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
Copyright © American Library Association. All rights reserved
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. . . Readers will not soon forget these characters or their sacrifices. Publishers Weekly, Starred
" Intrigues, danger and the same strong focus on doing what is right turn a simple story into a compelling read. . . Tree-ear's story conveys a time and place far away and long ago, but with a simplicity and immediacy that is both graceful and unpretentious. A timeless jewel." Kirkus Reviews with Pointers
Like Park's Seesaw Girl and the Kite Fighters, this book not only gives readers insight an unfamilar time and place, but it is also a great story.
School Library Journal, Starred
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.
Booklist, ALA, Starred Review
Park's story is alive with fascinating information about life and art in ancient Korea.
Horn Book Guide
A broken piece of pottery sets events in motion as an orphan struggles to pay off his debt to a master potter. This finely crafted novel brings 12th-century Korea and these indelible characters to life.
SLJ Best Books of the Year
null Children's Books: 100 Titles NYPL
null Booklist, Editor's Choice
From the Inside Flap
Tree-ear is an orphan boy in a 12th-century Korean potters? village. For a long time he is content living with Crane-man under a bridge barely surviving on scraps of food. All that changes when he sees master potter Min making his beautiful pottery. Tree-ear sneaks back to Min?s workplace and dreams of creating his own pots someday. When he accidentally breaks a pot, he must work for the master to pay for the damage. Though the work is long and hard, Tree-ear is eager to learn. Then he is sent to the King?s Court to show the master?s pottery. Little does Tree-ear know that this difficult and dangerous journey will change his life forever.
From the Back Cover
“Intrigues, danger, and the same strong focus on doing what is right turn a simple story into a compelling read. . . . A timeless jewel.”
–Kirkus Reviews, Starred
About the Author
Linda Sue Park’s latest book is When My Name Was Keoko.
Excerpt. © Reprinted by permission. All rights reserved.
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 once--only 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 fortune--a 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 him--quickly! Before he loses too much rice!
No! Don't say anything--you 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 autumn--these 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 sharp--and 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 patience--he 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-man--or 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 hands--ten 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 year--already on two legs and able to talk."
This year's Newbery Medalist is also a winner on tape. Set in twelfth-century Korea, it's the story of orphaned Tree-ear, who lives under a bridge with Crane-man, but dreams of becoming a Master Potter, like the ill-tempered artist, Min, he so admires. British actor Graeme Malcome gives his reading admirable dignity, although it's surprising to hear lower-class Koreans with cockney accents. But accents are forgotten as the listener is drawn deep into Tree-ear's world, where clay pots can be easily smashed, and a homeless boy likewise. M.C. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine
