Use the first line of the book (“Two men walked into the rain forest”) as the starting point for your own story. It is considered a symbol of the universe and is the most sacred tree for the ancient Mayan population. If you want to unearth more interesting facts about this ancient tree and sacred symbol, keep reading! Facts About The Kapok Tree

p>She is a highly skilled professional with six years of experience in writing and a Bachelor's degree in Mathematics from PSG College of Arts and Science. In addition to her professional experience, she has also been actively involved in volunteer work, particularly with children for organizations such as the Spartans Association for Youth and as an ambassador for the Charter for Compassion. With her experience in both writing and volunteer work, Sri Dhanya is a well-rounded professional who brings a unique perspective and diverse skillset to any project she works on.

Disclaimer

Two men go into a forest, one of them points at this kapok tree, and leaves, and the other one takes an axe and starts cutting it down, then gets tired and goes to sleep. While he's asleep, various animals come and lecture the crap out of this guy about how chopping down trees in the rain forest is bad. The pictures are beautiful, the words are true, and the message is true, and it's a good message, but who is this book written for? The people who are cutting down trees in the rain forest are not going to read a children's book printed in English in the United States. The animals all speak English except for the word "Senhor," the Portuguese word for "Mister", so it's a wonder the presumably Brazilian man understands them at all.

Use drawing / painting software to create a picture of a rainforest. Could you try to recreate the front cover of the book? Imagine that you are standing under the Great Kapok Tree. What sounds might you hear? Could you create a piece of music / audio that reflects this? Read to the end of the book and write about what might happen next. Where will the man go? What will he do? What might he say to the man he was with at the start of the story? Augh! You can make a case for this perfectly good message without being patronizing about it. You can make a case for the message without cramming it down the reader's throat. You can talk about these things without having each animal coming to him brimming with exposition. She's a great artist. I would say she's not that good of a writer. It's the equivalent of drawing diagrams of everything. You don't need to spell it out. When you do that, it becomes uninteresting to read. The person who's reading it feels like you're talking down to them. They feel like you're saying you're better than they are. Nobody wants to read a book like that. I don't want to read it again, and I don't want to read it to my kids. I can't imagine a child being interested in anything beyond the pictures.

Share this article with friends and family

Character’s perception changes (beginning of story doesn’t notice all around him; after he wakes us realizes the beauty surrounding him--this requires multiple rereadings to really compare/contrast differences) Kapok seeds have 20-25% of oil, which is very similar to cottonseed oil. We can use oil from Ceiba Pentandra seeds for cooking purposes. As the unopened fruit doesn’t sink inside the water, it is believed that the fruit of the tree floated from Latin America to Africa through the ocean. Did You Know...

This is a fictional book where a man goes into the rainforest in search of the Great Kapok Tree so he can cut it down. Once in the forest he gets tired and decides to take a nap beside the tree. During this nap many of the creatures that live at the Kapok tree talk to him in his sleep trying to convince him to not cut the tree down. When the man wakes up he realizes the importance of the tree and does not cut it down.Romans, Dorothy Jennifer (2013). The siren of syzygy: A textual hermeneutic study of the embrace of the anima/animus in Yucatec Maya culture as seen through the myth of La Xtabay (Thesis). pp.6, 11, 43–47, 60. ProQuest 1461758952.