Rapunzel

by Brothers Grimm, Paul O. Zelinsky (Retold by), Paul O. Zelinsky (Illustrator)

Overview

Award winning author/adapter/illustrator Paul O. Zelinsky's Caldecott Medal Winning book! Perfect for readers of all fairy tales.

"A breathtaking interpretation gives the fairy tale new art-historical roots, with illustrations that daringly-and effectively-mimic the masters of Italian Renaissance painting."—Publishers Weekly

Trapped in a tower with no door, Rapunzel is allowed to see no one but the sorceress who has imprisoned her-until the day a young prince hears her singing to the forest birds. . . . The timeless tale of Rapunzel is vividly and magnificently brought to life through Paul O. Zelinsky's powerful sense of narrative and his stunning oil paintings.

"Simply put, this is a gorgeous book; it demonstrates respect for the traditions of painting and the fairy tale while at the same time adhering to a singular, wholly original, artistic vision." (The Horn Book, starred review)

Product Details

ISBN-13:	9780142301937
Publisher:	Penguin Young Readers Group
Publication date:	10/14/2002
Pages:	48
Product dimensions:	9.12(w) x 12.00(h) x 0.15(d)
Lexile:	AD700L (what's this?)
Age Range:	5 - 8 Years

About the Author

Jacob Ludwig Karl, the elder of the brothers Grimm, was born in 1785, andWilhelm Karl in the following year. They both studied at Marburg, and from 1808 to 1829 mainly worked in Kassel as state-appointed librarians, Jacob also assisting in diplomatic missions between 1813 and 1815 and again in 1848. Both brothers had been professors at Göttingen for several years when in 1837 they became two of the seven leading Göttingen academics dismissed from their posts by the new King of Hanover for their liberal political views. In 1840 they were invited by Frederick William IV of Prussia to settle in Berlin as members of the Academy of Sciences, and here they remained until their deaths (Wilhelm died in 1859 and Jacob in 1863).

Paul Zelinsky was born in Evanston, Illinois. He attended Yale University, where he took a course with Maurice Sendak, which later inspired him to pursue a career in children's books. Afterwards he received a graduate degree in painting from Tyler School of Art, in Philadelphia and Rome. Paul Zelinsky lives in New York with his wife, Deborah, and the younger of their two daughters.

Place of Birth:

Hanau, Germany

Place of Death:

Berlin, Germany

Read an Excerpt

Award winning author/adapter/illustrator Paul O. Zelinsky's Caldecott Medal Winning book! Perfect for readers of all fairy tales.

"A breathtaking interpretation gives the fairy tale new art-historical roots, with illustrations that daringly-and effectively-mimic the masters of Italian Renaissance painting."—Publishers Weekly

Trapped in a tower with no door, Rapunzel is allowed to see no one but the sorceress who has imprisoned her-until the day a young prince hears her singing to the forest birds. . . . The timeless tale of Rapunzel is vividly and magnificently brought to life through Paul O. Zelinsky's powerful sense of narrative and his stunning oil paintings.

"Simply put, this is a gorgeous book; it demonstrates respect for the traditions of painting and the fairy tale while at the same time adhering to a singular, wholly original, artistic vision." (The Horn Book, starred review)

Table of Contents

Trapped in a tower with no door, Rapunzel is allowed to see no one but the sorceress who has imprisoned her-until the day a young prince hears her singing to the forest birds. . . . The timeless tale of Rapunzel is vividly and magnificently brought to life through Paul O. Zelinsky's powerful sense of narrative and his stunning oil paintings.

Editorial Reviews

As with her artwork for The Emperor's New Clothes, Duntze's fanciful illustrations add enchanting new dimensions to this well-loved tale. A wordless spread of the witch's glorious garden makes manifest the compulsion by her pregnant neighbor to secure its contents-though she will come to rue the price (her baby, Rapunzel). The witch, meanwhile, looks human from the waist up, with beefy bare arms and white hair pulled back in unusual buns, but her dress is fashioned from large cabbage leaves, home to slugs, snails and a frog, and partly concealing long, snake-like tentacles. Duntze plays with dimensions to create a sense of fairyland enchantment. Huge human teeth crown the walls around the witch's garden, while inside (obscured from the neighbors' view), dandelion weeds loom large. Layers of gold and rust-colored carpets give Rapunzel's lonely tower cell a cozy feel, as do the yellow pear on which she sits, the enormous snail that serves as her bed, and the stuffed animals that keep her company. The bleak wilderness into which the witch banishes Rapunzel (after learning of the prince's visits) markedly contrasts with the opulence of previous settings, emphasizing the witch's cruelty. In the final scene, the prince returns with Rapunzel and their children to his kingdom, which Duntze portrays as a formal garden set under towering strawberry plants, bringing the visual theme full circle. The arresting art abounds with sensuality and charm, making this version a welcome reimagining of a classic tale. Ages 4-up. (Sept.) Copyright 2005 Reed Business Information.

Publishers Weekly

Zelinsky (Swamp Angel) does a star turn with this breathtaking interpretation of a favorite fairy tale. Daringlyand effectivelymimicking the masters of Italian Renaissance painting, he creates a primarily Tuscan setting. His Rapunzel, for example, seems a relative of Botticelli's immortal red-haired beauties, while her tower appears an only partially fantastic exaggeration of a Florentine bell tower. For the most part, his bold experiment brilliantly succeeds: the almost otherworldly golden light with which he bathes his paintings has the effect of consecrating them, elevating them to a grandeur befitting their adoptive art-historical roots. If at times his compositions and their references to specific works seem a bit self-conscious, these cavils are easily outweighed by his overall achievement. The text, like the art, has a rare complexity, treating Rapunzel's imprisonment as her sorceress-adopted mother's attempt to preserve her from the effects of an awakening sexuality. Again like the art, this strategy may resonate best with mature readers. Young children may be at a loss, for example, when faced with the typically well-wrought but elliptical passage in which the sorceress discovers Rapunzel's liaisons with the prince when the girl asks for help fastening her dress (as her true mother did at the story's start): " `It is growing so tight around my waist, it doesn't want to fit me anymore.' Instantly the sorceress understood what Rapunzel did not." On the other hand, with his sophisticated treatment, Zelinsky demonstrates a point established in his unusually complete source notes: that timeless tales like Rapunzel belong to adults as well as children. Ages 5-up. (Oct.)

Publishers Weekly - Publisher's Weekly

K-Gr 4-Humorous illustrations attempt to transform this rather serious fairy tale into a lighthearted romp that spares children its disturbing chill and darkness. Duntze's playful watercolors are filled with fantastical elements like oversize fruit, clothing made from cabbage leaves, and a bed atop a huge snail. The witch's countenance never gets scarier than that of a loving but stern grandparent. The illustrations also contain a mixture of details that span different time periods and cultures: for example, the husband wears golf shoes; the wife is seen leaning out the window, thus exposing her multiple petticoats; and the prince wears buckled shoes that evoke Puritan times. Multihued rugs and swirling curtains in the tower suggest the Middle East. The scene in which the prince finds Rapunzel and their children has subdued colors and an austerity that is almost biblical. Regrettably, there are no source or author notes. Stick with Paul O. Zelinsky's award-winning Rapunzel (Dutton, 1997), which uses dramatic images to express powerful emotions and depicts one specific era in rich detail.-Kirsten Cutler, Sonoma Library, CA Copyright 2005 Reed Business Information.

School Library Journal

European illustrator Dusikova interprets the familiar fairy tale with dreamy, dark watercolors. Observed by cats, butterflies, and birds, Rapunzel, the witch, and the king's son play out the story. Unfortunately, the second page of text, set against a charcoal background, is difficult to read. Predictably, the witch has a long nose, Rapunzel is demure and blond, and the prince is boyishly handsome. Dusikova's forte is her exquisite, misty landscape art. ...Bell's translation is for the most part, faithful to the traditional story. Only the twins have been removed, perhaps to suit the sensibilities of those opposed to unwed motherhood.

Book Review Digest

Exquisite paintings in late Italian Renaissance style illumine this hybrid version of a classic tale.

As Zelinsky (The Wheels on the Bus, 1990, etc.) explains in a long source note, the story's Italian oral progenitor went through a series of literary revisions and translations before the Brothers Grimm published their own take; he draws on many of these to create a formal, spare text that is more about the undercurrents between characters than crime and punishment. Feeling "her dress growing tight around her waist" a woman conceives the desire for an herb from the neighboring garden—rendered in fine detail with low clipped hedges, elaborate statuary and even a wandering pangolin—that causes her to lose her child to a witch. Ensconced for years in a tower, young Rapunzel meets the prince, "marries" him immediately, is cast into the wilderness when her own dress begins to tighten, gives birth to twins, and cures her husband's blindness with her tears at their long-awaited reunion. Suffused with golden light, Zelinsky's landscapes and indoor scenes are grandly evocative, composed and executed with superb technical and emotional command. (Picture book/folklore. 8-10) Exquisite paintings in late Italian Renaissance style illumine this hybrid version of a classic tale.

As Zelinsky (The Wheels on the Bus, 1990, etc.) explains in a long source note, the story's Italian oral progenitor went through a series of literary revisions and translations before the Brothers Grimm published their own take; he draws on many of these to create a formal, spare text that is more about the undercurrents between characters than crime and punishment. Feeling "her dress growing tight around her waist" a woman conceives the desire for an herb from the neighboring garden—rendered in fine detail with low clipped hedges, elaborate statuary and even a wandering pangolin—that causes her to lose her child to a witch. Ensconced for years in a tower, young Rapunzel meets the prince, "marries" him immediately, is cast into the wilderness when her own dress begins to tighten, gives birth to twins, and cures her husband's blindness with her tears at their long-awaited reunion. Suffused with golden light, Zelinsky's landscapes and indoor scenes are grandly evocative, composed and executed with superb technical and emotional command. (Picture book/fol

Kirkus Reviews