Legends, Myths & Fables, Children - Fiction & Literature, Children - Fairy Tales, Myths & Fables

Pinocchio

Name: Pinocchio
Author: Carlo Collodi
ISBN: 9781909438439

by Carlo Collodi

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Overview

Pinocchio is a fairy tale novel about the mischievous adventures of an animated marionette, and his poor father, a woodcarver named Geppetto. A classic of children's literature spawning many derivative works of art, and commonplace ideas such as a liar's long nose.

A retelling of the adventures of Pinocchio, a mischievous wooden puppet, who wants more than anything else to become a real boy. Illustrated notes throughout the text explain the historical background of the story.

About the Author, Carlo Collodi

Carlo Collodi (1826–1890) was the pen name of Carlo Lorenzini. He was born in Florence, where his father served as the cook for a rich aristocratic family; his mother, though qualified as a schoolteacher, worked as a chambermaid for the same family. Lorenzini took the name Collodi from his mother’s hometown, where he was sent to attend school. A volunteer in the Tuscan army during the 1848 and 1860 Italian wars of independence, Collodi founded a satirical weekly, Il Lampione—which was suppressed for a time by the Grand Duke of Tuscany—and became known as the author of novels, plays, and political sketches. His translation from the French of Charles Perrault’s fairy tales came out in 1876, and in 1881 his Storia di un burratino (Story of a Puppet) was published in installments in the Giornale per i bambini, appearing two years later in book form as The Adventures of Pinocchio. Collodi, whose writings include several readers for schoolchildren, died in 1890, unaware of the vast international success that his creation Pinocchio would eventually enjoy.

Geoffrey Brock is the prizewinning translator of works by Cesare Pavese, Umberto Eco, Roberto Calasso, and others. He teaches creative writing and translation at the University of Arkansas. His Web site is www.geoffreybrock.com.

Umberto Eco is a professor of semiotics at the University of Bologna and the author of numerous novels and collections of essays, including The Name of the Rose, Foucault’s Pendulum, and most recently, Turning Back the Clock: Hot Wars and Media Populism.

Rebecca West is a professor of Italian and of cinema and media Studies at the University of Chicago. She is the author of Eugenio Montale: Poet on the Edge and Gianni Celati: The Craft of Everyday Storytelling, and is co-editor of The Cambridge Companion to Modern Italian Culture

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Editorials

Publishers Weekly - Publisher's Weekly

Innocenti's luminous interpretation of Collodi's tale carves the action out of 19th century Italian landscapes. Clearly shown as a mocking marionette, this Pinocchio races through cobbled city scenes and then throws himself prostrate at the personal fairy whom he has most recently wronged by his hasty, thoughtless behavior. And when he becomes a real boy, the transformation is resounding: left slumped on a chair is the body of a puppet; readers may marvel that what lies so lifeless in that scene was the source of so much trouble earlier on. Enchantment reigns in the pictures, each a perfect elaboration of the text. Innocenti and Collodi are equally at home in a place where puppets have life beyond human hands, and where souls may die and live again, resurrected by the power of love. All ages. Oct.

Publishers Weekly

Two illustrated volumes of Carlo Collodi's Pinocchio take the spotlight this fall. Robert Ingpen's edition starts on a note of humor, with inset illustrations showcasing his meticulous ink lines and cross-hatching. He depicts the newly emerging Marionette wearing Geppetto's wig, for instance, or a full-page image of Geppetto fitting the fellow with new feet after the puppet's burn in a fire. A wordless spread of the Assassins making off with Pinocchio, however, exudes an appropriate creepiness. Copyright 2005 Reed Business Information.

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.

Children's Literature

If the only image of the wooden boy that children have is the Disney puppet with his shock of black hair lovingly crafted by the gentle old Geppetto, then perhaps it is time to introduce them to the original. Not sanitized by Disney, this Pinocchio is revealed as sometimes arrogant, often naughty, very disobedient, but with an underlying desire to do what is right. There are plenty of adventures and misadventures for the wooden puppet who longs to be a boy. It is a cautionary tale, unabashed in its messages to children, that probably works best as a read aloud. What sets this edition apart from others is the handsome design. From the rich buff pages to the exquisite paintings of 19th century Italy, this is a work of art. Here is a classic that belongs on every bookshelf. 2005, Creative Editions, Ages 5 up.
—Beverley Fahey

Children's Literature - Elizabeth Fronk

This particular version of the classic tale remains true to Collodi's story with some editing of the both chapters' lengths and some of Pinocchio's adventures. Pinocchio comes to life from a piece of wood and tries to be a good son to Geppetto but he gets led astray by first his own selfish nature and next by a troupe of puppets. After receiving mercy from the puppet master, Pinocchio tries to return to his father only to be distracted by a blind cat and fox. This encounter proves to almost be Pinocchio's undoing. Fortunately he is saved by the blue-haired girl, a fairy. One hopes that Pinocchio is soon reunited with his father; instead the puppet goes to prison. When he is released, he attempts to travel back to Geppetto but gets caught by a farmer. He wins his freedom but learns from a pigeon that Geppetto has gone to sea searching for Pinocchio. Eventually Pinocchio reunites with his father in a shark's belly and manages to learn courage. In this version, a talking cricket does try to guide Pinocchio. One would choose this version of Pinocchio for a faithful and well-illustrated classic story, as the highlight of the book are the finely crafted drawings by Greban. The chapters are a wonderful length for reading aloud but be warned that the story does slow near the end and may confuse younger readers. Reviewer: Elizabeth Fronk

School Library Journal

Gr 2-7-The classic moral tale of the wayward puppet's quest to become a real boy is illustrated with Ingpen's richly textured pencil-and-watercolor artwork. A combination of full-page illustration and spreads, as well as numerous smaller pictures, depicts Pinocchio's adventures. Ingpen's color choices-primarily subdued neutral tones accented with bright hues-underscore the sense of play in a rather grim story. The bright-eyed marionette is portrayed as more mischievous than malicious-more naive than nasty. Even as a puppet, his posture and movements are that of an active, curious child. Likewise, the narration is lively and energetic and seasoned with subtle humor. The dark sides of the tale are not omitted, but the focus is on the adventure and on Pinocchio's redemption. Some of the modernization is unnecessary and awkward; for example, the Cat receives a telegram, rather than message, informing him that his child is ill. Overall, this is a handsome traditional edition of the story that will appeal to children. The Adventures of Pinocchio illustrated by Robert Innocenti (Creative Editions, 2005) is a more literary version with a stronger sense of the European setting, dramatic tension, and moral undertones. Sara Fanelli's version (Candlewick, 2003) offers a more contemporary collage-style interpretation.-Heide Piehler, Shorewood Public Library, WI Copyright 2005 Reed Business Information.

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.