Publishers Weekly - Publisher's WeeklyAs in Williams's Greek Myths for Young Children and Joseph and His Magnificent Coat of Many Colors , engagingly busy, ornately bordered, comic strip-style artwork gives new and buoyant life to a familiar story. The characteristic understatement of her text, juxtaposed with the humorous mutterings of a quirky cast (delivered in cartoon balloons), breezily chronicles Quixote's hapless quest to ``right all wrongs and protect all damsels.'' (Though Williams's rendition seems appropriate for the intended audience, literary purists may object on principle to the abridgement of such a venerable classic.) Here the would-be knight is rendered as quite the buffoon, as he prepares to tilt at windmills he mistakes for ``giants'' and battle two ``armies'' that are actually flocks of sheep. Time after time, Quixote and sidekick Sancho Panza are badly battered (the former is shown losing his ear and some teeth), but always brush themselves off and continue ``on their way in search of new adventure worthy of so famous a knight and his faithful squire.'' A fun way to become acquainted with this masterpiece. Ages 7-up. (Mar.)
Children's Literature - Marilyn CourtotAs she has with other stories, Greek Myths, Sinbad and Robin Hood, Williams creates another comic strip version of a well-known tale. The "official" story run along with the cartoons while comments and asides are presented within the cartoon frames. This particular tale, about an eccentric country gentleman who imagines himself a knight who must right wrongs, may be a little difficult for the publisher's suggested age group (5 and up). It will probably work better for older elementary kids and reluctant readers. 1995 (orig.
Library JournalCervantes's masterpiece Don Quixote , Henry Fielding's favorite novel, was also much admired by Fielding's contemporary Smollett, who published a vigorous, highly readable translation in 1755. Eighteenth-century collections will be enriched by this edition (not reissued since the 19th century, and never published in America), which includes Smollett's life of Cervantes, his note on the translation, and his annotations to the novel. The foreword and introduction by Fuentes, however, are disappointing; concentrating on Cervantes and his times they tell us almost nothing about the raison d'etre for this edition, Smollett's translation. Smollett's pungent, jocular prose is ideally suited for his task; his translation makes a delightful alternative to the various attempts to render Don Quixote into modern English. Peter Sabor, English Dept., Queen's Univ., Kingston, Ont.
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