Book peanut butter and jelly
Peanut Butter and Jelly: A Play Rhyme by Nadine Bernard Westcott
Nadine Bernard Westcott (Illustrator)
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A favorite play rhyme takes on super-duper proportions as two children create a table-sized sandwich from scratch. "The joyfully sketched pandemonium will enliven story hours and preschool introductions with a perennially pleasing chant".--Booklist. Full color.
32 pages, Paperback
First published September 24, 1987
About the author
Nadine Bernard Westcott is the illustrator of many popular books for children, including Mrs. McNosh Hangs Up Her Wash and Mrs. McNosh and the Great Big Squash, as well as the author and illustator of The Lady With The Alligator Purse. She used to spend many hours chasing after her dog, who would come home only when ready and not a minute sooner.
Ms. Westcott lives on Nantucket with her husband, Bill.
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Displaying 1 - 30 of 69 reviews
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November 26, 2018Text-to Teaching Connection: What is a response activity that you can do in a classroom with children in response to the book? Be specific (e.g. drama, music, art, writing, math, science, social studies, etc.).
Although this book uses very simplified text, it uses plenty of repitition and rhyming words. This is a great book to use with my students who struggle with “how to” writing. It is basically explaining how to make a peanut butter and jelly sandwich, but in a fun and creative way. I would read this to my students during writing. While reading I would make a point to ask my students why certain words may be repeated. For example, “Why do you think they keep saying ‘peanut butter, peanut butter, jelly, jelly’?” By the end of the book we’ll discuss what they made in the story and the steps they took to making the peanut butter and jelly sandwich.
Lastly, I’ll have my students come up with there own “how to” writing. They’ll each pick something they know how to do and then write the steps or draw pictures explaining on the order of how to do it.
- week-6
Cheryl
2,654 reviews32 followers
December 29, 2020It was hard not to sing along reading it. The kids enjoyed looking at the large sandwich.
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May 5, 2018I like this book because I like to eat the peanut butter and jelly. It also fun that children can make their own peanut butter and jelly with their own hand. I do understand that their might be some people who can not eat peanut.
October 18, 2018
I read this book with one of my students today. It's a really cute book about making a giant peanut butter and jelly sandwich. It has a refrain that's easy for kids to repeat and feel as though they are reading along, even if they are not yet readers.
The illustrations are very well drawn and amusing. My student and I were particular fans of the huge loaf of bread and all the pictures with the elephants, though the one where they stomp the grapes in the bath tub is probably our favorite. I highly recommend this book for parents to share with children, as a part of a classroom library or read aloud, or for beginning readers.
- classroom-reads
October 3, 2012
Imaginative illustrations to go with the well known play rhyme - I do appreciate that the last page includes an explanation of the rhythym and motions for those who may not be familiar.
- 2012 borrowed children
December 4, 2017
Genre: contemporary realistic
Reading Level: lower elementary
This book would be good for a younger student. I️t tells how to make a peanut butter and jelly sandwich. The author uses repetition of the phrase “peanut butter, peanut butter, jelly, jelly”.
This could be made into a jingle.
September 19, 2018
Peanut Butter and Jelly is a modern fantasy book for grades K-2. I found this book very repetitive and boring to read. There was no purpose or lesson to the story. I would not recommend this book for a classroom.
April 30, 2020
This book is great learning tool with also some fun elephants in the book that help make the rhyme book more fun. They learn how to make there favorite snack that they can hopefully make them self. great book for all kids that love this food.
- favorites
December 3, 2017
3-4; poetry; This book is a lot of fun to kids to play along with! At the end o f the story is a recipe that would be fun to make with yr kids/students (if they do not have a peanut allergy!)
Jessica
930 reviews4 followers
March 14, 2018Any book that has my one-year-old bringing it back to me over and over is a wonderful one in my mind.
- children-s-books
Gayle
129 reviews4 followers
November 20, 2018a great rhyming action book. Great for story telling and not just reading.
- 2018-reads
Leslie
1,673 reviews11 followers
March 9, 2022Read this in an Outreach Storytime. It was a favorite when my kids were little. Lots of fun with the rhyme and the motions.
- storytime
February 19, 2017
Peanut Butter and a Jelly by Nadine Bernard Westcott is a fun play rhyme book for students. I liked this book because you can use motions while reading this book and you could also try to sing it while reading it. The illustrations also help this book more fun. This book just explains how to make a peanut butter and jelly sandwich.
The intended audience for this book would be Kindergartners and first graders. The words are big on each page and do not include a lot of words.
The words are also simple but for a Kindergartner the teacher would have to read it to them. A first grader could read his book because they know how to read better than Kindergartners. For an elementary classroom you can sing to this song and use hand and body actions while reading it. Then you can make peanut butter and jelly sandwiches by using the steps created by the students.
- el-230
March 30, 2015
Peanut Butter and Jelly was a cute book for children. The story is about a kid who thinks of a peanut butter and jelly sandwich. Then they learned to make every part of the peanut butter and jelly from scratch. Starting with the bread, kneading and the dough and then sticking gin in the oven. Next cracking peanuts and mashing them. In this scene the illustrator uses elephants to help the children. Then squash the grapes and put it all together. At the end of the book is a play rhyme.
This book is full of repetition.
The rhythm of the book is like babababa..da..da "peanut butter, peanut butter, jelly, jelly... Then you take the knife and you slice it, slice it" The words in this book are not challenging and are an easy read for a kindergartner. The words are easy to change to help kids remember how to spell words or remember a routine.
The illustrations in the book are fun and silly. Wescott adds some fun elements to the story to keep readers engaged. She adds the elephants to help with mashing the peanuts and squashing the grapes. You know elephants love peanuts so there is a silly aspect to see them rolling on the floor cracking peanuts. I like how Westcott makes the kitchen looks so realistic. When most proper bake the kitchen is left in a mess; the sink filled with dirty pots and pans, ingredients left on the counter, and mixing bowls and measuring spoons on the table. The colors in the book are bright and vibrant and help the book to have a happy mood.
October 10, 2016
This book can be read as a song.
This means the characteristic of predictable books is flowing language. This book is great for showing children how to make a simple food such as a peanut butter and jelly sandwich. Although they will not be doing the steps such as mash the grapes to make jelly. And they won't smash the nuts to make peanut butter, but they can learn how to put them onto the bread to make a sandwich. This is a great learning experience because they will know that food has to be made by their parents and it doesn't just simply happen. This could also provide a bonding experience between a child and their parents when they are able to make food together and they both get to eat it.
- predictable
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April 27, 2010Nadine Bernard Westcott’s work is not only a story but also a play rhyme. A young boy and girl assisted by a chef who teaches them how to make a peanut butter and jelly sandwich! He directs them how to knead the dough and then how to bake it in the oven.
Each line in the story is followed by “Peanut butter, peanut butter, Jelly, jelly”. Westcott becomes creative by having elephants crack open the peanuts for the peanut butter and squash the grapes in the bathtub to make the jelly! Throughout the story the elephants also assist the chef and children making the enormous sandwich which makes the book fun and enjoyable!
- pb-1
March 21, 2013
This is a story about a young boy and girl who assists a chef in making a PB&J sandwich. Along the way, the characters encounter other animals who help them to make this sandwich. This book is not only a great instructional story, but it is also a play rhyme. This book would be great to use in the classroom because it keeps students active and engaged by singing the words of the book, and they can also move their hands according to the parts (such as kneading). This book would also be beneficial for ELL learners in teaching them verbs.
- 3601-sequence-of-events
April 14, 2014
Westcott, N.
Peanut Butter and Jelly: A Play Rhyme. NY: Scholastic Inc (1987).
This rhyming book is a funny "instruction" book on how to make a peanut butter and jelly sandwich. The way that the sandwich is made in the story is extremely silly and the characters make a very large mess, but eventually manage to make the sandwich and enjoy it.
This is a very cute story with great pictures and kids ages 3-7 will really enjoy this book. You could use this book to teach children how to follow simple instructions, and then perhaps make a peanut butter and jelly sandwich with a class.
- edutl-2368
Samantha
4,985 reviews58 followers
April 24, 2013The illustrated playrhyme in which reader and listener build a peanut butter and jelly sandwich from the basics. There are notes about performing the actions of the ryhme following the story.
This rhythmic read with Westcott's charming watercolor illustrations is among one of my favorite read alouds.
The pictures are silly and add humor.
- food nursery-rhymes picture-books
March 31, 2014
This story was very cute and playful! I really enjoyed reading it and that all of the different characters help put this sandwich together. I think it is a good lesson for children to understand because even though a task may be small, it's always great to get help from friends and others. The artwork is also fairly creative. This is a good book to read as a bedtime story.
- march
September 20, 2016
2.5 year old toddler really enjoys the rhyme and hand motions of this book. The second time I read this book, she already remembered the motions and moved her hands when I was reading. Illustrations are good. It also teaches the process of making a peanut butter and jelly sandwich which is one of favorite food for many children.
- kidsbook
January 29, 2011
Great circle time book. Keeps them active by singing the words of the book.
They can repeat after you have read the sentence. Book also had hand movements associated with words on back page. Also a good resource to use when teaching verbs.
Edna
1,026 reviews3 followers
February 24, 2011Cute book with cartoony illustrations with a chef who enters the kitchen of two bored little children and, with the words of a popular children's song, and with the help of a few elephants, makes a great sandwich from scratch.
- elephants lyrical picture-books
August 26, 2013
Kids love the rhythm and rhyme. (Personally I don't consider it rhyme because I think it is the same words over and over. Yes a word rhymes with itself, but it smacks of defining a word with itself in the definition.)
September 17, 2014
This is a good book for beginners because there isn't a lot of text on each page. And this text is also repetitive so the student can predict what comes next.
Also the illustrations help the student predict the text. And who doesn't love peanut butter and jelly??
- beginners humor meaningful-repitition
Displaying 1 - 30 of 69 reviews
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Peanut Butter and Jelly (A Narwhal and Jelly Book #3) by Ben Clanton
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Categories
- Children’s
- Graphic Fiction
Tags
beginner chapter book, narwhal and jelly
By Ben Clanton
"Hilarious and charming. The most lovable duo since Frog and Toad." --NYT-bestselling creator of the Dog Man and Captain Underpants series, Dav Pilkey
Narwhal's obsession with his new favorite food leads him into hijinks and hilarity in the third book of this all-star early graphic novel series!
Narwhal and Jelly are back and Narwhal has a new obsession .
. . peanut butter! He's so obsessed he even wants to change his name to . . . that's right . . . Peanut Butter! Ever-sensible Jelly isn't so sure that's the best idea, but is all for Narwhal trying new things (instead of just eating waffles all the time, no matter how delicious waffles are).
In this third book, Narwhal and Jelly star in three new stories about trying new things, favorite foods and accepting who we are. Always funny and never didactic, this underwater duo charms again through their powerful combination of positive thinking, imagination and joyfulness.
Product Details
- Paperback
- 64 pages
- ISBN
- 9780735262461
- Publisher
- Tundra Books (1/22/19)
- Dimensions
- 6.
1 x 0.3 x 8.3 inches - Tags
Tags
beginner chapter book, narwhal and jelly
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$7.99
1 in stock
Suggested Companions
Super Narwhal and Jelly Jolt (A Narwhal and Jelly Book #2)
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Happy Narwhalidays (A Narwhal and Jelly Book #5)
By Ben Clanton
Narwhal's School of Awesomeness (A Narwhal and Jelly Book #6)
By Ben Clanton
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“Moments of my writing life that changed everything”
Chuck Palahniuk is a super popular novelist, compiler of many collections, teacher of creative writing courses .
.. The success of his debut novel Fight Club was truly enchanting, and subsequent works only fixed him in the mind of the reader the status of the brightest star of countercultural prose. We publish an excerpt from Palahniuk's new collection, in which he takes us behind the scenes of his writing life, and share the secrets of writing texts that will not leave you indifferent.
Chuck Palahniuk
AST Publishing House, 2020
Well, let's start.
Think of your story as a flow of information. Ideally, it is a sequence of frequently changing rhythms. And a writer is a DJ mixing tracks.
The more variety of music you have—the vinyl that you can play—the more likely your audience is to dance. You need to have as many chips as possible to control your mood. You can reassure the people a little, and then bring them to the limit again. But you need to constantly diversify, change, modify the flow of information so that it always seems fresh, modern and keeps the reader hooked.
I would tell my student about the different textures we have at our disposal. For clarity, I will give a few examples.
When telling a story, consider adding something from this list to it.
Textures: three types of communication with the reader
Description: A man enters a bar.
Direction: Enter the bar.
Exclamation (onomatopoeia): Eh!
Description is the most commonly used in fiction, but a good storyteller knows how to mix things up. For example: "A man walks into a bar and orders a margarita." What could be easier? Three parts tequila, two parts triple sec and one lime juice. Pour it all into a glass on ice and - voila! "Margarita" is ready.
Using all three types of communication with the reader, we get an easy and natural text in a conversational style. Descriptions combined with instructions, flavored with sound effects and exclamations - this is exactly what real people say.
Directions are direct to the reader, a sure way to break the fourth wall.
Verbs are active and assertive. "Just walk like this." Or "Look for the red house on Ocean Avenue." In addition, the instructions imply that we share some useful information, that is, increase our authority as a writer. Recall Nora Ephron's novel "Oskomina", the text of which is interspersed with recipes.
In the story “Intestines,” I stretch out the instructions for a whole paragraph: “…If you want to know how your guts feel, buy a pack of natural leather condoms that are made from the caecum of lambs. Take out one, unfold it. Stuff it with peanut butter. Spread with Vaseline and hold under water. Then try to break it.”❓Ghosts, Chuck Palahniuk. Translated by T. Pokidayeva. This transition from detailed description of events to instructions creates additional tension, as the action is interrupted for a second. Well, then - bang! - and we are again in the thick of things.
Of course, most of your writing will be descriptive, but don't be afraid to spice it up with directions from time to time.
Sound effects are also not necessarily limited to comic book booms and booms. In the Pygmy novel, I used them whenever I needed to emphasize the end of an episode: “Sit down for a long, long time, then get up and go to the toilet - bang! - cut down the blood clot in the brain. ❓"Pygmy", Chuck Palahniuk. Translation by N. Krasnikov.
Interrupting the flow of information with a short onomatopoeia, we enhance the effect of the written
In the end, I’ll tell you how once, when I was in my first year, my group and I were standing in the corridor in front of the German room, and one guy described in colors a recent incident with him: “... and now we are entering a protracted turn at speed - wee-ee, lie-o-um! — and we fly past the cops…”
One girl leaned over and whispered, “Why do men always use onomatopoeia when telling a story, but women don’t?”
Excellent observation. Wind on the ear.
Writers of either gender should use all three forms of communication with the reader.
Three parts of descriptions. Two parts instructions. One part of onomatopoeia. Mix, but do not shake.
Textures: Mixing First, Second and Third Person Narratives
Think of a good anecdote.
“I went to the bar yesterday. Well, you know how it is. You go into a bar, and there is a bartender behind the counter, some kind of slot machine in the hall. A simple guy doesn't need much to be happy. Nobody wants to go to a bar after work and see a penguin making cocktails...”
In conversation, we keep switching from first person to second and third person. This constant change helps establish credibility and a trusting relationship with the reader. For example, “I go to a bar” inspires confidence - we understand that we are hearing a first-hand story. The second person - “you know”, “you come in” - helps to involve the reader in what is happening, makes him an accomplice. And the transition to the third person (“A simple guy doesn’t need much”) allows the author to relax a little, slow down, shift his attention from the concrete “I” to the abstract “guy”.
Perhaps we can assume that the first person has the greatest authority, since we have someone to blame for what is happening (which you can’t do when a third person, an omniscient and godlike author-prophet, is leading the story). Second-person narration is a rare form and almost never occurs in its purest form. Jay McInerney used this technique skillfully in Bright Lights, Big City. It has a hypnotic effect, but at the same time it is insidious: if the plot sags or the story is too long, constantly referring to the reader can be annoying.
The thing is that if you try to tell the story in three modes at once, you will still be telling the story in the first person. And even the combination of only the last two points of view suggests the presence of an outside author-narrator. In the same "Bright Lights", the narration is in the second person, but it still has an author - someone describes what is happening.
[…]
I would advise my student to freely switch between the three modes of narration.
Not all the time, but wisely, when necessary, in order to establish a trusting relationship with the reader and set the right pace.
Textures: big and small voice
You've seen this trick a million times. When Carrie Bradshaw sits at her laptop and writes her column... When Jane Fonda opens up with a psychiatrist in Klute... a big voice comes on the scene.
The camera is a small voice. The voiceover is a big voice.
The little voice (the so-called "painting angel") simply shows what is happening, step by step, minute by minute. A big voice is commenting on what is happening.
The small voice is objective: it conveys smells, sounds, tastes, textures, describes actions. The big one is just thinking.
A small voice gives us the facts. The Bolshoi reveals their meaning - or at least gives a subjective interpretation of events.
Most stories use both voices. In Star Trek, the big voice is the logbook. In "Flash Dance" - a confessional in the church.
In the film The Social Network, what is happening is explained in scenes of testimony. Every now and then, some character discusses his life with a psychotherapist, writes a diary or a letter, while moving away from mundane reality and ordinary verbs of action. He starts asking rhetorical questions on behalf of the reader, a la Carrie Bradshaw: "Am I the only one who doesn't like anal sex?" Amy Adams in Shine Clean communicates with her late mother on civilian radio frequencies. Margaret asks God, "Are you there?" Charlize Theron in "Poor Rich Girl" copes with the hardships of life by devoting herself to writing books for teenagers and on behalf of a teenager.
In my works, I usually introduce a big voice through non-artistic forms that I draw from the life of a character. In The Invisibles, these are "postcards from the future" that the characters write and throw away. In "Survivor" - the black box of a falling plane. In "Suffocation" - notes of the fourth stage, the diary of a former "sex addict".
The novel begins with them, and then quickly moves on to action.
Keep in mind that a big voice is not the most effective way to hook the reader from the first pages
In The Great Gatsby, Fitzgerald devotes most of the first chapter to a lengthy description of the narrator's heartbreak. We see the same thing at the beginning of The Glass Menagerie. The authors of both books wanted to immediately clarify that all the events described below are in the past. They ask the reader to sympathize with the narrator as he laments his lost innocence. And only then they launch into the most detailed flashbacks, telling how exactly their heart was broken.
Yes, the Victorians liked to decorate the facade of the novel with a kind of "porch". “It was the best of all time, it was the worst of all time”… Blah blah blah. Alas, in our days no one will fall for such an initiation. Forgive me, Nick Carraway, today few readers will listen to the lamentations of an effeminate young man about how he had his heart broken.
In today's world, it's better to start right off the bat - the hero finds a corpse or runs away from zombies. Not from a big, but from a small voice. Blame in this movie, if you like, the notorious action - action-packed scenes that catch the viewer's attention. Tom Jones once said to me, "Whatever you say, action is power." He captivates. And by the way, foreign translators will wear you in their arms for using action verbs. Like action in action movies, verbs in literature work equally well in all languages. A kiss is still a kiss. And a sigh is just a sigh.
By the second scene or the second chapter, you can take the risk and carefully introduce a big voice. Remember, Indiana Jones first plunders the tomb and flees past poisonous snakes and decaying corpses. Snakes, skeletons and poisoned darts cause a physiological reaction in a person, adrenaline goes off scale - here you can turn on a boring lecture. Chatter to start is only good in porn.
In the "Open Reading" section, we publish excerpts from books in the form in which they are provided by the publishers.
Minor abbreviations are indicated by ellipsis in square brackets.
To find out the opinion of employees about changes in the company, just read the feedback on the website www.glassdoor.com. The average employee rating of HP is 2.5 out of 5, which puts the company in 94th position out of 112 in the ranking of companies - manufacturers of computer equipment, according to the site www.glassdoor.com.
The overall impression of the “most useful” reviews in April 2011 leaves no doubt about the feelings that employees experience: “We are treated like numbers”, “Salary. That, in general, is all”, “Lagging behind the requirements of the market”, “Disappointing”, “Poisonous atmosphere”. Good comments are crossed out by the killer phrase “a good start to a career, but this is not a company where you can work for a long time.” This is completely at odds with the philosophy created by Bill, Dave and the garage on Edison Avenue. "Leaders are insincere, they don't inspire confidence.
" “Total lack of employee engagement.” "The lack of innovation and innovators".
As Reuters wrote in 2010, "Bill Hewlett and Dave Packard would be unpleasantly surprised."[14]
Despite the garage renovation and the "HP Method" talk, Hewlett-Packard only cares about profits, to one degree or another. Today, to pass the "test by the market", you need to implement employee-friendly management practices, such as telecommuting, flexible working hours, the freedom to take on independent projects, and undeniable job security. Do they increase productivity enough to recoup the costs? When profits and employee interests clash, profits win, of course, as in 2005 when a new CEO handed out thousands of notices to the delight of Wall Street investors. In 2010, InformationWeek magazine published an opinion piece titled "Praise 9000 layoffs of Mark Hurd (HP CEO).[15]
After layoffs cheered by investors, Hurd himself resigned. According to investigators, he was involved in a sexual harassment scandal.
Inconsistencies were also identified in the amount of travel expenses. The company's shares fell sharply in price by 10%. HP has been widely criticized, even as it struggled to find a successor. The successor is Leo Apotheker, an outsider, an outsider who was fired 11 months ago after saying that HP would soon lose its core business of computers and computer components.
In 2012, HP's latest savior, CEO Meg Whitman, announced another wave of layoffs, this time totaling 27,000 jobs.
That's what scares Scott Urban so much.
Why organizations?
If organizations are so scary, and not just Scott, then why do we put them in the first place? The easiest answer is "in order to do more," but this argument is so obviously untenable that it can hardly be considered the main reason for what is happening.
Before we can answer that question, we'll have to make a short trip to the heart of 18th century Edinburgh - the capital of Scotland, the birthplace of Adam Smith and the idea of a market.
Smith's main contribution to economics was his ingenious description of the magic of prices and directions in the seeming chaos of a market economy. He compared the prices that govern the market to an "invisible hand" pushing each person to make such decisions, as if they were proposed by an omniscient and omnipotent creator, using his mind for the good of society.
To better understand what Adam Smith meant by the "invisible hand", consider your last trip to the grocery store - a purely market situation. You walk along the shelves and put food in the basket, guided by the price and your ideas about dinner. In very rare cases, the spirit of the experiment intervenes: from time to time people try new products, but most just take, for example, jelly or peanut butter, not so different from what they bought before. Grocery shopping is not accompanied by uncertainty about what you will get and what price you will pay for it, at least in most countries. In markets, prices "decide" how jelly, peanut butter, and everything else will be distributed.
Calculating how prices are set in a well-functioning market led Smith to some conclusions. Smith talked about pin factories, breweries and bakeries, but let's get back to our grocery store. A 1/2 liter can of Scippy peanut butter costs $3.99, a price that thousands of shoppers add to their shopping cart every day. The Scippy brand is owned by Unilever, which is happy to provide the world market with peanut butter for a specified price. (Unilever's total profit in 2009was almost $7 billion.) The peanut butter market is “clearing up”: there is no surplus of peanut butter, and no dissatisfied consumers looking for more. If the price were higher, the company would have a lot of products that it would be forced to sell at a discount. If the price were lower, then the widespread shortage of peanut butter would stimulate a rapid increase in prices for it.
According to Smith, the essence of the "invisible hand" is that everything works for the good of society. Let's assume that the majority of buyers began to prefer not peanut butter, but jelly.
