Children's Literature - Naomi Butler
When young David Balfour's father dies and leaves him in poverty, David tracks down his Uncle Ebenezer to seek his inheritance. But his uncle is a nasty man with a dark family secret. David finds himself in terrible danger when he is kidnapped and taken prisoner on board a ship bound for slaveryhe must escape. With the help of daring rebel, Alan Beck, David faces a wild adventure as he is hunted across the desolate Scottish moors. This handsome paperback will draw the attention of students assigned to read the title and/or the casual reader who has heard of the story, as well as the re-reader. The Puffin classics have been hailed as the most innovative and imaginative children's literature for generations. There is a nice introduction by Alexander McCall Smith that sets the story in the time and place. There is an "Author File," "Who's Who In Kidnapped," "Some Things To Think About," "Some Things to Do," "Jacobite Scotland, A Scottish Glossary," and some suggestions for other Puffin titles. Reviewer: Naomi Butler
If you are looking for a book of adventure, then this is a perfect choice. At the young age of seventeen, David Belfour sets out alone to search for an uncle he never knew he had. On his travels he is kidnapped and from there, his life becomes fraught with perils, adventure, and near death experiences. Fortunately he meets and becomes friends with a master-swordsman, and the two of them are able to successfully cross Scotland where David succeeds in claiming his heritage and inheritance. Kidnapped is filled with excitement and captures the reader’s interest right from the beginning. The author includes a yellow box on every page that holds the thoughts of David; this helps with the comprehension of the story. This book is written in graphic format. It makes it perfect for students who are reluctant readers who never seem to finish a book on their own. Young adults who want to read anything they can get their hands on will also enjoy the graphics and fast-paced text. The full color graphics make an enormous impact on the story. Graphic novels also provide a comfortable length for reluctant readers; yet they include the substance of the original novel. It is perfect for book reports and book discussions. I did not understand why or agree with the author capitalizing entire words throughout the book, with no grammatical reason for it, but I do highly recommend this book. Reviewer: Kathie M. Josephs
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.
Read an Excerpt
Introduction by Margot Livesey
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 own father oftenreread 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 Trade Paperback edition.