Kidnapped

by Robert Louis Stevenson Narrated by Andrew James Roberts

Overview

Classic adventure novel, set in the year 1751, centers around David Balfour, a young Scotsman orphaned by the death of his father. Betrayed by his uncle, the young hero is shanghaied and headed for bondage in the New World, until a swashbuckling highlander comes to his rescue. Stirring, suspenseful; considered by Stevenson his best fiction.

Editorial Reviews

School Library Journal

Gr 7 Up
This retelling of Stevenson's classic hits the high points of what was originally a densely written story, making it more palatable for reluctant readers or those who want to revisit the original. The text and dialogue retain the spirit of the novel, but the hard-to-read Scottish accents are softened and the passages in which characters speak to each other in Latin have been removed. On the whole this is an engaging adaptation, aided by Kennedy's vibrant illustrations in a palette dominated by blues, greens, and sepia tones. The action scenes are exciting, and readers will get a good feel for the dangers of the sea and the beauty of the Scottish Highlands. However, adapting some parts of the book and using other parts verbatim can be confusing. For example, the last sentence, about David Balfour finding the doors of the British Linen Company's bank, is quoted verbatim. Earlier mention of this bank is not included, which might leave readers wondering why it is significant. Quibbles aside, this book would make a good bridge to the novel for readers who want to delve deeper into the story, and will also prove to those readers who think they hate classics that some of them are actually kind of cool.
—Andrea LipinskiCopyright 2006 Reed Business Information.

From the Publisher

[Kidnapped] compelled me from the first words and has not let go to this day… It implanted an image of how a novel should work. I think a lot of my ambitions as a writer, and many of my own persisting themes, originate there: friendship, courage, the need to go out into the world and make your fate. I reread it every couple of years, and get more interested in it, not less.” —Hilary Mantel

MARCH 2010 - AudioFile

In an attempt to collect his inheritance from his father's estate, young David Balfour finds himself pressed aboard the ship of an evil captain and crew. His eventual escape during a shipwreck leads to even more exciting travails and danger. Since much of the Stevenson's writing centers on Scotland and the Scots character, narrator Steven Crossley reads this tale as its author might have. Adept at the language of the region and times, Crossley deftly brings one of literature's best-known stories to the ears of contemporary listeners. His renditions of the sea chanteys and poetry mixed into the prose showcase his breadth of talent. Those who enjoy the classics will find both story and performance delightful. J.A.H. © AudioFile 2010, Portland, Maine

Product Details

BN ID:	2940178142196
Publisher:	North Parade Publishing Ltd
Publication date:	11/23/2022
Edition description:	Unabridged
Age Range:	10 - 13 Years

Read an Excerpt

Introduction by Margot Livesey

I.

When I was growing up in Scotland, Robert Louis Stevenson was the first author whom I knew by name, and he remains the only one whom I can truthfully claim to have been reading all my life. From an early age, my parents read to me from A Child's Garden of Verses, and I soon learned some of the poems by heart.

I have a little shadow
that goes in and out with me,
And what can be the use of him
is more than I can see.

Perhaps I recognized, even then, Stevenson's unique gift for keeping a foot in two camps. While the poems vividly captured my childish concerns, somewhere in the margins shimmered the mystery of adult life. A few years later Kidnapped was the first chapter book I read, and I can still picture the maroon binding and the black-and-white drawings that illustrated David Balfour's adventures. At the age of seven, a book without pictures would have been out of the question, but, in fact, they turned out to be superfluous. I could imagine everything that happened just from the words on the page, although I must admit to the small advantage that the view from my bedroom window—bare hills, rocks, heather—was very much like the landscape of Kidnapped.

At first glance such early acquaintance might seem like a good omen for an author's reputation. In actuality, that Stevenson is so widely read by children has tended to make him seem like an author from who, as adults, we have little to learn. It is worth noting that his contemporaries would not have shared this prejudice. Nineteenth-century readers did not regard children's books as separate species. Stevenson's ownfather often reread The Parent's Assistant, a volume of children's stories, and Leslie Stephen, Virginia Woolf's father, writes of staying up late to finish Treasure Island.

Like the shadow of his poem, Stevenson's reputation has waxed and waned at an alarming rate. He died in a blaze of hagiography, which perhaps in part explains the fury of later critics. F.R. Leavis in The Great Tradition dismisses Stevenson (in a footnote, no less) as a romantic writer, guilty of fine writing, and in general Stevenson has not fared as well as his friend Henry James. People comment with amazement that Borges and Nabokov praised his novels. Still, his best work has remained in print for over a hundred years, and his is among that small group of authors to have given a phrase to the language: Jekyll and Hyde.

Besides our perception of Stevenson as a children's author, two other factors may have contributed to his ambiguous reputation. Although his list of publications is much longer than most people realize—he wrote journalism and travel pieces for money—he failed to produce a recognizable oeuvre, a group of works that stand together, each resonating with the others. In addition, the pendulum of literary taste has swung in a direction that Stevenson disliked and was determined to avoid: namely, pessimism. After reading The Portrait of a Lady he wrote to James begging him to write no more such books, and while he admired the early work of Thomas Hardy, he hated the darker Tess of the d'Urbervilles. The English writer John Galsworthy commented memorably on this aspect of Stevenson when he said that the superiority of Stevenson over Hardy was that Stevenson was all life, while Hardy was all death.


From the Paperback edition.

Copyright 2001 by Robert Louis Stevenson

Videos