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Library | Material Type | Item Barcode | Shelf Number | Status |
|---|---|---|---|---|
Searching... Avon-Washington Township Public Library | Juvenile Picture Book Hardback | 120791001140324 | CALDECOTT J P WIE | Searching... Unknown |
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Summary
Summary
"Clever, whimsical and sophisticated." -- New York Times Book Review
Taking visual narrative to a new level, this picture book from the creator of Tuesday and Flotsam begins a seemingly familiar tale of three pigs preparing to build houses of straw, sticks, and bricks. But when the Big Bad Wolf comes looking for a snack, he huffs and puffs the first little pig right out of the story . . . and into the realm of pure imagination! Dialogue balloons pepper a wide variety of illustration styles taking readers through a dazzling fantasy universe to the surprising and happy ending. You will never look at "The Three Little Pigs"--or artwork--the same way again!
"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." -- ALA Booklist , Starred Review
Reviews (5)
School Library Journal Review
K-Gr 6-In Tuesday (Clarion, 1991), Wiesner demonstrated that pigs could fly. Here, he shows what happens when they take control of their story. In an L. Leslie Brooke sort of style (the illustrations are created through a combination of watercolor, gouache, colored inks, and pencils), the wolf comes a-knocking on the straw house. When he puffs, the pig gets blown "right out of the story." (The double spread contains four panels on a white background; the first two follow the familiar story line, but the pig falls out of the third frame, so in the fourth, the wolf looks quite perplexed.) So it goes until the pigs bump the story panels aside, fold one with the wolf on it into a paper airplane, and take to the air. Children will delight in the changing perspectives, the effect of the wolf's folded-paper body, and the whole notion of the interrupted narrative. Wiesner's luxurious use of white space with the textured pigs zooming in and out of view is fresh and funny. They wander through other stories-their bodies changing to take on the new style of illustration as they enter the pages-emerging with a dragon and the cat with a fiddle. The cat draws their attention to a panel with a brick house, and they all sit down to soup, while one of the pigs reconstructs the text. Witty dialogue and physical comedy abound in this inspired retelling of a familiar favorite.-Wendy Lukehart, Dauphin County Library, Harrisburg, PA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publisher's Weekly Review
Even the book's younger readers will understand the distinctive visual code. As the pigs enter the confines of a storybook page, they conform to that book's illustrative style, appearing as nursery-rhyme friezes or comic-book line drawings. When the pigs emerge from the storybook pages into the meta-landscape, they appear photographically clear and crisp, with shadows and three dimensions. Wiesner's (Tuesday) brilliant use of white space and perspective (as the pigs fly to the upper right-hand corner of a spread on their makeshift plane, or as one pig's snout dominates a full page) evokes a feeling that the characters can navigate endless possibilitiesDand that the range of story itself is limitless. Ages 5-up. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved
Horn Book Review
(Primary) David Wiesner's postmodern interpretation of this tale plays imaginatively with traditional picture book and story conventions and with readers' expectations of both. (Though with Wiesner, we should know by now to expect the unexpected.) Astute readers will notice the difference between the cover's realistic gouache portrait of the three pigs (who stare directly out at the viewer with sentient expressions) and the simple outlined watercolor artwork on the title page. In fact, the style of the illustrations and the way the characters are rendered shifts back and forth a few times before the book is done, as Wiesner explores the possibility of different realities within a book's pages. The text, set in a respectable serif typeface, begins by following the familiar pattern-pigs build houses, wolf huffs and puffs, wolf eats two pigs, etc. But while the text natters on obliviously, the pigs actually step (or are huffed and puffed) out of the muted-color panel illustrations without being eaten. Escaping their sepia holding lines and the frames of their predictable storybook world, they enter a stark white landscape where they are depicted realistically with more intricate shading. The now-3-D-looking pigs, released from the story's inevitability, explore this surrealistic realm. The perplexed wolf remains behind in the two-dimensional pages, which, when viewed from the pigs' new vantage point, stand vertically in space, looking altogether like paper dominoes waiting to be knocked down. And that's what the three pigs do, with glee. The pigs' informal banter appears in word balloons in a sans-serif font; a few striking wordless spreads feature the pigs flying (this is Wiesner, after all) across blank spreads on a paper airplane made from a page of their story. Obviously, there's a lot going on here, but once you get your bearings, this is a fantastic journey told with a light touch. The pigs encounter other free-standing story pages; they enter and exit a nursery rhyme and then a folktale, morphing into and out of each one's illustrative style. Saccharine, cotton-candy illustrations cloy ""Hey Diddle Diddle"" (""Let's get out of here!"" one pig exclaims); precise black-and-white line drawings dignify a folktale about a dragon who guards a golden rose. The cat and its fiddle as well as the chivalrous dragon join the pigs in full-color, realistic definition, and eventually the five friends end up back at the pigs' story. After shaking the type off the pages, the animals re-enter the tale-but this time on the pigs' own terms. The last page shows them all happily ensconced in the full-page watercolor illustration, using letters of text to write their own happy ending while the wolf sits outside at a nonthreatening distance. Wiesner may not be the first to thumb his nose at picture-book design rules and storytelling techniques, but he puts his own distinct print on this ambitious endeavor. There are lots of teaching opportunities to be mined here-or you can just dig into the creative possibilities of unconventionality. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
Kirkus Review
With this inventive retelling, Caldecott Medalist Wiesner (Tuesday, 1991) plays with literary conventions in a manner not seen since Scieszkas The Stinky Cheese Man and Other Fairly Stupid Tales (1993). The story begins with a traditional approach in both language and illustrations, but when the wolf huffs and puffs, he not only blows down the pigs wood and straw houses, but also blows the pigs right out of the story and into a parallel story structure. The three pigs (illustrated in their new world in a more three-dimensional style and with speech balloons) take off on a postmodern adventure via a paper airplane folded from the discarded pages of the traditional tale. They sail through several spreads of white space and crash-land in a surreal world of picture-book pages, where they befriend the cat from Hey, Diddle Diddle and a charming dragon that needs to escape with his cherished golden rose from a pursuing prince. The pigs, cat, and dragon pick up the pages of the original story and return to that flat, conventional world, concluding with a satisfying bowl of dragon-breath-broiled soup in their safe, sturdy brick house. The pigs have braved the new world and returned with their treasure: the cat for company and fiddle music, the dragons golden rose for beauty, and the dragon himself for warmth and protection from the wolf, who is glimpsed through the window, sitting powerlessly in the distance. On the last few pages, the final words of the text break apart, sending letters drifting down into the illustrations to show us that once we have ventured out into the wider world, our stories never stay the same. (Picture book. 5-9)
Booklist Review
Ages 3^-6. This spectacular, large-format edition has double-page-spread illustrations that resonate with bold strokes and exuberant images of the moon as it prepares for its nightly activities. The moon paints the sky, gets rid of fog and mist, plants dreams, locks up nightmares until morning comes and it's time to go to sleep. Even very young children will understand this simple, almost poetic Spanish rendition of a sweet bedtime story.