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The Cinderella; or Little Glass Slipper
by Charles Perrault and Errol Le Cain
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In this kinder, gentler version of the old French fairy tale, the poor cinderwench forgives her stepsisters in the end and gives them a home in her palace. This Cinderella is pretty, but not perfect, and instead of having the tiniest feet in the kingdom, she in fact has wide feet (which fit the glass slipper nonetheless). From the details of the ball gowns to the trees of jewels glittering at the palace, Susan Jeffers's glowing, imaginative artwork is breathtaking. Jeffers has illustrated many fairy tales, as well as the popular McDuff books. With pen and ink and brilliant colors, she creates paintings of exquisite detail and clarity, wonderfully showcased by this book's large format and abundant full-page illustrations. The magical transformation of Cinderella into a beautiful princess never fails to capture the imagination of young ones, and this lovely edition is sure to be a hit. (Ages 5 to 7)
From Publishers Weekly
Long before Gutenberg and since his time, storytellers have enjoyed the privilege of adapting, retelling tales rooted in widely different cultures. Perrault's "Cinderella," for example, was an established heroine in folklore around the world, centuries before the French writer wrote about the abused maiden. Ehrlich's retelling differs from others' but it's absorbing, easily grasped and no less rewarding than the many versions available, except in one instance. There is no mention of the mean stepmother after Ehrlich introduces her. Gazing at the beautiful, ingenious, color-rich paintings, one forgets such quibbles. The illustrations display Jeffers's gifts at their dazzling best, particularly when she shows the noble steeds prancing and tossing their heads as they carry Cinderella to the ball. The author and the artist have been praised for their previous adaptations of classic tales, but this surpasses them all.
Copyright 1985 Reed Business Information, Inc.
From School Library Journal
Grade 2-4 Lovely marbled endpapers introduce yet another "Cinderella." Goode's translation informalizes the text somewhat, losing the sense of a time long ago and a place far away. However, the plot remains intact, including the moral venerating innner beauty, which would have had more impact if Goode's Cinderella, soon to become Princess, didn't look so smug in the last two illustrations. The illustrations, set in 17th-Century France, contain all of the elements necessary for a successful Cinderella. Her ballgown is beautiful, lusher and more spectacular than her stepsisters' or the other guests. The transformation scenes, especially the lizard into footman, are visually satisfying. The bright watercolors add the proper sparkle, and attention is not drawn away from the main characters by distracting borders or designs. Young readers will be pleased with this edition (especially if it is accompanied by the cassette recorded by Jessica Lange), but scholars will continue to prefer Dore (Perrault's Fairy Tales Dover, 1969) or Le Cain (Cinderella: or, the Little Glass Slipper Penguin, 1977). Karen K. Radtke, Milwaukee Public Library
Copyright 1989 Reed Business Information, Inc.
From the plump pumpkins on the endpapers, to the shifty-eyed stepmother and Cinderella's vibrant ball gown, Koopmans' delicate watercolors provide yet another visual rendering of the familiar tale. Bell's smooth translation follows the traditional story. As Cinderella rides to the palace, her coach radiates light, and Cinderella herself is a blaze of color in her vibrant yellow gown in the brightly lit ballroom. The art lacks Marcia Brown's strong line, Diane Goode's distinctive facial expressions, James Marshall's rumpled goofiness, and Susan Jeffers' graceful elegance, but it is unusual in one respect. Instead of a maidenly Cinderella and manly prince, both protagonists are portrayed as prepubescent children. This unusual interpretation, which will charm some and disturb others, is best suited for larger collections. Linda Perkins
From Kirkus Reviews
Perrault's ancient tale of Cinderella has been slimmed and toned down considerably, with her virtues less evident and the supporting cast less effective. Readers will wonder why Cinderella's father, who is not conveniently dead in this story, doesn't rally to her aid, but they will be otherwise enchanted by Koopmans's delicate illustrations. One good French touch comes at dinner; the prince is so besotted that ``even when the most delicious dishes were served for supper, he could not eat a morsel.'' (Picture book/folklore. 5-8) -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.
Wilmington News Journal, 11/21/99
...just the right size for preschoolers' little hands. The books in the Little Pebbles series are beautifully illustrated and bound well enough to withstand nightly rereading.
Publishers Weekly, 2/8/99
The fanciful illustrations and small, square format make the series especially inviting.
There is perhaps no better loved, no more universal story than Cinderella. Almost every country in the world has a version of it, but the favorite of story-tellers is the French version by Charles Perrault.
This translation is excellent for story-telling and also for reading aloud. Marcia Brown's illustrations are full of magic and enchantment from the little cupids putting back the hands of the clock to the last scene at the palace. They are pictures that will stay in a child's mind.
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