenty-seven Spanish words are sprinkled throughout the text, easily understood from the context and explained in a glossary. Tonatiuh's hand-drawn, then digitally colored and collaged illustrations were influenced by the art of the Mixtecs, one of the major civilizations of Mesoamerica. While the pictures are attractive and carefully composed, one small problem might be that all the faces, young or old, male or female, are identical—only their hairstyles change, and at no time do any of the characters make eye contact. This accurately reflects Mixtec tradition, but may be a bit disconcerting for children unless put into context. Otherwise, this is an excellent tool for explaining how cultures connect.—Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ