Imagine yourself stepping into a strange magical world of parallel realities, fire demons, curses, and wizards and you will experience the startling journey taken by Sophie Hatter in Diane Wynne Jones’ Howl’s Moving Castle. Jones spins the fantastical tale of a young woman who is taken away from her monotonous existence and thrust into a world a foreign world in which she must learn who she really is. In her day-to-day life, Sophie is the eldest of three daughters and is therefore out of luck. Because of her unfortunate position, she has no delusions about what her life will amount to for, as everyone knows, as the eldest of three “you are the one who will fail first, and worst, if the three of you set out to seek your fortune” (1). Because of this, Sophie accepts her family’s expectations that she will work as an apprentice in her late father’s hat shop while her sisters seek better fortunes for themselves.
Sophie settles in to her new duties until one fateful day. On that portentous day, the feared Witch of the Waste enters her shop and with a burst of misplaced jealousy and anger curses Sophie; no longer a plain young woman, Sophie becomes a plain old woman. Resigned to her fate—a fate that mirrors her expected lack of fortune—Sophie leaves her home town of Market Chipping in search of a new life. On her way she comes upon the feared Moving Castle that belongs to the mysterious Wizard Howl—a magical man accused of eating the heart’s of young and beautiful women. Instead of the cruel wizard she expected to find in Howl, she discovers a vain, shallow, and lazy man who uses his charm to capture the hearts of women before he dumps them. Together with Howl’s apprentice Michael, Calcifer the fire demon, and the magical castle, Sophie works to find all that has gone missing in the kingdoms around her: a prince, a wizard, and a heart, all while defeating the Witch of the Waste once and for all.
Jones creates a world that is magical and accessible to readers; a parallel world to our own. She sets this up in the beginning of her novel by disclaiming readers of the wonder found within the land of Ingary, a place “where such things as seven-league boots and cloaks of invisibility really exist” (1). In this magical place, fisherman can buy potions to ensure that they have a fair wind and a safe journey and the royal family keeps their own royal wizard. The world is put in contrast to our own and, in fact, Howl himself is from our own world; he is a man who has unlocked the secrets of magic, enabling him to travel between our two worlds.
Sophie herself is an engaging character who learns her own throughout the course of the book. At the beginning of the novel she is a quiet, unassuming figure who works dutifully in her family’s hat shop; she spends most of her time talking to the hats she created. Strangely, it is through her transformation into an old woman that she comes into her own; suddenly, she is unafraid to speak her mind and take action where she sees fit. Sophie also discovers her own magical power; “It brings life to things, such as that stick in your hand, which you have evidently talked to, to the extent that is has become what the layman would call a magic wand” (181). In fact, every inanimate object that Sophie talks to does her bidding—to a hat she says, “You have a heart of gold and someone in a high position will see it and fall in love with you,” when the hat is purchased by plain Jane Farrier the dashing Count of Catterack instantly falls in love with her (10). Sophie eventually realizes her own strength and self-worth, breaking her curse in the process.
Jones is able to create a world full of characters who have characteristics common to all people. Because of these carefully crafted elements of the story, readers are able to connect to the story in a way that pulls them into the text. The dynamic qualities of every aspect of the novel make it a treasure to read and uncover; for, in a parallel world where anything can and does happen, who wouldn’t want to be the average girl to put the heart back into a handsome Casanova, capturing his heart as your own in the process?
Showing posts with label CI 5442: Book Review. Show all posts
Showing posts with label CI 5442: Book Review. Show all posts
Monday, December 7, 2009
Monday, November 16, 2009
CI 5442: Folklore Book Review
“Before Luke Skywalker, before Batman, before even King Arthur, there were the Greek heroes. Those guys knew how to fight!” (v). Thus begins Rick Riordan’s introduction to the latest edition of Roger Lancelyn Green’s Tales of the Greek Heroes. Riordan attributes his own success to his early encounter with Green’s text and, clearly, many thanks are due. Without Green’s comprehensive and all-encompassing presentation of some of the greatest myths and characters ever created, Riordan would perhaps have never given us Percy Jackson. Green recreates the famous mythology of the ancient Greeks in a new and refreshing way that makes the book impossible to put down.
The tales of the first Greek gods and heroes have been told many times before, but they have not been connected in such a grand narrative as put down by Green since their origin in Greek oral tradition. Green is able to seamlessly piece together every story with such ease that it is a wonder that it hasn’t been done before. One of the most difficult things about introducing children to Greek mythology is the disconnect—or seeming disconnect—between characters and stories. Combine this disconnect with the multitude of unfamiliar and similar names and it becomes a headache for all. Green not only provides illuminating insight into the personal history of each character, he also weaves their stories together in a way that is easy to follow and allows for time sufficient understanding and knowledge of each character.
As with many representations of mythology, Green works to create believable dialogue where none is certain. Green’s diction and dialogue is accessible and provides a more dynamic, narrative quality to the text. It is with this dialogue and careful writing that readers follow the gods from their creation and rise to power continuing on until the end of the Age of Heroes.
Something that Green does remarkably well is to adapt these stories and condense them without losing any of the magic which gives them life. Green admits that he has made some creative decisions and was forced to edit the depth in which each story is presented, but it does not detract from the text and the stories he is recounting to his audience.
A feature that is unique and delightful within the text is the inclusion of either a famous interpretation of the myths or an actual translation of the first recorded accounts of the myths by famous Greek writers at the beginning of each chapter. This grounds the myth as being something extremely valuable and provides validity of its ancient history. In doing this, Green provides readers with a glimpse of the lyrical quality that was either the oral tradition of the story first transcribed hundreds of years ago or the classic interpretations of those who were inspire by such famous tales. All in all Green’s interpretation of some of the most famous Greek myths is seamless in its ability to weave the various texts together “as that single whole which the Greeks believed it to be” (267). The stories educate and inspire all who read them and will remain with them long after the final pages have been turned for, “Once found, the magic web of old Greek myth and legend is ours by right—and ours for life” (270).
The tales of the first Greek gods and heroes have been told many times before, but they have not been connected in such a grand narrative as put down by Green since their origin in Greek oral tradition. Green is able to seamlessly piece together every story with such ease that it is a wonder that it hasn’t been done before. One of the most difficult things about introducing children to Greek mythology is the disconnect—or seeming disconnect—between characters and stories. Combine this disconnect with the multitude of unfamiliar and similar names and it becomes a headache for all. Green not only provides illuminating insight into the personal history of each character, he also weaves their stories together in a way that is easy to follow and allows for time sufficient understanding and knowledge of each character.
As with many representations of mythology, Green works to create believable dialogue where none is certain. Green’s diction and dialogue is accessible and provides a more dynamic, narrative quality to the text. It is with this dialogue and careful writing that readers follow the gods from their creation and rise to power continuing on until the end of the Age of Heroes.
Something that Green does remarkably well is to adapt these stories and condense them without losing any of the magic which gives them life. Green admits that he has made some creative decisions and was forced to edit the depth in which each story is presented, but it does not detract from the text and the stories he is recounting to his audience.
A feature that is unique and delightful within the text is the inclusion of either a famous interpretation of the myths or an actual translation of the first recorded accounts of the myths by famous Greek writers at the beginning of each chapter. This grounds the myth as being something extremely valuable and provides validity of its ancient history. In doing this, Green provides readers with a glimpse of the lyrical quality that was either the oral tradition of the story first transcribed hundreds of years ago or the classic interpretations of those who were inspire by such famous tales. All in all Green’s interpretation of some of the most famous Greek myths is seamless in its ability to weave the various texts together “as that single whole which the Greeks believed it to be” (267). The stories educate and inspire all who read them and will remain with them long after the final pages have been turned for, “Once found, the magic web of old Greek myth and legend is ours by right—and ours for life” (270).
CI 5442: Poetry Book Review
The book Hate That Cat by Sharon Creech is the well-written and heartwarming follow-up story to Love That Dog, both of which are novels in verse. The books follow a young boy as he learns to appreciate poetry for what it can be rather than what it always “must” be. In this second book, Ms. Stretchberry is able to bring more sophisticated poetry mechanics to life for her students. By reading the thoughts of Jack—in poem form—as he learns about alliteration and onomatopoeia while overcoming the loss of his dog Sky, Creech creates a story that is both heartfelt and educational. Her use of poetry and first person diary-esque dialogue invites readers into Jack’s world and lets readers learn to about poetry themselves, first hand.
Creech’s ability to show readers what is going on inside of Jacks mind is a key aspect of the novel. As the reader follows Jack they learn more and more about his feelings and relationships with the things around him. The one-sided aspect of the journal should, perhaps, make it difficult to keep up with the dialogue between Jack and Ms. Stretchberry but Creech counters this by giving the journal a sense of continued dialogue. It is easy enough to determine what is going on both within the journal and in the outside world simply by connecting the journal entries to one another.
After reading Love That Dog, it seems as though there is nothing more the reader can learn about Jack, but during the reading of his second poetry journal more details about him are brought to life in a way that enhances his charm and highlights the effects of poetry on all manners of people. Creech emphasizes some of the key pieces of figurative language that are often associated with poetry in the text, alliteration and onomatopoeia. While she uses many different examples in Jack’s entries to illustrate the meaning and use of these devices, she is sure to point out that they are not essential parts of the poem. Creech creates a foil to Jack’s poems and beliefs about poetry in the form of Jack’s Uncle Bill—a university professor. Uncle Bill is highly critical not only of Jack’s poems but also the poems of William Carlos Williams and other famous authors discussed in Ms. Stretchberry’s class.
The most remarkable aspect of the text is Creech’s development of Jack’s understanding of poetry. In the text, Jack poses a very good question, “if you cannot hear/ do words have no sounds/ in your head?/ Do you see/ a/ silent/ movie?” (16). He poses a similar question about the use of onomatopoeia and how sound words would be interpreted by someone who cannot hear. These questions lead the reader to wonder why they appear in Jack’s journal. We learn that Jack’s mother is deaf and that she feels sound—tapping out the rhythm. Jack’s mother serves not only as a catalyst for these questions about poetry and sound, but also as a reminder readers that the emotions, thoughts, images, etc. evoked by a poem are more important than a poem’s form, rhythm, and style. It is these qualities that make poems worth the reader’s time—something Jack comes to understand despite his Uncle Bill’s protestations.
Creech uses Jack and his family as the protagonists in the fight against those who dread and fear poetry. By using a child’s reactions and opinions to poetry—especially “classic” poetry from authors like Tennyson and Poe—Creech empowers readers; she gives them the tools and ability to look at poetry with a fresh and confidant eye. No longer is poetry the dreaded, impossible compilation of words on a page, it is the ticking of a clock, the purring of a cat, the image of an eagle clasping a rock with its talons. Creech entertains, empowers, and teaches her audience to appreciate and confidently approach poetry by showing readers the path of understanding taken by Jack as ha navigates through the misconceptions of poetry. The novel is a clever, disguised learning experience that is enjoyable for all who encounter it.
Creech’s ability to show readers what is going on inside of Jacks mind is a key aspect of the novel. As the reader follows Jack they learn more and more about his feelings and relationships with the things around him. The one-sided aspect of the journal should, perhaps, make it difficult to keep up with the dialogue between Jack and Ms. Stretchberry but Creech counters this by giving the journal a sense of continued dialogue. It is easy enough to determine what is going on both within the journal and in the outside world simply by connecting the journal entries to one another.
After reading Love That Dog, it seems as though there is nothing more the reader can learn about Jack, but during the reading of his second poetry journal more details about him are brought to life in a way that enhances his charm and highlights the effects of poetry on all manners of people. Creech emphasizes some of the key pieces of figurative language that are often associated with poetry in the text, alliteration and onomatopoeia. While she uses many different examples in Jack’s entries to illustrate the meaning and use of these devices, she is sure to point out that they are not essential parts of the poem. Creech creates a foil to Jack’s poems and beliefs about poetry in the form of Jack’s Uncle Bill—a university professor. Uncle Bill is highly critical not only of Jack’s poems but also the poems of William Carlos Williams and other famous authors discussed in Ms. Stretchberry’s class.
The most remarkable aspect of the text is Creech’s development of Jack’s understanding of poetry. In the text, Jack poses a very good question, “if you cannot hear/ do words have no sounds/ in your head?/ Do you see/ a/ silent/ movie?” (16). He poses a similar question about the use of onomatopoeia and how sound words would be interpreted by someone who cannot hear. These questions lead the reader to wonder why they appear in Jack’s journal. We learn that Jack’s mother is deaf and that she feels sound—tapping out the rhythm. Jack’s mother serves not only as a catalyst for these questions about poetry and sound, but also as a reminder readers that the emotions, thoughts, images, etc. evoked by a poem are more important than a poem’s form, rhythm, and style. It is these qualities that make poems worth the reader’s time—something Jack comes to understand despite his Uncle Bill’s protestations.
Creech uses Jack and his family as the protagonists in the fight against those who dread and fear poetry. By using a child’s reactions and opinions to poetry—especially “classic” poetry from authors like Tennyson and Poe—Creech empowers readers; she gives them the tools and ability to look at poetry with a fresh and confidant eye. No longer is poetry the dreaded, impossible compilation of words on a page, it is the ticking of a clock, the purring of a cat, the image of an eagle clasping a rock with its talons. Creech entertains, empowers, and teaches her audience to appreciate and confidently approach poetry by showing readers the path of understanding taken by Jack as ha navigates through the misconceptions of poetry. The novel is a clever, disguised learning experience that is enjoyable for all who encounter it.
Subscribe to:
Posts (Atom)
