Good Masters! Sweet Ladies!: Voices from a Medieval Village

These books arrived in EXCELLENT condition, and very timely at that.
Good service is still the word of the day.
Thanks.

When a book appears on the same Newberry Award shelf as: The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw, Sounder and and other classics, one sits up and takes notice because it means the best in children's literature. This recent addition to the honour roll, made up of narrative poems reminiscent of The Canterbury Tales, gives the young reader a real sense of what daily life was like in the Middle Ages.

A few of the monologues deal with complex topics which may require some adult guidance to guarantee comprehension. For example, in the story told by Simon, the Knight's son, the Crusades are mentioned, which are a key to understanding his story. To familiarize the young reader with this intricate historical episode, the book provides a two page summary of the Crusades crammed with many facts and more in the margins. These summaries have been inserted beside the half-dozen monologues dealing with the more difficult topics, but may serve to further confuse the reader with fact overload. Topics like the Christian attitudes toward the Jews, Pilgrimages, the Crusades, and Feudal customs, call for some direct teaching and/or guided research to assure comprehension. In short, they need to be explained to children. The majority of the selections, however, can be read independently. The stories in this fine piece of historical fiction are the right stuff for engaging reader's theatre.

When a book appears on the same Newberry Award shelf as: The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw, Sounder and and other classics, one sits up and takes notice because it means the best in children's literature. This recent addition to the honor roll, with its Chaucer-like monologues, gives the young reader a real sense of what daily life was like in the Middle Ages.

A few of the monologues deal with complex topics which may require some adult guidance to guarantee comprehension. For example, in the story told by Simon, the Knight's son, the Crusades are mentioned, which are a key to understanding his story. To familiarize the young reader with this intricate historical episode, the book provides a two page summary of the Crusades crammed with many facts and more in the margins. These summaries have been inserted beside the half-dozen monologues dealing with the more difficult topics, but may serve to further confuse the reader with fact overload. Topics like the Christian attitudes toward the Jews, Pilgrimages, the Crusades, and Feudal customs, call for some direct teaching and/or guided research to assure comprehension. In short, they need to be explained to children. The majority of the monologues, however, can be read independently. The stories in this fine piece of historical fiction are the right stuff for engaging reader's theatre.

When a book appears on the same Newberry Award shelf as: The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw, Sounder and and other classics, one sits up and takes notice because it means the best in children's literature. This recent addition to the honour roll, made up of narrative poems reminiscent of The Canterbury Tales, gives the young reader a real sense of what daily life was like in the Middle Ages.

A few of the monologues deal with complex topics which may require some adult guidance to guarantee comprehension. For example, in the story told by Simon, the Knight's son, the Crusades are mentioned, which are a key to understanding his story. To familiarize the young reader with this intricate historical episode, the book provides a two page summary of the Crusades crammed with many facts and more in the margins. These summaries have been inserted beside the half-dozen selections dealing with the more difficult topics, but may serve to further confuse the reader with fact overload. Topics like the Christian attitudes toward the Jews, Pilgrimages, the Crusades, and Feudal customs, call for some direct teaching and/or guided research to assure comprehension. In short, they will need to be explained to most children. The majority of the narratives, however, can be read independently. The stories in this fine piece of historical fiction are the right stuff for engaging reader's theatre.

When a book appears on the same Newberry Award shelf as: The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw, Sounder and and other classics, one sits up and takes notice because it means the best in children's literature. This recent addition to the honour roll, with its Chaucer-like monologue format, gives the young reader a real sense of what daily life was like in the Middle Ages.

Some of the monologues deal with complex topics for young readers, and may need some adult guidance to guarantee comprehension. For example, in the monologue by Simon, the Knight's son, the Crusades are mentioned, which are a key to understanding his story. To familiarize the young reader with this complex historical event,the book provides a two page summary of the Crusades crammed with many facts and more in the margins. The question arises: To what extent will the average young person understand these facts and the meaning of the Crusades by reading this compacted digest called a backgrounder? These historical summaries have been inserted beside the half dozen monologues dealing with the more complex topics, and may serve to further confuse the average young reader with fact overload. Topics like the Christian attitudes toward the Jews, Pilgrimages, the Crusades, Feudal customs, will require adult guidance in the form of direct teaching and/or guided research if the monologues are to be properly understood. The majority of the monologues in this excellent piece of historical fiction can be read independently.

When a book appears on the same Newberry Award shelf as: The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw, Sounder and and other classics, one sits up and takes notice because it means the best in children's literature. This recent addition to the honour roll is very well described in other reviews. I only wish to underline the opinion that most children will likely need guidance with some of the monologues to fully appreciate them in their historical context.

For example, in the monologue by Simon, the Knight's son, the Crusades are mentioned, which are a key to understanding his story. In an effort to familiarize the young reader with this complex historical event ,the book provides a two page summary of the Crusades crammed with many facts, with more facts in the margins. The question arises: To what extent will the average young reader understand the meaning of the Crusades by reading a compacted digest of the important facts? Although these pages are in language appropriate for young readers, they may be problematic the average child reading independently. Christian attitudes toward the Jews, aspects of feudalism , the popularity of pilgrimages, and so on, are not topics that are easily understood by most children. Adult guidance in the form of didactic teaching, discussion and directing research may be necessary. While the majority of the monologues can be read independently without adult guidance, those with background pages will need to be approached differently because of their complexity.

I do not perceive this excellent example of historical fiction to be simply a pick it off the shelf, read it and then perform it kind of book for most children.

When a book appears on the same shelf as:The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw...one sits up and takes notice because Newberry means the best in children's literature. This recent addition to the honour roll is very well described in other reviews. I only wish to add that most children will likely need guidance with some of the monologues to fully appreciate them in their historical context.

Take for example the interesting monologue by Simon, the Knight's son who mentions the Crusades. In an effort to familiarize the young reader with this complex historical event so that he or she has background information to better appreciate Simon's story, the book provides a 2 page summary of the Crusades crammed with many facts, and more facts in the margins. I wonder to what extent the majority of young readers will understand these facts and the meaning of the Crusades, unless they are given some historical background either through didactic teaching or research in conjunction with the reading. While some of the monologues can be read independently and performed with a minimum of guidance, others need to be explained and discussed in detail before they are dramatized in such formats as reader's theatre. All monologues with attached historical summaries are in this category. And the outstanding illustrations are not enough to provide the historical backdrop.

I do not perceive this excellent historical fiction book as the pick it off the shelf and read it variety, except if you're an adult. For most children, some adult guidance will be necessary in places for a full appreciation of the various monologues.

When a book appears on the same Newberry Award shelf as: The Island of the Blue Dolphins, Julie of the Wolves, Number the Stars, Dear Mr. Henshaw, Sounder and and other classics, one sits up and takes notice because it means the best in children's literature. This recent addition to the honor roll, with its Chaucer-like monologues, gives the young reader a real sense of what daily life was like in the Middle Ages.

A few of the monologues deal with complex topics which may require some adult guidance to guarantee comprehension. For example, in the story told by Simon, the Knight's son, the Crusades are mentioned, which are a key to understanding his story. To familiarize the young reader with this intricate historical episode, the book provides a two page summary of the Crusades crammed with many facts and more in the margins. These summaries have been inserted beside the half dozen monologues dealing with the more difficult topics, but, in my opinion, may serve to further confuse the average reader with fact overload. Topics like the Christian attitudes toward the Jews, Pilgrimages, the Crusades, and Feudal customs, call for some direct teaching and/or guided research to assure comprehension because they are complex historical topics. In short, they need to be explained to children. The majority of the monologues, however, can be read independently. In my opinion, the stories in this excellent piece of historical fiction are the right stuff for engaging reader's theatre.

When a book appears on the same shelf with classics such as Island of the Blue Dolphins, Julie of the Wolves, and Number the Stars, one sits up and takes notice : Newberry means the best in children's literature. This recent member of the honour roll is unique and original in ways described in other reviews.

The book's monologue format, outstanding illustrations and poetic language describing a long ago medieval world, does require some adult guidance for the young reader to help set up the historical context. Yes, there are historical notes with definitions in the margins and short historical summaries provided to assist the young reader, however they are often jammed with too much information to be understood independently by many children. The historical summary of the Crusades (2 pages) is a case in point: In an attempt to provide context for the Simon, the Knight's son,there are just too many facts to digest ; the young reader can be left in a state of confusion, unless aided by an adult (parent, teacher or librarian) who can explain these events using maps and visuals of all kinds. Why do we believe that youngsters will grasp historical facts when we cram them into a minimum number of pages using what we believe to be simple easy to understand language? (Now we're back to that old boring history full of facts that turns youngsters away from enjoying the study of the past.) Some of the monologues can be read on their own, but a few number of them will require historical backdrop over and above the explanations in the margins and in two page summaries.

The oral reading of these monologues in reader's theatre, after discussion of context and vocabulary, is one excellent way to help young people understand the valuable historical content of this book. I do not perceive this book as a pick off the shelf and read on your own kind of book. Some guidance is required. If used in the classroom, teachers can approach each monologue like a story in a basal reader, before letting the students dive into the dramatizations.

Winner of the 2008 Newberry Medal, Good Masters! Sweet Ladies! was actually written to be performed. Laura Amy Schlitz has written here a series of interconnected monologues and dialogues which, taken together, depict the life of kids of all kinds in a medieval village. There's the Falconer's Son, the Blacksmith's Daughter, the runaway villein, the Young Lord, The Pilgrim and The Sniggler, all of whom help complete the picture.

The reviewers have covered it all, but such a truly great book deserves ongoing praise. How nice to see that this jewel of a book won the Newbery! Standing ovation from this reader.

A wonderful book from a wonderful person. This is especially good for lower- and middle-schoolers. Quite usable for in-school performances.

I didn't really realize it would be a children's book when I placed the item on hold at my library. I just knew that I wanted to read the latest Newberry award winning book. I guess I figured that if it fell into the same category as "A Wrinkle in Time" by Madeleine L'Engle then it must be good.

I was a little surpised at how thin it was. I was also surprised at how it is not just one coherent story (or even a story in the general prose form).
They are monologue and dialogue plays written by a librarian for the children in her school classes. She wrote them so that each child would have a starring role for three minutes.

They are poetic and easy to read with nice large print. The tone and vocabulary is all medieval - let's face it, I learned a few new words. Large colorful pictures are on every page and even the margins are colored and have text that explain certain words or aspects of the medieval culture/life. A large colorful map is on the first or second page and instead of locations being labeled the specific characters in the story are shown and labeled.

The tempo of the words is good and interesting -- I was particularly impressed with the two monologues done by the sisters talking about the apprentice boy their father has taken and how one of them must marry the apprentice for the apprentice to inherit the shop. The older daughter likes the boy and wouldn't mind marrying him but thinks the boy would want her sister (younger, prettier) instead. The younger sister thinks the boy will want her older sister (so he doesn't have to wait to inherit) but thinks that it's terrible that one of them will have to marry the boy in the end. The dialogues are completely different but manage to come together for a chorus type of refrain.

Another one that does this is the dialogue between the Jewish boy and the Catholic girl. They are able to put aside their differences for a little while and just be children playing together. The dialogue ends with the children saying together "Almost like she's a Jew;" "Almost like he's a Catholic."

The one down spot I can see - if I were the one performing the plays - would be having to play the role of the beggar child or the child of the villein where you obviously are not well-cared for and have to scrimp to survive. Or maybe that's just me being a girl and wanting the character I embody to be noble somehow...

All in all, it was a beautiful book and very easy to read. It took me maybe forty minutes of carefully thumbing through and looking at the pictures to complete it.

The fact that the book is made up of monologues by villagers, like "Spoon River Anthology's" poetry, makes it a natural for dramatic presentations in experiencing life in a medieval village in a social studies class -- middle school, or high school. When students "live" a character first hand, in costume, they experience a different life, and they remember much more of the information. MTL

I'm not a big follower of awards, but there are two literary awards that almost never disappoint--the Booker Prize and the Newbery Award. I try to make a point of reading as many of these winners as I can because they are always pleasurable and often end up being among my favorites. If Good Masters! Sweet Ladies! won't end up being among my favorite Newbery's, it is still a wonderful read.

Subtitled "Voices From a Medieval Village," in this book Ms. Schlitz gives a series of poetic monologues from different characters in a medieval village, from nobility to serfs. It is well done, using various styles and personalities and often linking different stories together in subtle ways. She also includes some background information on medieval life and definitions of various terms. It should also be noted that Robert Byrd's illustrations are absolutely beautiful.

If this book is missing, for me, some of the power and emotional impact of, say, Karen Cushman's books set in medieval times (and also Newbery winners), that is no fault of Ms. Schlitz. She is trying to achieve something rather different and she does that rather well. (I also have to admit being personally pickier about poetry over prose.) Still, this book is excellent and should be read, particularly with all the young readers in your house.

I am going to get this for my 12-year-old daughter!! Great, great, great, way to experience medieval life in England!!

Finally, a book worthy of the Newbery. Ms. Schlitz is a librarian who wrote this for some students studying the medieval era. Robert Byrd's vibrant illustrations definitely complement the book. Ms. Schlitz weaves together an history of medieval England with the personal accounts of 23 characters whose lives intertwine. It is not a novel so much as historical fiction in a series of short plays (19 monologues and 2 dialogues).

The author provides interesting background information that sets the stage for the characters and gives the reader a snapshot of medieval life. The characters are related in that they live in the same place, and each one has a unique perspective, but there is no overarching story to tie all of characters together.

Winner of the 2008 Newbery Medal, "Good Masters! Sweet Ladies!" is a collection of 21 short monologues and dialogues -- poetry and prose -- written in the voices of kids in and around a 1255 English manor.

Each child is tagged with a role in the manor's society or trades (for example, the Lord's daughter, the miller's son), but each also illustrates what it's like to conquer a fear, or lose a parent, or be an outcast, or be heavy with responsibility ... or feel the first stirrings of romance. The stories pulse with tension and emotion, and build beautifully as the various characters sometimes echo one other, sometimes contrast. Robert Byrd's illustrations enhance the narratives, and the author uses footnotes and intermissions to supply bits of medieval history; she also provides a 54-item bibliography.

A terrific book, highly recommended!

Winner of the 2008 Newbery Medal, "Good Masters! Sweet Ladies!" is a collection of 21 short monologues and dialogues -- poetry and prose -- written in the voices of kids in and around a 1255 English manor.

Each child is tagged with a role in the manor's society or trades (for example, the Lord's daughter, the miller's son), but each also illustrates what it's like to conquer a fear, or lose a parent, or be an outcast, or be heavy with responsibility ... or feel the first stirrings of romance. The stories throb with tension and emotion, and build beautifully as the various characters sometimes echo one other, sometimes contrast. Robert Byrd's illustrations enhance the narratives, and the author uses footnotes and intermissions to supply bits of medieval history; she also provides a 54-item bibliography.

A terrific book, highly recommended. I read a library copy but wish I'd bought it so I could re-read these tender vignettes.

Although Ms. Schlitz wrote this as a children's play, it is an education and entertainment for adults. Set in the year 1255, it takes us through daily life in the village. The smells, the language, the people, what they wear, what they believe, how they relate to one another and how they accept their various roles unfold before us, bringing us deeper and deeper into village life. At its best, the book is so captivating, readers will have to jerk themselves out of the past and shake off its lingering grasp everytime the book is put aside. We get such an intimate look, told in first person, that the grip of the narrators is amazingly strong. We learn of the abject poverty of many, the splendid cosseting of the few, as we peek in their windows and listen to their voices. Beautifully written, and exhaustively researched, the book is truly a jaunt in a time machine. Ms. Schlitz does not make the mistake of relying too heavily on era-appropriate language, so her speakers are completely understandable to us...but she throws in enough jargon to season the mix to perfection. My suggestion: Read a few pages and close your eyes. The scenes should come to life in the imagination. The accompaniment of intriguing drawings helps animate the prose. All in all, this is a one of a kind read for people of all ages. History buffs, lovers of historical fiction, even people who simply like to eavesdrop on our (historical) neighbors will get a big kick out of the book--while getting a painless but detailed education about the many, many layers medieval life.

From the cover illustration on, the tweens and teens who inhabit this fictional village have taken up residence in my imagination, where they continue to flirt and jostle, scrounge out a living, sin and repent and hunger and triumph. I imagine their beatings, their wasted frames and matted hair and share their hard-scrabble existence through 81 brief pages, with smatterings of discreetly placed background notes.

Schlitz wrote this for students at a private school in Baltimore, where she's a librarian and historian. When she offered to write a play that truly depicted life in the Middle Ages, nobody wanted a minor part. She created 21 scenes, all but two of them for a single actor, and most of them in verse. As the characters speak, they offer an unflinching view of their poverty, their superstitions and prejudices and the limited scope of their ambitions.

And, like any kids, they're brightly optimistic, cheerful in their adversity, and full of imagination and daring.

We meet the Lord of the Manor's nephew, who risks his life in a boar hunt; a glassblower's apprentice determined to get it right; a shepherdess struggling to save her "sister" sheep, and many other charming, disarming and (mostly) guileless kids struggling to figure out their place in the local pecking order and how to bridge those awkward years until adulthood.

Even with so many disparate voices, there are no discordant notes. Village life emerges with its rhythms, its simplicity, and narrative threads that weave all the characters into a cohesive whole. Byrd helpfully illustrates with scenes that could've come from a Book of Hours; his approximation of Medieval illuminations are so close that I forgot I'd already seen his name on the cover and searched the extensive bibliography for the pictures' source.

Although the scenes are meant to be performed or at least read aloud by 10-15 year olds, this can also be read silently by one very absorbed kid -- or, ahem, grown-up.

Set in England in 1255, various people from the village speak in monologues about their lives. Pask, for example, has run away from his harsh ruler, the local lord. If he lives in the village for a year and a day, he will become free. Surviving the fierce winter is questionable until he hides in a kennel and is fed dog food by the daughter of the man who cares for the dogs. She, in turn, loves the dogs but is plagued by fleas everywhere in her house - even in the bread.


Twenty-three different young villagers introduce themselves to readers through monologues and dialogues. With well-researched details of life in a medieval village, each young person relates to one or more of the other characters until an intriguing whole, highly original book emerges. Ready to be performed, these voices themselves unite into a masterful performance.

This book is one of the more unique and successful efforts to make history come alive for young readers in short, provocative yet historically accurate bites that are beautifully illustrated. By focusing on one average feudal manor, Schlitz weaves together the very different lives of children to create a whole fabric of understanding to which kids can relate easily. Any young person who wants to gain a quick notion of life in Medieval Europe outside of the Royal Courts and big towns will find this book a treat. I've rarely read anything like it, but perhaps I was already biased by Schlitz's very different but wonderful book, A Drowned Maiden's Hair.

Laura Schlitz has brought the Middle Ages to life--fleas and all!--so entertainingly that children won't even realize how much they are learning. She has created fully realized characters who talk about their lives--movingly, amusingly, and frequently both--in beautiful language.

These monologues and dialogues are easy and fun for children to read and perform. There are also short, informative and entertaining essays on aspects of medieval life, including falconry, Judaism, and the Crusades.

Robert Byrd's lively illustrations add to the enchantment.