Category: Children’s Literature (Page 1 of 3)

BIBLIOGRAPHY 

Zelinsky, P. O., Beniker, A., & Stevens, J. (1997). Rapunzel. First edition. New York: Dutton Children’s Books. ISBN 978-0590386029 

PLOT 

In this retelling of Grimm’s folktale, Zelinsky retells the story of a beautiful girl with long golden hair that is trapped in a tower by a sorceress. Even though she is imprisoned in the tower she falls in love with a handsome young prince who hears her sweet singing.  

CRITICAL ANALYSIS 

Rapunzel is the only character in the story that is given a name. Her character is shown to be that of innocence and beauty, but she also shows resilience and perseverance when she is cast out of the tower and must take care of her two children alone.  

One of the themes in Rapunzel is that of greed. Rapunzel’s mother must have some of the luxurious plants that she sees outside her window, or she will surely die. The sorceress must have the baby for herself and therefore takes Rapunzel as a baby and locks her in a tower. These actions of greed do not end well for those who have this trait.  

Zelinsky’s illustrations in Rapunzel are breathtakingly beautiful and take on an Italian Renaissance look. He captures the warmth of the Italian countryside. The illustrations take up most of the pages of the book with some of them mirroring the tall, sleek tower that Rapunzel is held captive in for most of the folktale.  

Zelinsky also provides a note about the history of Rapunzel at the end of the book comparing it to Petrosinella. 

REVIEW EXCERPTS 

Randolf Caldecott Medal, 1998.  

“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 

“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) 

Suffused with golden light, Zelinsky’s landscapes and indoor scenes are grandly evocative, composed and executed with superb technical and emotional command. –Kirkus  

CONNECTIONS 

Compare Zelinsky’s version of Rapunzel with the original and other retellings of the folktale. 

• Rapunzel, the classic Grimms talke 
• Rapunzel, by Rachel Isadora 
• Petrosinella: A Neopolitan Rapunzel. 

Have students rewrite this folktale in a modern-day time. 

Research the benefits of the herb, rapunzel. How does it grow and how can it be used? 

Rewrite Rapunzel as a Children’s Theater production. Perform in class.  

Have students create their own towers with their own materials.  

BIBLIOGRAPHY 

Wiesner, David. (2001). The three pigs. New York, Clarion Books. ISBN 0618007016 

PLOT SUMMARY 

The Three Pigs begins with the classic tale of the three little pigs. However, when the wolf huffs and puffs, he accidentally blows the first pig out of the story frame. The first pig then gets the second and third pig to join him outside the story frames and into other storybooks and nursery rhymes. They encourage other characters to join them and eventually, take on the wolf in a surprising, but happy conclusion.  

CRITICAL ANALYSIS 

Upon starting this story, the reader is remarkably familiar with this long-standing tale of three little pigs going out into the world and building their own type of house. The story dives right in with the wolf being introduced right away. This version of the three pigs’ story is one that is best told after the children are familiar with the basic story of how the pigs went out to build their houses. The children should also be familiar with the nursery rhyme (Hey, Diddle, Diddle). Another familiar storyline that pops up is about a medieval dragon escaping a knight. As the pigs travel throughout the story, they interact with the reader to draw the reader into the story.  

The illustrations are quite unique as the pigs leave the familiarity of their countryside and travel out of the book. The pigs can make a paper airplane out of one of the pages in the book that follows the traditional three pigs story line, and this is how they can travel to other places. The illustrations of the nursery rhyme and the dragon portion of the story are quite different than the three pigs’ portion of the story. The nursery rhyme portion is more of a cartoonish type drawing whereas most of the medieval dragon portion is either black and white drawings or only the dragon is in color.  

I highly recommend this fractured fairy tale picture book of the three little pigs as it brings a unique twist where the characters can come out of stories. 

REVIEW EXCERPTS 

Winner of the 2002 Caldecott Medal 

Booklist: “Wiesner has created a funny, wildly imaginative tale that encourages readers to leap beyond the familiar; to think critically about conventional stories and illustration, and perhaps, to flex their imaginations and create wonderfully subversive versions of their own stories.” 

School Library Journal: “Children will delight in the changing perspectives…and the whole notion of the interrupted narrative…fresh and funny…witty dialogue and physical comedy abound in this inspired retelling of a familiar favorite.” 

New York Times Book Review: Clever, whimsical, and sophisticated.”  

CONNECTIONS 

Gather other books by David Wiesner: 

Tuesday. ISBN 0395870828 (1991 Caldecott Medal) 

Sector 7. ISBN 0395746566 (2000 Caldecott Honor Book) 

Flotsam. ISBN 0618194576 

Free Fall. ISBN 068810990X 

Hold a discussion with students regarding the art features that distinguished when characters went in and out of stories. 

Have students select a classic fairy tale and write a story as if a character could leave the story. 

Compare this book to The Jolly Postman.  

The Jolly Postman or Other People’s Letters. ISBN 0-590-44195-7