可借阅:*
图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
---|---|---|---|---|---|---|
正在检索... Branch | Juvenile Book | E 398.20943 G565SH | 1 | Juvenile Non-Fiction | 正在检索... 未知 | 正在检索... 不可借阅 |
正在检索... Central | Book | J 398.2 SH92G | 1 | Juvenile Non-Fiction | 正在检索... 未知 | 正在检索... 不可借阅 |
正在检索... Central | Juvenile Book | E 398.2 GRIMM C.4 | 1 | Juvenile Non-Fiction | 正在检索... 未知 | 正在检索... 不可借阅 |
正在检索... South | Juvenile Book | J 398.2 SHUL | 1 | Juvenile Non-Fiction | 正在检索... 未知 | 正在检索... 不可借阅 |
链接这些题名
已订购
摘要
摘要
A simpleton's kind deed is rewarded with the gift of a goose with feathers of pure gold. But everyone who comes too close to the goose gets stuck, and soon the simpleton is leading a comical procession that wins him the heart of a princess. "Deadpan humor enlivens the retelling...Entertaining."-Kirkus Reviews
评论 (5)
《学校图书馆杂志》(School Library Journal)书评
ea. vol: illus. by Martin Ursell. adapt. by Linda M. Jennings. unpaged. Silver Burdett. Oct. 1985. PSm $5.58. Gr 1-4 Both of these retellings are acceptable, apparently based on standard German translations. The Golden Goose is the story of the third son, a Simpleton, whose kindness and generosity to a peculiar little gray man win him a princess. Discarded animals travel together to become The Musicians of Bremen but instead they foil a den of theives and live contentedly ever after in their cottage in the woods. Highly detailed full-color illustrations fill double-page spreads to correspond with accompanying text. The intricate pages sometimes appear confused in terms of composition, style and mood. The illustrations seem to lack focus, perhaps because they range stylistically from very realistic to almost cartoon-like within one spread. Libraries may indeed have other single versions of these tales on their shelves (such as The Bremen Town Musicians Greenwillow, 1980, illustrated by Domanska and The Golden Goose Houghton, 1947; o.p.), illustrated by Arnold Bare. Maria B. Salvadore, District of Columbia Pub . Lib . (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
From the lighter side of the Brothers Grimm, this happy tale of luck and folly receives wonderfully puckish treatment from Shulevitz (who manages to reprise the hilarious contraption he created for The Fool of the World and the Flying Ship). After sharing a crust of bread with an odd old man, a simpleton receives a token of good luck in the form of a golden goose. From then on, each person the simpleton encounters falls under a spell and becomes attached to the goose, forming a human chain. In a sublime stroke of luck, the unlikely parade-three maidens, a parson, a sexton, a peasant and his wife-amuses a princess so serious that the king has promised her hand to whoever can make her laugh. Shulevitz's stylish artwork conjures up an old world brimming with quirky charm, from the angular, colorful jumble of buildings to the villagers with their bright red noses and oversized shoes, and the unassuming hero with his blue-rimmed eyes and tilting, too-tall hat. Ages 4-8. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
《儿童读物杂志》(Horn Book)书评
(Younger) Illustrated by María Cristina Brusca. Pedro Urdemales is a clever trickster who appears in tales throughout Latin America. Brusca and Wilson retell twelve of those stories in this humorous, lively collection about a character who would feel right at home with Brer Rabbit and Coyote. In each of the stories Pedro outwits others who are richer, greedier, or more foolish than he is. In one tale Pedro sells a bush on which he has hung several gold pieces for five thousand pesos, claiming it is a money tree. In another, he paints black and brown spots on several horses and brazenly sells them to the priest who owns them. Young readers will join right in as Pedro laughs at the wealthy, educated class he so easily dupes. The stories, most of which are just two or three pages long, are illustrated with Brusca's sharp black-and-white line drawings that support the biting humor of the stories. The book - with its mischievous hero, its attractive, open layout, and its brief stories - is accessible to young readers. Brusca and Wilson include a thorough introduction and source notes to authenticate this welcome and entertaining collection. m.v.k. LisaÿCampbell Ernst, Reteller-Illustrator Little Red Riding Hood: A Newfangled Prairie Tale (Picture Book) Little Red Riding Hood wears a hooded sweatshirt and rides her bicycle through farm fields to deliver muffins and lemonade to her grandmother in this cheerful contemporary rendering of the old tale. In Ernst's version the wolf makes a mistaken assumption: the grandmother does not turn out to be the "frail, loony, muffin-baking granny" he is expecting. In fact, she is a robust farmer who turns the tables on the wolf: "The wolf's mouth dropped open and he began to shake. 'M-m-my,' he finally whispered. 'What big eyes you have, Grandma.'" As in her earlier books, Ernst demonstrates her mastery over the picture-book form, with inventive plot and enjoyable characters succinctly drawn in the narrative and beautifully extended in the illustrations. Her familiar cartoon-style drawings, colored here in soft shades of red, blue, brown, and green, fill the pages. This playful send-up will please individual readers and story-hour audiences right down to the business partnership of Granny and the wolf and the concluding muffin recipe. m.a.b. (Picture Book) Retold and illustrated by Uri Shulevitz. Although no particular source is cited, the story of the simpleton whose kindness eventually wins him a princess bride has been commonly ascribed to the Brothers Grimm. The plot is immediately set in motion as, one by one, a peasant's three sons set forth to chop wood. Only the third, the simpleton, responds with kindness to a mysterious old man who begs for food; he is rewarded with the gift of a golden goose. The gleaming bird attracts the attention of a motley crew, including the daughters of the innkeeper in whose hostel the simpleton spends the night. Hoping only for a single feather, each finds herself stuck, the first to the goose, the others to one another - a condition that applies to everyone the simpleton encounters as he wends his way to the city, where the king has offered his daughter in marriage to the person who can make her laugh. This is a lively rendition of an appealing tale, complemented with illustrations in an angular, puppetlike style that recalls the story's folk origins. The skillful incorporation of an insistent refrain, modified for each character, begs for audience participation, as in this description of the first victim: "Hokety, pokety, stickety, stuck, poor Annabelle was down on her luck. / Wiggle and pull, she couldn't shake loose, and she had to stay with the simpleton's goose." The participants may be unlucky, but readers of this concisely told, artfully synchronized picture book will be winners. m.m.b. Virginia Hamilton, Reteller Her Stories: African American Folktales, Fairy Tales, and True Tales (Intermediate) Illustrated by Leo and Diane Dillon. Traditional and true African-American stories "of the female kind" have been brought together, retold, and briefly discussed by Virginia Hamilton in her third collection illustrated by the Dillons. The author groups the stories into sections such as "Her Animal Tales," "Her Fairy Tales," and "Her Supernatural," with perhaps the most interesting being the final section, "Her True Tales," the oral histories of three African-American women. These place the previous stories in their social, historical, and emotional context. The style of each telling has been subtly adapted to reflect the tale's tone and origin, and the author's comments following each tale are informal and informative. This oversized volume is distinctly different in appearance from Hamilton and the Dillons' previous collaborations, The People Could Fly and Many Thousand Gone (both Knopf). Text is placed on a framed, buff-colored insert on each white page, as are the slick full-color illustrations. The artwork is not evenly executed. Some pieces, such as the portraits of Catskinella and Annie Christmas, are reminiscent of the work of Trina Schart Hyman. The book will be well used by storytellers and others interested in traditional literature and "her stories." m.b.s. Warwick Hutton, Reteller-Illustrator Odysseus and the Cyclops (Picture Book) In his series of retellings of stories from Greek mythology, Hutton has provided approachable introductions for younger readers to sources of images and allusions that are part of the Western tradition in art and literature. This story of the confrontation between the Greek heroes returning from the Trojan War and Polyphemus, the one-eyed giant in whose cave they have taken temporary refuge, is perhaps one of the more dramatic episodes from the Odyssey and one of timeless interest. Hutton's spare text and storytelling style suggest preliterary origins, but his illustrations give a sense of times past and the all-pervading influence of sea and sky. Polyphemus' one eye is smaller, less caricatured, than is sometimes seen, but thus more terrifying. Indeed, emphasis is more on ingenuity than on gore, which makes this interpretation more Greek in spirit - an appeal to the mind rather than merely to the emotions. m.m.b EricÿA. Kimmel, Reteller The Adventures of Hershel of Ostropol (Intermediate) Illustrated by Trina Schart Hyman. Kimmel retells ten stories about Hershel of Ostropol, a Jewish folk hero who lived during the first part of the nineteenth century. A man quick with a humorous saying or jest, Hershel lived by his wits, traveling from town to town in Eastern Europe. Readers may recognize Hershel from two of Kimmel's earlier books, Hershel and the Hanukkah Goblins (Holiday) and What His Father Did (Houghton). The latter - which is also the first story in this collection - tells how an empty-pocketed Hershel tricks a stingy innkeeper into feeding him "until his buttons burst." Another time, Hershel is returning home from a distant town where he has earned some money when he encounters a terrifying bandit who takes all his earnings. Hershel begs the bandit to shoot several bulletholes through his coat and cap so his terror of a wife will believe he was truly robbed. The bandit complies, and when he runs out of bullets, Hershel punches him in the jaw and takes back his money. Money is a perennial problem for Hershel, and nothing pleases him more than acquiring it by outwitting rich, miserly folk. Stopping by the village tavern one afternoon, Hershel finds Count Potocki, who wagers one thousand rubles that Hershel can't tell a story so incredible that the count won't believe it. After many tall tales - including one about bees as big as wolves - all of which the count insists he believes, Hershel tells about meeting the count's mother in Hell, where she was sent for giving birth to "that rascal," the count. At that Count Potocki roars that Hershel is a liar, and Hershel happily pockets the money and leaves. Each story is illustrated by humorous black-and-white drawings. h.b.z. Mark Podwal, Reteller-Illustrator Golem: A Giant Made of Mud (Picture Book) Mark Podwal relates a version of the Jewish legend of the golem that was inspired by a meeting between the great sixteenth-century scholar/mystic Rabbi Judah Loew ben Bezalel of Prague and Emperor Rudolf II, who had a great interest in alchemy and the occult. On his visit to the emperor's palace, the rabbi, seeing a silver spoon engraved with Hebrew letters, relates a story about a rabbi who had once used a similar spoon to bring to life a figure of mud and clay, a golem. The belief was that such a golem could serve to protect the Jewish people in times of great trouble. Interested in the story, the emperor makes the rabbi a gift of the strange silver spoon. But as time goes by, the emperor becomes erratic in his behavior, and evil advisers take over the land. Seeing the suffering inflicted on his people, the rabbi fasts and prays and determines to bring to life a golem to help protect the ghetto. For a time, the golem is indeed effective, but when one night an armed mob breaks into the ghetto, the golem goes berserk. No longer under the rabbi's control, he destroys everything in his path until the rabbi's prayers bring about the golem's end. The author closes by suggesting that somewhere a golem may be "waiting to be brought back to life . . . or perhaps all that remains are the stories." The sophisticated and striking illustrations, which use a combination of gouache, colored pencils, and ink, are most effective in suggesting the medieval and mystical Prague of this legend. h.b.z. NancyÿVan Laan, Reteller In a Circle Long Ago: A Treasury of Native Lore from North America g (Intermediate) Illustrated by Lisa Desimini. Van Laan's collection of twenty-five legends and poems is a sampler of the folklore of the native peoples of North America. She organizes the material by region, beginning with an Inuit poem from the Arctic and ending with "The Gift of Peace" from the Oto people of the Great Plains. The book is a journey across the continent and a glimpse of the values and lifestyles of many different nations. Van Laan is a skilled reteller - she re-creates the rhythms of oral storytelling in her writing and keeps each legend simple and direct. Each illustration suits the tone of the story it accompanies. For some illustrations, Desimini uses heavy, full-page paintings done in oils or acrylics, while other stories are illustrated with smaller, delicate framed pieces. Desimini's detailed borders reflect styles of art from different regions; for example, the section which includes tales from the Northwest coast begins with an illustration that recalls the totem poles of the Haida tribe. The collection is carefully documented with source notes. Van Laan also includes a map, an extensive introduction, and a brief description of each tribe. The collection is a true smorgasbord - readers will get a taste of the richness of Native-American folklore and will be tempted to search other books for a closer look at individual peoples. A hamdsome collection that treats both the folklore and the audience with respect. m.v.k. From HORN BOOK, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus评论
A drily entertaining version of the tale of the simpleton and his golden goose. Whoever touches the goose sticks to it, but the simpleton doesn't notice and wanders into a city where a king has issued a proclamation that anyone who can make his daughter laugh can marry her. The simpleton immediately heads for the palace, followed by a stuck chain of people and this parade makes the princess laugh. Then there is one more ordeal, which the simpleton easily carries out. Deadpan humor enlivens the telling, written in a style that is so elliptical as to make it read as if something were missing. The most prominent feature of the illustrations are the exaggerated and rigid outlines of angular characters and impossibly wobbly houses. Shulevitz (The Secret Room, 1993, etc.) achieves his strongest effects by putting the jagged, colored figures against white backgrounds. He deliberately creates dissonance between text and pictures, and the success of this varies from page to page: Several tableaux of trains of characters behind the oblivious simpleton are perfect in timing and delivery, but offer no clue as to why everyone comes unstuck. (Picture book/folklore. 4-8)
《书目》(Booklist)书评
Ages 4^-8. Unlike his two older brothers, who refuse to share their bread with an old man and meet with accidents, a simpleton offers his food gladly and is rewarded with the gift of a gold-feathered goose. When a girl tries to steal a feather, she becomes "hokety pokety stickety stuck" as does everyone who tries to free her. Like the Brothers Grimm, Shulevitz never explains how the people become "unstuck," but the simpleton ends up with a princess and lots of golden baby geese. Shulevitz makes a few thoughtful omissions and keeps his words to a minimum. Despite the disturbing chopped-off people who appear in some of the illustrations, the artwork is striking. The pictures, whether of buildings or people in the kingdom, are intensely colored, full of points and crazy angles, and bursting with a bouncing vitality that fits the amusing story well. --Susan Dove Lempke