Antoine de Saint-Exupéry first published The Little Prince
in 1943, only a year before his Lockheed P-38 vanished over the Mediterranean during a reconnaissance mission. More than a half century later, this fable of love and loneliness has lost none of its power. The narrator is a downed pilot in the Sahara Desert, frantically trying to repair his wrecked plane. His efforts are interrupted one day by the apparition of a little, well, prince, who asks him to draw a sheep. "In the face of an overpowering mystery, you don't dare disobey," the narrator recalls. "Absurd as it seemed, a thousand miles from all inhabited regions and in danger of death, I took a scrap of paper and a pen out of my pocket." And so begins their dialogue, which stretches the narrator's imagination in all sorts of surprising, childlike directions.
The Little Prince describes his journey from planet to planet, each tiny world populated by a single adult. It's a wonderfully inventive sequence, which evokes not only the great fairy tales but also such monuments of postmodern whimsy as Italo Calvino's Invisible Cities. And despite his tone of gentle bemusement, Saint-Exupéry pulls off some fine satiric touches, too. There's the king, for example, who commands the Little Prince to function as a one-man (or one-boy) judiciary:
I have good reason to believe that there is an old rat living somewhere on my planet. I hear him at night. You could judge that old rat. From time to time you will condemn him to death. That way his life will depend on your justice. But you'll pardon him each time for economy's sake. There's only one rat.
The author pokes similar fun at a businessman, a geographer, and a lamplighter, all of whom signify some futile aspect of adult existence. Yet his tale is ultimately a tender one--a heartfelt exposition of sadness and solitude, which never turns into Peter Pan
-style treacle. Such delicacy of tone can present real headaches for a translator, and in her 1943 translation
, Katherine Woods sometimes wandered off the mark, giving the text a slightly wooden or didactic accent. Happily, Richard Howard (who did a fine nip-and-tuck job on Stendhal's The Charterhouse of Parma
in 1999) has streamlined and simplified to wonderful effect. The result is a new and improved version of an indestructible classic, which also restores the original artwork to full color. "Trying to be witty," we're told at one point, "leads to lying, more or less." But Saint-Exupéry's drawings offer a handy rebuttal: they're fresh, funny, and like the book itself, rigorously truthful. --James Marcus
From School Library Journal
Grade 4 Up—Saint-Exupéry's little prince, interplanetary traveler and ingenuous seeker of that which is most important in life, returns in an elegant pop-up edition with unabridged text. The original artwork has been repositioned and redesigned to incorporate movable sculptures, turning wheels, and other visual effects. Almost every spread features an illustration, each carefully placed to add to the story's pacing and augment its impact. For example, readers' first glimpse of the little prince's tiny planet is dramatically presented via an illustration that spins upright as the page is turned. The boy's recounting of his relationship with his beloved yet vexing flower is made more immediate through a series of sequenced flaps, each harboring a tiny pop-up image. A towering 3-D depiction of the protagonist posed atop a mountain peak underscores his sense of loneliness. Delineated with a delicate touch, the paper engineering adds a new dimension to this wistful fairy tale without overpowering it, enhancing the story's subtleties and echoing its sense of wonder.—Joy Fleishhacker
, School Library Journal
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