by Carlo Collodi

This magical series of fairy tales brings together 12 well-loved, traditional favourites in one beautiful collection. Fully illustrated throughout, these books are beautifully detailed interpretations of the familiar tales. The enchanting images bring the traditional stories to life in vibrant full colour giving these children's classics a fresh look which will last a…  See more details below


This magical series of fairy tales brings together 12 well-loved, traditional favourites in one beautiful collection. Fully illustrated throughout, these books are beautifully detailed interpretations of the familiar tales. The enchanting images bring the traditional stories to life in vibrant full colour giving these children's classics a fresh look which will last a lifetime.

Editorial Reviews

Publishers Weekly - Publisher's Weekly
Midway on the spectrum between the harshness of Carlo Collodi's (1826-1890) original and the sweet, sanitized Disney version lies this thoughtful adaptation. Young (Seven Blind Mice) views the story theatrically, in an author's note emphasizing the influence of the commedia dell'arte, and dividing the story itself into "scenes." But other than this structural tinkering, Young stays true to the plot, deviating from the original only to smooth out the rough edges for a modern audience. For example, he includes Pinocchio's near-fatal hanging, yet omits morbid details. The stylized cut-paper, fabric and chalk illustrations, however, are problematic. While inventive and skilled, they have little emotional appeal and may even be unsettling with their dissonant, clashing colors. Earlier versions by Roberto Innocenti and Chris McEwan are more visually pleasing, but Young's storytelling is the most in tune with a young audience. Ages 6-up. (Sept.)
Publishers Weekly
Fanelli (First Flight) provides abstract illustrations for a deluxe edition of Collodi's cautionary tale. Distilled into pithy chapters by translator Rose, the book comes packaged in a paper-over-board edition with an attractive postmodern slipcase that plays up the hero's famous proboscis. Pinocchio, carved from a talking hunk of wood by his "father," Geppetto, starts life as a careless and gullible marionette. His first impulse is to run away from home, whereupon he falls in with scoundrels, sermonizers and a generous Blue Fairy. This version preserves all the slapstick violence and didacticism of the 19th-century original, in which Pinocchio makes mistakes and develops his moral sense, but the text also plays up a more modern mindset. This picaresque narrative makes a strange partner to Fanelli's up-to-date paper collages and loose pen-and-brush sketches. The artist does not emphasize the contrast between the puppet and his fleshly human and animal acquaintances. Everyone looks equally cartoonish (most often viewed in profile), which on the one hand alludes to Collodi's social satire (hypocritical humans have much in common with ignorant puppets) but on the other hand distances readers from the characters. With its variegated layout and wordless full-bleed spreads, the volume most resembles an artist's handmade book; Fanelli draws on lined or graph paper, and her inset, blue-black ink images seem doodled directly on the pages and margins. This modish treatment, a far cry from conventional versions of the classic, may be best suited to collectors; it makes a likely companion to Lane Smith's Pinocchio the Boy, or Incognito in Collodi. Ages 7-up. (Nov.) Copyright 2003 Reed Business Information.
Children's Literature
Pinocchio has been onstage since 1881 when he first appeared in a children's newspaper in Rome. After many book editions and a myriad of illustrations (the most influential being Attilio Mussino's from 1911), here's a new translation in an elegant slipcase volume with striking pictures, owing nothing to realism but capturing both the impudence and the magic inherent in the story. Fanelli's witty ink drawings on nearly every page combine with her evocative collages, often on a background of old printed papers like bills, receipts, wallpapers, lined and gridded sheets or, occasionally, a period photograph of an Italian landscape to recall for us the puppet's origins. Pinocchio himself is an elongated letter P, sometimes facing right and sometimes left. The collages reflect the oversize dimension of characters like the wicked cat and fox, the fire-spouting snake, the giant green fisherman (looking like an outsized sea cucumber), and the omnivorous monster shark. Although this is not a picture book, the illustrations carry the reader along through Rose's excellent translation (perfect for reading aloud), fresh and lively without losing the pathos or being jarringly modern where inappropriate. The ending, when Pinocchio becomes a potentially priggish human child, is always a challenge for writer and illustrator. Rose keeps the text simple and Fanelli displays the sepia portrait of a chubby, handsome boy in buttoned boots, inking on the puppet's pointed hat and nose to remind us that there's a bit of Pinocchio in every boy, exactly as there was in Carlo Collodi. 2003, Candlewick, Ages 8 up.
— Barbara L. Talcroft
Children's Literature - Meredith Kiger
A veteran children's writer retells the story of Pinocchio and presents it as a thirteen scene play. He likens the metamorphosis of Pinocchio as the growth in character of all of us, and HE encourages readers to present it as a play to illustrate this fact. Pinocchio has not lost his timelessness and appeal, and this story is an opportunity for a group of children to explore his complex character in a more extended version.
School Library Journal
Gr 4 Up-As she did in Mythical Monsters of Ancient Greece (Candlewick, 2002), Fanelli again creates a fresh and imaginative visual interpretation of a classic. The original story of the wayward boy/puppet is presented in full, made more accessible to contemporary readers by this translation's taut narration and witty dialogue. The mixed-media collages are made up of original drawings and cuttings from photos, wallpaper, and other artwork. As in the illustrator's earlier works, print is often featured in the pictures. Other recurring images include photographs of human eyes placed on drawings of human and nonhuman faces and prominent noses. This unconventional style is an apt partner for this complex tale-a story that is both playful and macabre. However, this version is not for very young children or first-time readers, as the pictures are not obvious representations of the text. This sophisticated, edgy adaptation will be most appreciated by connoisseurs of children's literature and illustration. Definitely a special purchase, this book is far superior to Helen Rossendale and Graham Philpot's uninspired The Adventures of Pinocchio (Dial, 2003).-Heide Piehler, Shorewood Public Library, WI Copyright 2003 Reed Business Information.
Janice Del Negro
ger for reading aloud. The "true" story of the puppet who wanted to be a real boy will surprise those familiar with the popular Disney version. This abridged Pinocchio includes plot details missing from the animated film, more violence, and the blue fairy as a central character. The didacticism of the original is retained, but Mattotti's colorful paintings have enough style and dramatic impact to carry the reader to the final foregone conclusion. A good additional title for large comparative literature collections, this should provide a bridge for those who want the "real" story but are unable to tackle the original novel-length tale.
Kirkus Reviews
What most readers know of Pinocchio is a wooden puppet whose nose grows from telling lies. This episode—longer than a picture book but shorter than the original tale—is one small chapter in the exploits and adventures of Pinocchio, the boy wannabe. An illustrated adaptation, it follows the original M.A. Murray translation closely, yet succeeds without the long-windedness of the 1892 classic, and with all the rich language, spirited characters, and lively escapades intact. Inspired by the commedia dell'arte, the Italian traveling street theater of Collodi's time, Young (Night Visitors, 1995, etc.) has created scenes that authentically capture the playlike quality of the story. Reminiscent of his colorful cut-paper collage in Seven Blind Mice (1993), the array of characters and images cleverly reflect a stage production, complete with double-page spreads that act as scenery backdrops. It's an energetic rendition that invites the audience to meet again the mischievous puppet with all his foibles, setting the stage for an Oz-like ending that reaffirms the power of good.

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Product Details

San Val, Incorporated
Publication date:
Product dimensions:
4.48(w) x 7.02(h) x 0.72(d)
Age Range:
8 - 11 Years

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