The Spy Who Played Baseball

Kar-Ben Publishing

(pub 3.1.018)

32 pages

A True Tale with
A Cherry On Top   

A uthor:  Carrie Jones
     and illustrator: Gary Cherrington

C haracters: Morris (Moe) Berg
O verview from the jacket flap: 

     "Moe Berg is not a typical baseball player. He's Jewish - very unusual for the major leagues in the 1930s - has a law degree, speaks several languages, and loves traveling the world. He also happens to be a spy for the U.S. government. When World War II begins, Moe trades his baseball career for a life of danger and secrecy. Using his unusual range of skills, he sneaks into enemy territory to gather crucial  information that could help defeat the Nazis. But he also has plenty of secrets of his own ..."

T antalizing taste:        

     "It was dangerous for any American to be in Nazi-controlled Europe, but for a Jewish American like Moe Berg, it was especially dangerous. The Nazis were arresting hundreds of thousands of Jews all over Europe and transporting them to concentration camps.
     Yet Moe didn't hesitate. On one early mission, he parachuted into the small country of Yugoslavia. His job was to gather information about two resistance groups that were fighting the Nazis there. The American government needed Moe's help to decide which resistance group to support."

 

and something more: The Afterword states that "Moe stayed with the OSS until it disbanded in 1945, shortly after World War II ended. But for the rest of his life he remained a mysterious figure, half hiding behind telephone poles and in the stands of games. He died in 1972. His last words were 'How are the Mets doing today?' (They won.) Moe was inducted into the National Jewish Sports Hall of Fame, and his baseball card is on display at CIA headquarters."

Marcel Marceau

Master of Mime

This post is part of Nonfiction Monday 

hosted today by SimplyScience and joins
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at Teacher Mentor Texts

Kar-Ben Publishing

(pub. 9.1.2011) 32 pages 

A True Tale with A Cherry On Top

A uthor: Gloria Spielman

     and Illustrator:  Manon Gauthier

C haracter: Marcel Marceau

O verview from the jacket flap: 

      "From the age of five, little Marcel Marceau knew he wanted to be a silent actor, just like Charlie Chaplin.  World War II came, changing Marcel's life. But it didn't stop his dream of becoming a mime artist and entertaining the world."

        

T antalizing taste: 

   "But in many places, ordinary men and women were secretly working to fight the Nazis. Limoges was a center of the French Resistance. Alain [Marcel's older brother] joined, and 16-year-old Marcel, using his drawing skills, began to help.

     In secret, with crayon and ink, Marcel carefully altered photos and changed birthdates on identity cards so the children would seem to be too young to be sent to labor camps...

     Marcel was scared, but he hid his fear as he guided the children across the border into Switzerland and safety ...

     Though the war continued, Marcel was able to study at Dullin's drama school in Paris. He worked under the famous mime Etienne Decroux who taught him how to use movement and facial expressions to tell stories without speaking."    

      

and something more: Gloria Spielman, the author of Marcel Marceau - Master of Mime, features interviews of people related to the art of mime on her blog, including Lorin Eric Salm, an American actor and mime instructor and student of Marcel Marceau. With the beginning of  a new school year, I particularly liked this tribute by Lorin Eric Salm to his teacher:  
         "I found Mr. Marceau to be a wonderful teacher. Of all the teachers one may have in one's life, it is an unusual thing to study with one who is world-famous for his work, and considered the master of his art ... "

       "He was very patient in his dealings with students, taking all the time necessary to help students understand and learn.  He was kind and diplomatic even with the most challenged students.  One of the things that made him a particularly great teacher was his ability to incorporate all his worldly knowledge into his lessons.  He would make references to all the other arts -- dance, painting, sculpture, music, etc. -- and to religion, politics, sociology, psychology, and anything else that was useful in helping us understand that mime calls on all of these aspects of human experience as its material."

       Isn't it wonderful to learn about those at the pinnacle of their art who share their expertise and passion as a teacher, especially as a "patient" and "kind" one?