Cover image for A single shard
Title:
A single shard
Author:
Park, Linda Sue.
Personal Author:
Publication Information:
New York : Clarion Books, 2001.
Physical Description:
152 pages ; 22 cm
Summary:
Tree-ear, a thirteen-year-old orphan in medieval Korea, lives under a bridge in a potters' village, and longs to learn how to throw the delicate celadon ceramics himself.
Language:
English
Reading Level:
920 Lexile.
Program Information:
Accelerated Reader AR MG 6.6 6.0 49768.

Reading Counts RC 6-8 6.8 10 Quiz: 28635 Guided reading level: U.
Subject Term:
Geographic Term:
ISBN:
9780395978276
Format :
Book

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Summary

Summary

In this Newbery Medal-winning book set in 12th century Korea, Tree-ear, a 13-year-old orphan, lives under a bridge in Ch'ulp'o, a potters' village famed for delicate celadon ware. He has become fascinated with the potter's craft; he wants nothing more than to watch master potter Min at work, and he dreams of making a pot of his own someday. When Min takes Tree-ear on as his helper, Tree-ear is elated -- until he finds obstacles in his path: the backbreaking labor of digging and hauling clay, Min's irascible temper, and his own ignorance. But Tree-ear is determined to prove himself -- even if it means taking a long, solitary journey on foot to present Min's work in the hope of a royal commission . . . even if it means arriving at the royal court with nothing to show but a single celadon shard.


Author Notes

Linda Sue Park was born in Urbana, Illinois on March 25, 1960. She received a B.A. in English from Stanford University. After graduating, she worked as a public-relations writer for a major oil company for two years. She obtained advanced degrees in literature from Trinity College, Dublin in Ireland and from the University of London. Before becoming a full-time author, she held numerous jobs including working for an advertising agency, teaching English as a second language to college students, and working as a food journalist. Her first book, Seesaw Girl, was published in 1999. Her other books include The Kite Fighters, Tap Dancing on the Roof: Sijo (Poems), and A Single Shard, which won the 2002 Newbery Medal. She also wrote Storm Warning, which is the ninth book in the 39 Clues series. Her title A Long Walk to Water made the New York Times bestseller list.

(Bowker Author Biography)


Reviews 3

Booklist Review

Gr. 4-8. When the polite greeting in a society is "Have you eaten well today?' one may guess that subsistence is of prime concern. Surely no one in this twelfth-century Korean village is more accustomed to hunger than the orphan boy Tree-ear and his guardian Crane-man who is lame. They sleep under a bridge in summer and in a pit in winter, eating what they can forage in the woods or garbage piles. At the age of 12, Tree-ear becomes an assistant to the potter Min. A hard taskmaster to himself and the boy, Min is the maker of the finest celadon ware in Ch'ul'po, a village known for its pottery. When Min entrusts two precious pots to Tree-ear to deliver to Songdo, the boy must make his way across miles of unknown territory, relying on his courage and wits to prove himself worthy of Min's trust. This quiet, but involving, story draws readers into a very different time and place. Though the society has its own conventions, the hearts and minds and stomachs of the characters are not so far removed from those of people today. Readers will feel the hunger and cold that Tree-ear experiences, as well as his shame, fear, gratitude, and love. A well-crafted novel with an unusual setting. --Carolyn Phelan


Publisher's Weekly Review

Park (Seesaw Girl) molds a moving tribute to perseverance and creativity in this finely etched novel set in mid- to late 12th-century Korea. In Ch'ul'po, a potter's village, Crane-man (so called because of one shriveled leg) raises 10-year-old orphan Tree Ear (named for a mushroom that grows "without benefit of "parent-seed"). Though the pair reside under a bridge, surviving on cast-off rubbish and fallen grains of rice, they believe "stealing and begging... made a man no better than a dog." From afar, Tree Ear admires the work of the potters until he accidentally destroys a piece by Min, the most talented of the town's craftsmen, and pays his debt in servitude for nine days. Park convincingly conveys how a community of artists works (chopping wood for a communal kiln, cutting clay to be thrown, etc.) and effectively builds the relationships between characters through their actions (e.g., Tree Ear hides half his lunch each day for Crane-man, and Min's soft-hearted wife surreptitiously fills the bowl). She charts Tree Ear's transformation from apprentice to artist and portrays his selflessness during a pilgrimage to Songdo to show Min's work to the royal court he faithfully continues even after robbers shatter the work and he has only a single shard to show. Readers will not soon forget these characters or their sacrifices. Ages 10-14. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved


School Library Journal Review

Gr 5-8-Linda Sue Park's 2002 Newbery Award-winning story (Clarion, 2001) about Tree-ear, a 12th century Korean orphan who finds his future through his intuitive interest in the potter's trade, is nicely rendered by Graeme Malcolm. Tree-ear's early years have been spent in the care of the homeless but inventive Crane-man, who has taught him to find a meal among what other villagers have rejected as scrap and shelter beneath a bridge or in an old kimchee cellar, as the season dictates. Now about 12 years old, Tree-ear extends his social and labor habits to an elderly and idiosyncratic potter, first because Tree-ear must repay Min for a pot he damaged when he touched it without permission, and then as Min's helper, a job for which he is paid in food and the motherly affection of Min's wife. In a village renowned for its pottery, those in the trade eagerly anticipate a visit from the representative of the Korean court, each potter hoping that his designs will be selected for royal use. Tree-ear discovers a rival potter's invention of a new surface design technique that he knows Min could use to better effect than does the inventor. Eventually, the technique is revealed and Min is able to adapt it to his excellent work, sending Tree-ear on a long and dangerous journey to court with two sample pieces. By the time Tree-ear arrives, he has but a single shard to show the court's pottery expert. Malcolm's light British accent is clear and adds a sense of "another place, another time" to this tale. However, many of the issues transcend centuries and cultures: What is home? Can one own a creative idea? How much of an art object must be seen in order to judge its quality? This book will engage both individual readers and discussion groups; the audio version makes it accessible to a broader audience, while giving style and substance to those who have read the print version.-Francisca Goldsmith, Berkeley Public Library, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

Chapter 1 "Eh, Tree-ear! Have you hungered well today?" Crane-man called out as Tree-ear drew near the bridge. The well-fed of the village greeted each other politely by saying, "Have you eaten well today?" Tree-ear and his friend turned the greeting inside out for their own little joke. Tree-ear squeezed the bulging pouch that he wore at his waist. He had meant to hold back the good news, but the excitement spilled out of him. "Crane-man! A good thing that you greeted me so just now, for later today we will have to use the proper words!" He held the bag high. Tree-ear was delighted when Crane-man's eyes widened in surprise. He knew that Crane-man would guess at onceonly one thing could give a bag that kind of smooth fullness. Not carrot-tops or chicken bones, which protruded in odd lumps. No, the bag was filled with rice. Crane-man raised his walking crutch in a salute. "Come, my young friend! Tell me how you came by such a fortunea tale worth hearing, no doubt!"Tree-ear had been trotting along the road on his early-morning perusal of the village rubbish heaps. Ahead of him a man carried a heavy load on a jiggeh, an open-framed backpack made of branches. On the jiggeh was a large woven-straw container, the kind commonly used to carry rice. Tree-ear knew that the rice must be from last year's crop; in the fields surrounding the village this season's rice had only just begun to grow. It would be many months before the rice was harvested and the poor allowed to glean the fallen grain from the bare fields. Only then would they taste the pure flavor of rice and feel its solid goodness in their bellies. Just looking at the straw box made water rush into Tree- ear's mouth. The man had paused in the road and hoisted the wooden jiggeh higher on his back, shifting the cumbersome weight. As Tree-ear stared, rice began to trickle out of a hole in the straw box. The trickle thickened and became a stream. Oblivious, the man continued on his way. For a few short moments Tree-ear's thoughts wrestled with one another. Tell himquickly! Before he loses too much rice! No! Don't say anythingyou will be able to pick up the fallen rice after he rounds the bend . . . Tree-ear made his decision. He waited until the man had reached the bend in the road, then ran to catch him. "Honorable sir," Tree-ear said, panting and bowing. "As I walked behind you, I noticed that you are marking your path with rice!" The farmer turned and saw the trail of rice. A well-built man with a broad suntanned face, he pushed his straw hat back, scratched his head, and laughed ruefully. "Impatience," said the farmer. "I should have had this container woven with a double wall. But it would have taken more time. Now I pay for not waiting a bit longer." He struggled out of the jiggeh's straps and inspected the container. He prodded the straw to close the gap but to no avail, so he threw his arms up in mock despair. Tree-ear grinned. He liked the farmer's easygoing nature. "Fetch me a few leaves, boy," said the farmer. Tree-ear complied, and the man stuffed them into the container as a temporary patch. The farmer squatted to don the jiggeh. As he started walking, he called over his shoulder. "Good deserves good, urchin. The rice on the ground is yours if you can be troubled to gather it." "Many thanks, kind sir!" Tree-ear bowed, very pleased with himself. He had made a lucky guess, and his waist pouch would soon be filled with rice. Tree-ear had learned from Crane-man's example. Foraging in the woods and rubbish heaps, gathering fallen grain-heads in the autumnthese were honorable ways to garner a meal, requiring time and work. But stealing and begging, Crane-man said, made a man no better than a dog. "Work gives a man dignity, stealing takes it away," he often said. Following Crane-man's advice was not always easy for Tree-ear. Today, for example. Was it stealing, to wait as Tree-ear had for more rice to fall before alerting the man that his rice bag was leaking? Did a good deed balance a bad one? Tree-ear often pondered these kinds of questions, alone or in discussion with Crane-man. "Such questions serve in two ways," Crane-man had explained. "They keep a man's mind sharpand his thoughts off his empty stomach." Now, as always, he seemed to know Tree-ear's thoughts without hearing them spoken. "Tell me about this farmer," he said. "What kind of man was he?" Tree-ear considered the question for several moments, stirring his memory. At last, he answered, "One who lacks patiencehe said it himself. He had not wanted to wait for a sturdier container to be built. And he could not be bothered to pick up the fallen rice." Tree- ear paused. "But he laughed easily, even at himself." "If he were here now, and heard you tell of waiting a little longer before speaking, what do you think he would say or do?" "He would laugh," Tree-ear said, surprising himself with the speed of his response. Then, more slowly, "I think . . . he would not have minded." Crane-man nodded, satisfied. And Tree-ear thought of something his friend often said: Scholars read the great words of the world. But you and I must learn to read the world itself.Tree-ear was so called after the mushroom that grew in wrinkled half- circles on dead or fallen tree trunks, emerging from the rotten wood without benefit of parent seed. A good name for an orphan, Crane-man said. If ever Tree-ear had had another name, he no longer remembered it, nor the family that might have named him so. Tree-ear shared the space under the bridge with Crane-manor rather, Crane-man shared it with him. After all, Crane-man had been there first, and would not be leaving anytime soon. The shriveled and twisted calf and foot he had been born with made sure of that. Tree-ear knew the story of his friend's name. "When they saw my leg at birth, it was thought I would not survive," Crane-man had said. "Then, as I went through life on one leg, it was said that I was like a crane. But besides standing on one leg, cranes are also a symbol of long life." True enough, Crane-man added. He had outlived all his family and, unable to work, had been forced to sell his possessions one by one, including, at last, the roof over his head. Thus it was that he had come to live under the bridge. Once, a year or so earlier, Tree-ear had asked him how long he had lived there. Crane-man shook his head; he no longer remembered. But then he brightened and hobbled over to one side of the bridge, beckoning Tree-ear to join him. "I do not remember how long I have been here," he said, "but I know how long you have." And he pointed upward, to the underside of the bridge. "I wonder that I have not shown you this before." On one of the slats was a series of deep scratches, as if made with a pointed stone. Tree-ear examined them, then shook his head at Crane- man. "So?" "One mark for each spring since you came here," Crane-man explained. "I kept count of your years, for I thought the time would come when you would like to know how old you are." Tree-ear looked again, this time with keen interest. There was a mark for each finger of both handsten marks in all. Crane-man answered before Tree-ear asked. "No, you have more than ten years," he said. "When you first came and I began making those marks, you were in perhaps your second yearalready on two legs and able to talk." Tree-ear nodded. He knew the rest of the story already. Crane-man had learned but little from the man who had brought Tree-ear to the bridge. The man had been paid by a kindly monk in the city of Songdo to bring Tree-ear to the little seaside village of Ch'ulp'o. Tree-ear's parents had died of fever, and the monk knew of an uncle in Ch'ulp'o. When the travelers arrived, the man discovered that the uncle no longer lived there, the house having been abandoned long before. He took Tree- ear to the temple on the mountainside, but the monks had been unable to take the boy in because fever raged there as well. The villagers told the man to take the child to the bridge, where Crane-man would care for him until the temple was free of sickness. "And," Crane-man always said, "when a monk came to fetch you a few months later, you would not leave. You clung to my good leg like a monkey to a tree, not crying but not letting go, either! The monk went away. You stayed." When Tree-ear was younger, he had asked for the story often, as if hearing it over and over again might reveal something morewhat his father's trade had been, what his mother had looked like, where his uncle had gonebut there was never anything more. It no longer mattered. If there was more to having a home than Crane-man and the bridge, Tree-ear had neither knowledge nor need of it. Breakfast that morning was a feasta bit of the rice boiled to a gruel in a castoff earthenware pot, served up in a bowl carved from a gourd. And Crane-man produced yet another surprise to add to the meal: two chicken leg-bones. No flesh remained on the arid bones, but the two friends cracked them open and worried away every scrap of marrow from inside. Afterward, Tree-ear washed in the river and fetched a gourd of water for Crane-man, who never went into the river if he could help it; he hated getting his feet wet. Then Tree-ear set about tidying up the area under the bridge. He took care to keep the place neat, for he disliked having to clear a space to sleep at the tired end of the day. Housekeeping complete, Tree-ear left his companion and set off back up the road. This time he did not zigzag between rubbish heaps but strode purposefully toward a small house set apart from the others at a curve in the road. Tree-ear slowed as he neared the mud-and-wood structure. He tilted his head, listening, and grinned when the droning syllables of a song- chant reached his ears. The master potter Min was singing, which meant that it was a "throwing" day. Min's house backed onto the beginnings of the foothills and their brushy growth, which gave way to pine-wooded mountains beyond. Tree- ear swung wide of the house. Under the deep eaves at the back, Min kept his potter's wheel. He was there now, his gray head bent over the wheel, chanting his wordless song. Tree-ear made his way cautiously to his favorite spot, behind a paulownia tree whose low branches kept him hidden from view. He peeped through the leaves and caught his breath in delight. Min was just beginning a new pot. Min threw a mass of clay the size of a cabbage onto the center of the wheel. He picked it up and threw it again, threw it several times. After one last throw he sat down and stared at the clay for a moment. Using his foot to spin the base of the wheel, he placed dampened hands on the sluggardly lump, and for the hundredth time Tree-ear watched the miracle. In only a few moments the clay rose and fell, grew taller, then rounded down, until it curved into perfect symmetry. The spinning slowed. The chant, too, died out and became a mutter of words that Tree-ear could not hear. Min sat up straight. He crossed his arms and leaned back a little, as if to see the vase from a distance. Turning the wheel slowly with his knee, he inspected the graceful shape for invisible faults. Then, "Pah!" He shook his head and in a single motion of disgust scooped up the clay and slapped it back onto the wheel, whereupon it collapsed into an oafish lump again, as if ashamed. Tree-ear opened his mouth to let out his breath silently, only then realizing that he had been keeping it back. To his eyes the vase had been perfect, its width half its height, its curves like those of a flower petal. Why, he wondered, had Min found it unworthy? What had he seen that so displeased him? Min never failed to reject his first attempt. Then he would repeat the whole process. This day Tree-ear was able to watch the clay rise and fall four times before Min was satisfied. Each of the four efforts had looked identical to Tree-ear, but something about the fourth pleased Min. He took a length of twine and slipped it deftly under the vase to release it from the wheel, then placed the vase carefully on a tray to dry. As Tree-ear crept away, he counted the days on his fingers. He knew the potter's routine well; it would be many days before another throwing day. The village of Ch'ulp'o faced the sea, its back to the mountains and the river edging it like a neat seam. Its potters produced the delicate celadon ware that had achieved fame not only in Korea but as far away as the court of the Chinese emperor. Ch'ulp'o had become an important village for ceramics by virtue of both its location and its soil. On the shore of the Western Sea, it had access both to the easiest sea route northward and to plentiful trade with China. And the clay from the village pits contained exactly the right amount of iron to produce the exquisite gray-green color of celadon so prized by collectors. Tree-ear knew every potter in the village, but until recently he had known them only for their rubbish heaps. It was hard for him to believe that he had never taken the time to watch them at work before. In recent years the pottery from the village kilns had gained great favor among those wealthy enough to buy pieces as gifts for both the royal court and the Buddhist temples, and the potters had achieved new levels of prosperity. The pickings from their rubbish heaps had become richer in consequence, and for the first time Tree-ear was able to forget about his stomach for a few hours each day. During those hours it was Min he chose to watch most closely. The other potters kept their wheels in small windowless shacks. But in the warm months Min preferred to work beneath the eaves behind his house, open to the breeze and the view of the mountains. Working without walls meant that Min possessed great skill and the confidence to match it. Potters guarded their secrets jealously. A new shape for a teapot, a new inscribed designthese were things that the potters refused to reveal until a piece was ready to show to a buyer. Min did not seem to care about such secrecy. It was as if he were saying, Go ahead, watch me. No matteryou will not be able to imitate my skill. It was true, and it was also the main reason that Tree-ear loved watching Min. His work was the finest in the region, perhaps even in the whole country. Excerpted from A Single Shard by Linda Sue Park All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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