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WHEN DREAMS COME TRUE

CLASSICAL FAIRY TALES AND THEIR TRADITION

paper 0-415-92151-1 Zipes (German/Univ. of Minnesota; Don—t Bet on the Prince, 1986, etc.), a children’s literature specialist, here gathers together his introductions and postscripts from various previous fairy tale collections. The result is a concise yet comprehensive picture of the genre’s development in Western Europe and America since the 1600s. Fairy tales thrived as an oral tradition for centuries before they were transcribed. Zipes argues that early tales didn—t target a juvenile audience; instead, their allegorical form often concealed social, moral, ethical, and aesthetic criticism appreciated only by adults. The pioneer of the genre in France was Charles Perrault, who created fairy tales drawing on pagan beliefs and folklore, rather than on antique sources, as the classicist canon of his time preferred. In Germany, Jacob and Wilhelm Grimm charged their tales with Protestant ethics, while Hans Christian Andersen negotiated power relations and social domination in Danish society. Due to religious austerity, fairy tales were suppressed in England until the middle of the 19th century. After they entered literature officially during the Victorian Age, they exhibited a strong didactic tendency, and eventually took shape as an implicit critical inquiry into the dominant materialist culture, the oppressive moral code, or, as in the case of Oscar Wilde, normative sexuality. Among American fairy tale writers, Zipes focuses particularly on Frank Baum, whose multivolume work on the utopian land of Oz became a fixture of the cultural landscape, embodying the author’s dream of a socialist alternative to American capitalism. Zipes skillfully weaves into his narrative the story of the influence of the Arabian Nights, translations of which began to appear in the West as early as the 1700s. At the close of his study, he also looks briefly at how the 20th-century German novelist Hermann Hesse infused the classical fairy tale with the macabre and romantic realism to reflect his personal journey and European political conflicts. An enticing reexamination of cherished texts. (15 illustrations) (Author tour)

Pub Date: Feb. 1, 1999

ISBN: 0-415-92150-3

Page Count: 240

Publisher: Routledge

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 1998

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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