Kate Greenaway Books

Heard this story as a child from my grandparents who were on German background. This story is just like they told it. Beautiful illustrations complete the story that swirled in my head so many years ago!!

Ok.I HAVE NOT READ THIS BOOK.I hope that you don`t hurt my reviews for this,but in a way,I HAVE read this book.I am in this play,so I have read this script.And since the play is going to be on Saturday,(5th) and Sunday(6th) and also for the next weekend,I have to read this script over and over and over again.I think that this book is a very good book.In the play I am Miss Applebee but I think that this book is very good it must be.

When I was about seven-years-old a family member gave me a recording, (78s) of the Pied Piper of Hamelin narrated by Ingrid Bergman. As I listened, I could see the characters in my head and never tired of the story.

A month ago I bought the book for my eight-year-old granddaughter who lives about eight hundred miles away from me, because I was afraid with the passing of one more generation, the story might be forgotten.

It is a lovely book, written by Robert Browning more than a century ago. The drawings are perfect, given the dated language used in this book. And the story has a simple message, about honoring our promises.

Sadly, my granddaughter glanced at the book and was clearly not interested. I wanted to read it with her, intending to make clear the English used by Browning.

So, a tale almost twelve hundred years old bit the dust, at least in our family it did.

But if you are a lover of this fable, it is worth your time to try it out on the children in your family. They will be the richer for it.

This book would be a wonderful treasure for the pictures alone. Kate Greenaway, noted children's illustrator, has created a magical world of beautiful children, innocent faces, and romantic, nostalgic costumes. The colors on these pages are breathtaking, and the details (although Greenaway is always faulted for not drawing hands and feet well) are superb. This story is not for very young children, as it contains some troublesome themes. For the older child, perhaps 7+, the story might provoke some interesting post-read family discussions about honesty, trust, and the actual state of the children at the end of the tale. This is even a beautiful book to give to adults, as the messages about human nature can be appreciated on a deeper level.

"Rats!
They fought the dogs, and killed the cats,
And bit the babies in the cradles,
And ate the cheeses out of the vats,
And licked the soup from the cook's own ladles,
Split open the kegs of salted sprats,
Made nests inside men's Sunday hats,
And even spoiled the women's chats,
By drowning their speaking
With shrieking and squeaking
In fifty different sharps and flats."

Robert Browning (1812-1889) first published his poem "The Pied Piper of Hamelin, A Child's Story" in 1842, based on an old German legend which may or may not have had some basis in historical fact. Browning was a serious poet; even in a poem filled with playful rhymes written specifically for children, he did not "dumb down" his language, but expected his readers to do a little work in understanding some of his "big words."

Kate Greenaway (1846-1901) was one of the most famous and popular illustrators of children's literature in the latter part of the 19th Century. She had grown up loving Browning's poem, and shortly before his death she requested and received his permission to republish it accompanied by her own illustrations. This edition was initially published in 1888 under the imprint of George Routledge & Sons, which was at that same time in the process of splitting between Routledge and Frederick Warne. Starting in 1889 all subsequent editions carried the Warne imprint. The book continued to be popular, and Frederick Warne has issued reprints from time to time, well into the late 20th Century. This Warne edition is not in print at present, but used copies with various reprint dates are available from Amazon Marketplace sellers.

However, two different reprint editions are currently available, each with the complete original text and illustrations, and each presented with loving care from an eminently respectable publisher, in well-made but modestly priced editions. The Dover reprint (ISBN 0486296199) is full-size, in a sturdy paperback; the Alfred A Knopf/Borzoi/Everyman's Library reprint (ISBN 0679428127) is part of their Children's Classics series, in a very sturdily constructed hardcover with sewn sections that will not crack with use, but the page size is somewhat smaller. Both are beautiful books, and either is an excellent value.

As noted in the Editorial Reviews above, there have been other editions of "The Pied Piper," with different illustrations, and at least one seems to have been issued with the poem itself "retold" to make the language simpler; neither of those reviews is discussing this original version. Some readers may prefer one or another of these different versions. But anyone wanting to stick with Browning's original full text and Greenaway's original charming, muted and subtle illustrations should choose between the Dover or the Everyman's, or visit Amazon's Marketplace sellers to look for a copy of the Frederick Warne.

I love this book! Excellent artwork and great message. This is THE book for every princess-obsessed little girl out there.

Shirley Hughes' retelling of the Cinderella story set in the jazz era is really beautiful! Her illustrations alone could tell the story, but the text is wonderfully written and humorous as well. The book is enjoyable from cover to cover!

this book was awesome.the illastrations were great and the story was very livly and 30's!

Knowing that this Cinderella-themed book won the "Kate Greenaway Medal for Children's Illustration," I decided to look at the illustration before reading the text. I was looking for authenticity and creativity in the pictures, as well as a hint of the story to come. I'm also a fan of jazz, and although the music isn't synonymous with the "age," I was curious to see whether author/illustrator Shirley Hughes incorporated any musical elements.

It didn't take long to discover the sweep and style of the 1920's, for Hughes' 2-page opening title shows a glossy ballroom floor, inhabited by a small jazz band, self-assured men in tuxedoes and tails, fashionable women in full length gowns (plunging either in front or back), and a white-coated "manservant" offering martinis. (Zelda, we have arrived!) As the story begins, pictures show the middle and under classes, and the scornful looks of the social "betters." The latter are dressed in chiffon, feathers, fancy hats, and jewelry, and a man sports a pinstripe suit with a rose boutonnière and impeccable black and white spats. You can sense the texture of their clothes, just as you can feel the conflicting attitudes of the haves and have-nots. I cheated and looked at the endpaper: The rich colors come from gouache, accented and shaded with pen. In addition (and, as noted by another reviewer), Hughes' original dress designs were inspired by 1920's French couture; her ballroom scenes by the décor and set designs of the glorious RKO-produced Astaire/Rogers musicals. The book's remaining pictures convey emotion (especially in cinematic-like close-ups), dramatic lighting, subtle and grand action, and swirls of gorgeous, opulent color. Hughes captures the look of money and the face of disenfranchisement with equal magnificence.

OK, so I'm completely sold on the pictures. What about the story? As you may have gathered, the Cinderella here is "Ella Cinder," a comely woman who's an expert helper in her father's dress shop. When she can, she laughs with almost- boyfriend "Buttons." As for the scornful women mentioned above, they're her dad's new wife (Cinder's stepmother) and her daughters (the stepsisters!). The stepmother takes over running the shop, the stepsisters model, lounge about, and call Cinder names, and Cinder herself has to work harder than ever. Mr. Cinders is a broken man in this power play, and he can do nothing to help his daughter.

Buttons, however, scrappy American that he is, "stays on the job for [Cinder's] sake." "Privately he called the [stepsisters] a couple of puffed-up, made-up, stuck-up, brainless parakeets." He also plays his guitar" in Ella's ratty basement room, and sometimes, "they even danced together...moving softly in and out among the bales of cotton." This is pure literary magic, Hughes' words and pictures mesh like a slow dance; they're consistently evocative and note-perfect.

I'll now cut to the chase of this modernized (to a point) fairy tale: An elite ball is planned, and the stepsisters scoff at the neglected Cinder. Very soon, however, an efficient yellow-hatted woman with a purple umbrella (her wand, it turns out) does her magic, and Ella turns into the Queen of the Jazz Age, the Belle of the Ball, and the Delight of the Duke who dances with her. Hughes wisely keeps the stroke of twelve and missing slipper motifs, but like any good 1920's film, Ella turns down the rich duke for her true love, Buttons, who can promise only his winning and constant love, a dream of owning their own shop, and his famous bacon and eggs. This book from 2003 is a complete delight, excelling in every conceivable way, and it's hard to imagine any child (or adult) not enjoying and treasuring it immensely.

Note: The book is so cinematic in illustration, plot, and dialogue, that I'm already having fun casting a hypothetical "movie": Perhaps director Frank Capra (or George Cukor) would insist on a dulled-down Carole Lombard as "Cinder"; Stewart , Cagney, or a relatively new, "nice guy" actor as "Buttons," and S.Z. "Cuddles" Sakall or Lionel Barrymore as the beleaguered father. Joan Crawford and Rosalind Russell would reprise their cat-fighting roles from "The Women," with Katherine Hepburn (cast against type) or Bette Davis as the (wicked) stepmother, and Franchot Tone or Leslie Howard as romantically tragic Duke. Indulge yourself as I did, and buy this book for a child, and, especially, for yourself.

There are several authors and illustrators of children's picture books that should be essential reading experiences for every child, created by artists that meld whimsy, humour, poignancy, wisdom and humanity with such grace that you just know that the memory of that book will stay with them for the rest of their lives. Shirley Hughes is one of these authors/illustrators, best known for her `Alfie and Annie Rose' books, but also of several other stories that capture all the above traits. "Ella's Big Chance" is one such book, taking the traditional tale of Cinderella and changing it in several vivid, exciting ways. It is old and refreshingly new at the same time.

Mr Cinders and his daughter Ella run a dress shop, along with their delivery boy Buttons (who almost always appears as the narrator in any production of a pantomime Cinderella). They are a happy family, but all that changes when Mr Cinders marries Madame Renee, who has two daughters of her own: Ruby and Pearl. Ella's new stepfamily takes over her existence, reducing her to a servant in her own home. Her only ally is Buttons with whom she has a warm and kind friendship.

Then the news arrives that the handsome Duke of Arc is having a ball. You all know what happens next: Ella is denied an invitation, a fairy godmother transforms her rags, and Ella makes her magnificent debut. The clock strikes twelve, Ella flees and the Duke begins his search for her, using the glass slipper she left behind as his guide.

One might at this stage think that this is simply another rehash of the Cinderella tale; if you've read one, you've read them all. But Shirley Hughes' version differs in several key ways. First is the setting; Parisian France in the 1920's, where the streets are quaint and sunlit, a silver limousine takes the place of the pumpkin carriage, the dancing mirrors that of Ginger Rodgers and Fred Astaire, and the costumes are the quintessential gowns of Doucet, Poiret and Patou. It is a visual feast for the eyes, romantic and glamorous.

Second is Ella's physique. Whereas her stepsisters are slender and lovely (not *ugly* stepsisters at all), Ella herself is a little on the voluptuous side - and she looks fantastic. It's a great step up from the stick-figures that frequent children's fairytales, especially those targeted toward girls.

Lastly are several story elements; such as the fact that Ella's father does not pass away but remains a hen-pecked husband who is powerless to rescue his daughter. Then there is Hughes' delightful interpretation of the fairy godmother, as an umbrella-wielding granny with a secret plan for Ella. Most important of all is the twist regarding Buttons - I won't give it away (though you've probably already guessed what it is now that I've mentioned it). I'll say no more except that it's great.

So that's Shirley Hughes's Cinderella retelling, a fantastic reading experience that everyone (especially your daughters) will love, with several subtle but truthful messages on *real* beauty, *real* kindness and *real* happiness.

AS a grandmother, I often feel a sense of dismay at the lack of exposure modern day children are being afforded of the classics of literature. Books like this one with wild illustrations designed to grab the eye of the reader and keep it with a text more understandable to the twenty first century child are a gift to be shared. This is a book that will attract readers. I can't think of anything more important. With vocabularies being drawn from television, movies and video games that often fall very short of expressive ideals, it is so nice to see some one tackle Swift and make him palatable to young readers. Anyone up for Dickens, Kipling and Stevenson? What about good old Mark Twain? Kudos to Jenkins and Riddell.
My soon to be six year old grandson will love this book. I consider it my job to make sure he keeps getting treasures like this one.

When most of us hear the name "Gulliver," a picture probably comes to mind. A giant. A strong, brawny fellow? Leave it to consummate illustrator Chris Riddell to give us a smile provoking Gulliver with knobby knees, a bump in his nose, and shirt askew. Gulliver is still prone to many adventures, just as Jonathan Swift intended when he wrote "Gulliver's Travels," but he's also a tad clumsy with a tendency to wind up in comical positions.

There he is in Lilliput on the first of his voyages skewered into the sand by all those little people. In this double-page full-color spread every bony finger is pinioned, his waistcoat is tacked to the ground, and one big toe pops through a hole in his sock. Next, we find tiny spear bearing soldiers marching across the length of his body.

Consider Gulliver's voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubrib, and Japan. If you recall, the ship he was aboard is taken over by not one but two pirate ships. Such ferocious buccaneers you've never seen. Thankfully the Dutch pirate captain showed our hero a little sympathy, and we find him tucked into a small canoe and set afloat.

Each of Riddell's illustrations is a gem, and will surely be enjoyed over and over again. He is a political cartoonist for the Observer, thus the perfect choice to bring Swift's political satire to life.

Martin Jenkins has done a yeoman's job of retelling this classic. His adaptation is true to Swift's original story yet it is more easily understood by young readers. While this Gulliver will hold appeal for all ages, it is certainly a choice introduction to what is considered to be one of the finest stories ever written. Kudos to both Martin Jenkins and Chris Riddell with, of course, a deep bow to the memory of the incomparable Jonathan Swift

- Gail Cooke

Gulliver's adventures to imaginary lands are used to illustrate the foibles and pettiness of mankind. In his first adventure, he finds that the tiny Lilliputians are forever at war with their island neighbors over how to crack open an egg, and they are therefore suspicious and manipulative. By contrast, the giants of Brobdingnag live by "common sense, reason, justice and fair play," but Gulliver is often in danger by being so tiny in their country. In other lands, Gulliver meets all kinds of characters - constant worriers, crazed inventors, preposterous rulers, and some chatty ghosts who give him a history lesson. With each adventure, Gulliver becomes increasingly aware that the beliefs he holds about mankind's achievements may be the opposite of what he had thought. Finally, he meets the horse-like Houyhnhnms (sounds like a horse neighing), "noble creatures ruled entirely by reason," who have no idea of evil. Their country is also inhabited by Yahoos, wild animal-like humans without any redeeming qualities, who steal from each other and squabble endlessly. Gulliver is so taken by the civilized, virtuous Houyhnhnms that he would like to live happily ever after with them, but they can't get over the fact that he really must be a Yahoo, who will only encourage the other Yahoos to revolt against them. He is cast adrift in a small boat and eventually finds himself back in England, where he has to get used to lying, deceit, self-importance, and greed once more. Some of the story elements are a little disturbing, such as his attitudes towards the servant classes, and some of the outrageous behaviors of certain characters verge on disgusting, but this is always used to make a point. Overall, this is a beautifully-made book with much food for thought, for both young and old alike.

This is really a beautiful book. The illustrations are quirky and captivating and the language, while not antiquated, still reads like a classic. I sat reading it to my 7 year old son in the bookstore for a good 15 minutes before realizing we just had to take it home. Originally a story which my son would have had to wait until at least junior high to read, this version sits up on the shelf next to Doctor Dolittle, Peter Pan, Alice in Wonderland etc. The fantasy is emphasized but the political satire is gently present for those old enough to appreciate it.

Mater Anserina is a prettily designed book. Favorite Mother Goose rhymes are printed on facing pages with Latin versions rendering the original accentual schemes. Graceful Kate Greenaway illustrations appear on the same page with some of the Latin versions, and there is a useful list of Latin vocabulary at the foot of each (Latin) page. Practice these rhymes at home, and then try them out on your high-schoolers or undergraduates. Young people probably won't recognize many of the selections (although they may know Itsy Bitsy Spider and the first verse of Yankee Doodle); you may have to teach them the tunes.
This book could serve as a lovely, reasonably priced end-of-term gift for a favorite teacher, or a prize for a Classics Day contest.

Mater Anserina is a charming book in all respects. It is beautifully illustrated, has side-by-side translations and a useful vocabulary. The CD has the clearest Latin sung/read that I have heard in a long time. Thoroughly recommended.

This book has 28 familiar Mother Goose rhymes, (e.g.: Mary had a Little Lamb), in both Latin and English. The translations preserve the style, whimsy, and rhythm of the original Mother Goose rhymes. Yet in the translations, there is something new to be gained from the Latin verse; a new perspective on these childhood classics.

For the beginner student, there are footnotes at the bottom of each page which explain the vocabulary used. There is also a preface which explains the accentual verses. It is the only preface of recent memory that is itself an interesting read.

The audio CD is well done, with the singing voice very clear. It is fun to sing along in Latin to these old rhymes! In my opinion, it was fascinating to hear these familiar tunes in this new fashion!

My only complaint about the book is this: there are not enough illustrations. To me, each rhyme should have it's own illustration, or almost all. Only nine of the rhymes have an accompianing illustration. The illustrations that are in the book are charming; reminiscent of the pictures in the book, The Real Mother Goose, which has illustratons depicting the time period in which these rhymes were originally written.

To my delight this period depiction was preserved in this book. Again this is a truly great book to have!

This slender volume contains a number of well known--and some lesser known--nursery rhymes with Greenaway's justifiably famous illustrations, in addition to her fully illustrated A Apple Pie book. This is very much worth it and was my son's favorite book for several months!

While I'm not familiar with this specific Alfred A Knopf/Borzoi/Everyman's Library/Children's Classic edition, I do have an earlier edition of Kate Greenaway's "A Apple Pie", as well as copies of most of her other work for children. Together with Randolph Caldecott she was one of the most important and influential illustrators of young children's books and rhymes of the late 19th Century, and indeed of all time.

All of these Everyman's Library/Children's Classic books are sturdily bound with sewn sections that will not crack apart like so many books more cheaply constructed, and are an excellent value.

A minor note of clarification for anyone reading "A Apple Pie" aloud who may stumble at the "E - Eat" entry: like all the other verbs used to dispose of the Apple Pie down through the alphabet, this is a past tense form. Here "Eat" is an archaic form of "ate", and is properly pronounced "et" rather than "eet". Of course "Ate" doesn't work as an example of the letter "E".

This book is probably the best book out there,(to date), that gives a nice background of Kate's life, and also it contains some of Kate's sketches and color paintings.

If you love Kate's artistic style and have always wanted a book containing most of her art works, then this book will not disappoint.

From cute cherry cheeked little girls to bratty school boys, from the rich to the poor, from the sickly to the healthy, these paintings of children made by Victorian artists tell us a lot about the artists but also about the times they lived in. Many of the paintings don't touch on the subject of poverty or the hard life of the poor, not because the poor didn't have a hard life but because those types of paintings just didn't sell. Yet a few of the artists did try to show the truth, showing, in some ways, the street life of the lower classes and the fate of their offspring. From babies to young adults, this book is full of beauty and innocence.

These really hold up, and needleworkers will be rewarded, especially as redwork embroidery (for which these designs are perfect) is enjoying a renewed popularity these days. Interestingly, the Greenaway designs, although certainly sweet, aren't nearly as sugary as later ones that were based on her widespread & influential designs.

This book has adorable illustrations of Victorian children, and there is a poem for every day of the year. For each date, there are blanks to fill in the names of your loved ones, so that you can have a reminder of upcoming birthdays. I received this book from my Grandmother in 1978, and recently found it among items at my mother's house. My 5 year old daughter loves looking at this book, and having me read the text according to the birthdates of significant family and friends. I am enjoying reading the names of children and family I knew "way back when". I plan to continue entering the birthdays of people in my life now, as my memory could use a little jolt now and again! This book will surely be a keepsake for many, many years!

This is a fun book to read if you like symbolism, and even if you don't, it's fun to read the poems in the back. In this, almost every flower, clover and herb has a meaning and just about any flower you can you'll find in here. The illustrations are sweet, and this is a great reference if you're looking for something sentimental to give a friend.