From Publishers Weekly
Everyone thinks Ivan the Fool, the youngest of a wealthy merchant's three sons, is too preoccupied with such questions as whether the world is round or flat to be trusted with a sailing expedition of his own. But Ivan protests and is given a boat with the least risky cargo imaginable: wooden spoons. He quickly finds a more lucrative replacement when he chances on an island with a mountain of salt. Sure enough, his newly acquired barrels of salt bring him good fortune: he wins the love of a princess wasting away from gustatory boredom when he secretly flavors her soup, and he wrangles a ride home from a giant by sprinkling salt on his wounded thumb until the giant promises him anything he desires. Despite interference from his brothers, who go so far as to dump him overboard after he has rescued them from their own failed expeditions, Ivan returns home victorious. Caldecott Honor recipient Plume's richly patterned illustrations are filled with Russian folklore motifs and framed in decorative golden borders, as is the text, a formal effect nicely balanced by the soft, glowing palette. The result: a dignified simplicity well-matched by Newbery Honoree Langton's fairy-tale vocabulary and graceful prose. Ages 5-8.
Copyright 1992 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From School Library Journal
Kindergarten-Grade 4-- A stately and colorful version of a well-known Russian folktale. After his two older brothers are given ships and sent to seek their fortunes by trading, Ivan the Fool pleads with his father to give him a ship as well. Blown off course by a storm, he accidently discovers a mountain made of salt. This discovery insures him riches, the hand of the tsar's daughter, and triumph over his jealous brothers. The story closely follows the version collected and popularized by Alexander Afanasev. Langton's complex retelling emphasizes the resourcefulness of Ivan and the exotic settings of old Russia. Executed in colored pencil on what appears to be white illustration board, Ilse Plume's full-page illustrations feature bright colors, decorative hand-drawn borders, and a slightly grainy texture. In both color and softness, they are somewhat reminiscent of the d'Aulaires work. Although the human faces and figures are awkwardly handled, Plume is adept at turning waves, leaves, clouds, and fabric into stylized shapes that nicely complement the text. The somewhat lengthy text combines with the detail of the illustrations, making this a good choice for independent reading. While it doesn't erase memories of Harve and Margot Zemachs' splendid picture book of the same name (Follett, 1965), this is a noteworthy interpretation of an important folktale. --Denise Anton Wright, Illinois State University, Normal
Copyright 1992 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.