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The paranormal element to the story is very well done, and gives the book a "Twilight Zone" meets "Jurassic Park" feel. The colorful illustrations blend realistic detail with memorably imaginative images. "Shadow" is also interesting in that the dog is really the main character of the book; Jesse is a supporting character. And the resourceful Shadow is quite an admirable heroine. Overall, this book is a fine blend of suspense, fantasy, and dinosaur science.
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Krysia's father was already in America to make a new life for his family. When he had a job and a home, he sent for his wife, daughter and two sons. The decision to leave Poland, their homeland was difficult; leaving behind family and friends was not an easy thing to do. The children could only take necessary items and each child was allowed to bring just one toy. Their clothes, blankets, shoes and toys were knotted up in a sheet to be carried over the shoulder. Krysia had a problem choosing between her two beloved dolls. She took Basha because she was the smaller of the two dolls and would take up less space.
After leaving their village, it took the family four days of walking to arrive at the port where a large steamship was there to take them across the ocean. The difficult sea voyage involved poor sanitation, sickness and lack of decent food. After about fourteen days, the passengers finally view the Statue of Liberty and depart at Ellis Island on Christmas Eve.
On Ellis Island, the immigrants went through many inspections, which included medical examinations for each family member. The paperwork and examination usually took three to five hours to complete. Passing the examinations meant that the immigrants were allowed into the country. Those who did not have the proper papers or failed their medicals, were delayed for days or even months and could be sent back to their original countries.
This well written and carefully illustrated little book is ideal for children who are studying the history of America or the story of their own family.
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I read this story to my 4 1/2 year old daughter, and she really liked it. I imagine that this was primarily due to the wonderful, luminous illustrations. Although there are illustrations on every page, there is also a lot of text to go along with it, perhaps more than the patience of many younger kids can handle. The ideal ages would probably be from age 6 through 10.
Fairy Wings is a creatively written, artistically illustrated tale. The story is memorable, and little Fia, delicate in appearance, is valiant in thought and deed. She is a great role model. Fairy Wings is enjoyable for all ages, including adults. Getting through this 30-page wonder will take longer than you think; each illustration is wonderfully done, and will demand ample attention before you can turn to the next.
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Love is in the air; love is everywhere. But at the middle of it all are two women with frustratingly similar names: Helena and Hermia. Hermia loves Lysander but is engaged (by a controlling father) to Demetrius. Helena loves Demetrius, who can think of no one but Hermia. Until a fairy god and an impish spirit step in and sprinkle some love-juice around: suddenly it's all a mess, everyone switches partners like at a square dance. But, naturally, it all works out in the end, and two pairs of lovers emerge to live happily ever after.
Two subplots add to the silliness of love: Titania, the fairy queen, under a spell sent by her husband, falls in love with a man with an donkey's head. (read: there is no objectivity in love, no "ideal lover".) Then, a bunch of fools perform a hilaroiusly awful play for the king, a play about tragically separated and suicidal lovers...something like Romeo and Juliet. (read: tragedy and love together are hilariously overdramatic.)
A enjoyable, funny, light, fairly fast play to read and perform. You gotta love Puck. The only real difficulty I had was keeping Helena and Hermia straight -- now, who loves who?
And really, in the end, it doesn't matter who loves who, just that all are loved.
Make sure you don't read one of those nasty prose or abridged versions here. Half the fun is the meter, and it's definitely short and sweet enough not to need abridgement.
a passage from the play:
PUCK: If we shadows have offended,
Think but this, (and all is mended)
That you have but slumbered here,
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend;
If you pardon, we will mend.
And, as I am an honest Puck,
If we have unearned luck,
Now to 'scape the serpent's tongue,
We will make amends, ere long:
Else the Puck a liar call.
So, good night unto you all.
Give me your hands, if we be friends,
And Robin will restore amends."
In attempting that, he succeeds very well in bringing the text to a new format - all the components of the tale are here (though obviously abridged), and are clearly and smoothly told, keeping most of the spirit of the play, as well as the most important of quotes, for instance - "The course of true love never did run smooth," and "What fools these mortals be".
Three plot threads run throughout the story set in ancient Athens under the rule of the Duke Theseus about to be wed to his own Amazon-bride. Foremost is the love-tangle between the virtually indistinguishable Helena, Lysander, Hermia and Demetrius. When Hermia and Demetrius decide to elope, racing away into the woods, Lynsander follows (who has been promised Hermia by her father), and chasing after him is the spurned Helena, desparately (and pathetically) in love with him.
Meanwhile, the King and Queen of Fairies, Oberon and Titania are having what can only be called a domestic over a young changeling boy that Oberon wants to join his service, but who Titania is determined to keep in remembrance of his mother, her devoted friend. To punish his Queen, Oberon sends his servent, the hobgoblin Puck, to fetch a flower capable of making anyone under its spell fall in love with whatever creature they behold.
Finally, the group of players led by Peter Quince and joined by Francis Flute and the famous Nick Bottom journey into the forest to practice their play to perform on the Duke's wedding day, and fall the victims of Puck's prankish nature, when he transforms the head of Bottom into that of an ass. Of course, it is he that Titania first spies when she awakens from her slumber...
It is a complicated and intricate play, full of mayhem and havoc in which everybody falls in love with everybody else, but Coville handles it well and keeps it simple to the point of abridging much of the final act in which Bottom and the players finally get to perform. However, such a scene is somewhat un-neccessary in the "storybook" context of this retelling, and its removal was probably a good idea. The themes of wayward love and its fickleness is still in place, whether it be the mis-matching of the young lovers, the quarrels between husband and wife, or the ridiculousness of the romantic, suicidal couple that the actors play "Pyramus and Thisby" (on which Shakespeare based "Romeo and Juliet").
The illustrations fit the story well. Though some might hope for intricate, highly detailed work that we usually see in fairy-books these days (such as the work of Brian Froud or K. Y. Craft), here the watercolours are in soft pastels, very clearly and simply planned and rendered. To help the reader along, there is an introductory page of the main character's busts, and the four lovers can be easily identified by their colour-coding (just remember - the blonde girl goes with the blonde boy and the dark-haired girl goes with the dark-haired boy). Bottom is hilarious with or without his ass-head, and you can tell just from his expression that he's a complete buffon.
Most of the fairies are as they are usually portrayed - small, winged, barefooted and delicate, but their impish faces and spindly bodies save them from appearing as those silly, cute, adorable little fairies that you might expect in Enid Blyton. To my mind, fairies must have a little of the mysterious and potential for malevolence about them. The potrayal of Oberon and Titania is somewhat odd - Titania appears as a full grown woman (though in a couple of pictures horribly stick-like, almost anorexic) but Oberon seems almost child-like, as if he's a boy in an over-sized sheet. Like the four lovers, many of the characters are portrayed as incredibly young, a theme that runs through into Puck.
It is Puck who is the centrepiece of this retelling, both in the narrative and in the pictures. With tangled hair and a fuzzy loincloth, the cheeky toddler whizzes about the air, sometimes the very picture of innocence, other times with a devilish grin. He can't help but make you smile when you see him.
Altogether, a good start to introduce young readers to the play, with nice clear pictures just this side of an art and/or fairy-lovers collection.
Lovely Isabeau is loathed by her jealous stepmother, who casts a spell on her. Thus Isabeau is turned into a dragon. She is saved by her love Kemp Owain. And now Kemp Owain is turned into stone. Now Isabeau undertakes action, deviating from the usual fairy tale heroine and saves her love. But with her time as dragoness, her fiery spirit has emerged, and Kemp Owain loves her all the more for it and I as their reader too! Further there's a very interesting use of symbolism here, Mr. Nolan's illustrations show this perfectly.