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Editorial Reviews
From Publishers Weekly
In 25 myths, life begins after some being either directs others to get or make soil, or forms the earth from nothing, or opens a box, or separates earth, sky and waters; the methods of creation are only limited by the number of stories in the book. The tales are varied, representing many world cultures and traditions; somelike the story of Pandorawill be known to readers, although they may not have identified it previously as a creation myth. The tellings, too, are varied, sometimes somber and other times lilting. In her introduction, Hamilton calls the phrase "In the beginning . . . " a "classic opening, although not the only opening," but many of the tales begin this way, which suggests a tacit endorsement of the phrase. Additionally, she asserts that limitations of space "do not allow for all of the important world myths to be presented here. Also, not all myths are easily rendered on a level of understanding for many readers." Simply by addressing such limitations, Hamilton embraces the only problem with the workthat it does not encompass every culture or even every world region. Moser's watercolors gleam like jewels amid the setting of the text. His people and creatures gaze out at readers, as if to challenge their imaginations to comprehend the chaos before creation. All ages.
Copyright 1988 Reed Business Information, Inc.
From School Library Journal
Grade 6 Up Twenty-five creation myths from such diverse cultures as China, Tahiti, Micronesia, and Australia. Illustrated with 42 dramatic , full-color paintings, this is a handsome representative collection. Hamilton's introduction briefly defines creation myths and places them within the formal cultural structure that gives them authority. Her commitment to stay true to the simplicity of style of many creation myths results in some brilliant retellings, complete with the clarity of vision and fluidity of language synonymous with her work. While most of these retold myths are highly successful, others lack the precision of the ``perfect word'' associated with Hamilton. (One example is the jarring use of the modern word ``aide,'' as in aides to a god in a Zambian creation myth.) Although the placement of the explanatory notes at the end of each myth is less effective than if they were placed at the beginning, the book is handsomely designed. Each myth opens with a striking full-page painting, each of which is truly evocative and powerful in design and content. Text and illustrations together result in a strong, effective piece of work. Janice M. Del Negro, Chicago Public Lib .
Copyright 1988 Reed Business Information, Inc.
See all Editorial Reviews
In 25 myths, life begins after some being either directs others to get or make soil, or forms the earth from nothing, or opens a box, or separates earth, sky and waters; the methods of creation are only limited by the number of stories in the book. The tales are varied, representing many world cultures and traditions; somelike the story of Pandorawill be known to readers, although they may not have identified it previously as a creation myth. The tellings, too, are varied, sometimes somber and other times lilting. In her introduction, Hamilton calls the phrase "In the beginning . . . " a "classic opening, although not the only opening," but many of the tales begin this way, which suggests a tacit endorsement of the phrase. Additionally, she asserts that limitations of space "do not allow for all of the important world myths to be presented here. Also, not all myths are easily rendered on a level of understanding for many readers." Simply by addressing such limitations, Hamilton embraces the only problem with the workthat it does not encompass every culture or even every world region. Moser's watercolors gleam like jewels amid the setting of the text. His people and creatures gaze out at readers, as if to challenge their imaginations to comprehend the chaos before creation. All ages.
Copyright 1988 Reed Business Information, Inc.
From School Library Journal
Grade 6 Up Twenty-five creation myths from such diverse cultures as China, Tahiti, Micronesia, and Australia. Illustrated with 42 dramatic , full-color paintings, this is a handsome representative collection. Hamilton's introduction briefly defines creation myths and places them within the formal cultural structure that gives them authority. Her commitment to stay true to the simplicity of style of many creation myths results in some brilliant retellings, complete with the clarity of vision and fluidity of language synonymous with her work. While most of these retold myths are highly successful, others lack the precision of the ``perfect word'' associated with Hamilton. (One example is the jarring use of the modern word ``aide,'' as in aides to a god in a Zambian creation myth.) Although the placement of the explanatory notes at the end of each myth is less effective than if they were placed at the beginning, the book is handsomely designed. Each myth opens with a striking full-page painting, each of which is truly evocative and powerful in design and content. Text and illustrations together result in a strong, effective piece of work. Janice M. Del Negro, Chicago Public Lib .
Copyright 1988 Reed Business Information, Inc.
See all Editorial Reviews
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