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

Snow-White and the Seven Dwarfs

Name: Snow-White and the Seven Dwarfs
Author: Brothers Grimm
ISBN: 9780374468682

by Brothers Grimm, Jacob Grimm, Wilhelm Grimm, Nancy Ekholm Burkert (Illustrator), Randall Jarrell

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Overview

Retells the tale of the beautiful princess whose lips were red as blood, skin was white as snow, and hair was as black as ebony.

Synopsis

Burkert's tapestrylike paintings, strong yet delicately detailed, radiate a spiritual beauty that enriches the movement of the story in its medieval setting. Jarrell's style, graceful and dignified, stays close to the original."-Starred/Booklist

Publishers Weekly

A stunning version of the Grimms' classic story. All ages. (September)

About the Author, Brothers Grimm

Jacob Ludwig Carl Grimm, is best known as the author of the monumental German Dictionary, his Deutsche Mythologie and more popularly, as one of the Brothers Grimm, as the editor of Grimm's Fairy Tales.

Wilhelm Carl Grimm was a German author, the younger of the Brothers Grimm.

Translator Randall Jarrell, born in 1914 in Nashville, Tennessee, was a prolific and widely respected poet, critic, translator, and fiction writer. A friend and contemporary to Elizabeth Bishop and Robert Lowell, Jarrell received the National Book Award (amid other honors) for his verse. He also served as U.S. Poet Laureate. Jarrell died in Chapel Hill, North Carolina, in 1965.

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Editorials

Publishers Weekly - Publisher's Weekly

A stunning version of the Grimms' classic story. All ages. (September)

School Library Journal

K-Gr 2 Iwasaki's handling of watercolors is competent, particularly her manner of blending transparent hues to create the appearance of sensuous textures. These areas of chromatic interplay produce a visual vibrancy which, unfortunately, is not captured in her delineation of the characters. Snow White is a vacuous doll, the Prince an equally characterless wimp and the wicked stepmother is as frightening as a soap opera star. Comparing Burkert's meticulously researched settings and her personification of her teenage heroine (Farrar, 1972) or Hyman's gut-wrenching depiction of a decaying psychotic queen (Little, 1979; o.p.) to this saccharine rendering makes the publisher's decision to salvage a series of paintings by an artist who died more than ten years ago questionable. On several pages it's clear that there is no relationship between text and image. The telling is too flat for so emotional a series of hates and loves, double-dealings and rejuvenations. And the pictures, pretty as many are, fail to shape the psychological drama that has kept this tale so popular. Kenneth Marantz, Art Education Department, Ohio State University, Columbus