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Editorial Reviews
From Publishers Weekly
This Brothers Grimm story of a good-hearted princess usurped by her maid and turned into a common goose girl is classic fairy tale fodder, and Kimmel revels in the magical, wistful aspects of this fanciful genre. Kimmel's princess is sweet and demure, like most fairy tale princesses are. (So much so that she puts up with her maid's abuses for fear of being rude, even after she's forced to fetch her own drink of water and-horrors!-soil her beautiful dress.) In this world a dead horse waxes poetic, the evil maid is cruelly punished and the princess sits in the foreground of a pastoral setting while her hair sparkles "in the sunlight like threads of pure gold." Sauber's (I-Know-Not-What, I-Know-Not-Where) earthy colors and loose brush strokes combine for a painterly look that effectively portrays the romance of this fantasy land; each piece of artwork is framed with a decorative border. With its castles and steeds, noblesse oblige and happy ending, this is a good choice for those looking for old-fashioned make-believe. Ages 5-8.
Copyright 1995 Reed Business Information, Inc.
From School Library Journal
Grade 1-3?Kimmel's retelling sticks closely to the Grimms' tale of a princess whose serving girl forces her to reverse roles during the long journey to meet her betrothed. While the princess is relegated to tending the geese, the evil impostor is welcomed into the castle and has Falada, the enchanted horse, put to death. His magic, however, has not died, and it is the words of her faithful animal and the kindness of the king that eventually restores the princess to her rightful place. Sauber, who collaborated with Kimmel in I-Know-Not-What, I-Know-Not-Where (Holiday, 1994), frames each page in a decorative border. The story is propelled by Kimmel's perfect pacing and phrasing and by the vitality of the oil paintings, achieved through a sense of rapid dashes of color, with some scenes having an almost unfinished quality. The artist also pushes many of the details beyond the borders and makes the most of the princess's flowing, flaming tresses. Most libraries will want to own this title.?Wendy Lukehart, Dauphin County Library, Harrisburg, PA
Copyright 1995 Reed Business Information, Inc.
See all Editorial Reviews
This Brothers Grimm story of a good-hearted princess usurped by her maid and turned into a common goose girl is classic fairy tale fodder, and Kimmel revels in the magical, wistful aspects of this fanciful genre. Kimmel's princess is sweet and demure, like most fairy tale princesses are. (So much so that she puts up with her maid's abuses for fear of being rude, even after she's forced to fetch her own drink of water and-horrors!-soil her beautiful dress.) In this world a dead horse waxes poetic, the evil maid is cruelly punished and the princess sits in the foreground of a pastoral setting while her hair sparkles "in the sunlight like threads of pure gold." Sauber's (I-Know-Not-What, I-Know-Not-Where) earthy colors and loose brush strokes combine for a painterly look that effectively portrays the romance of this fantasy land; each piece of artwork is framed with a decorative border. With its castles and steeds, noblesse oblige and happy ending, this is a good choice for those looking for old-fashioned make-believe. Ages 5-8.
Copyright 1995 Reed Business Information, Inc.
From School Library Journal
Grade 1-3?Kimmel's retelling sticks closely to the Grimms' tale of a princess whose serving girl forces her to reverse roles during the long journey to meet her betrothed. While the princess is relegated to tending the geese, the evil impostor is welcomed into the castle and has Falada, the enchanted horse, put to death. His magic, however, has not died, and it is the words of her faithful animal and the kindness of the king that eventually restores the princess to her rightful place. Sauber, who collaborated with Kimmel in I-Know-Not-What, I-Know-Not-Where (Holiday, 1994), frames each page in a decorative border. The story is propelled by Kimmel's perfect pacing and phrasing and by the vitality of the oil paintings, achieved through a sense of rapid dashes of color, with some scenes having an almost unfinished quality. The artist also pushes many of the details beyond the borders and makes the most of the princess's flowing, flaming tresses. Most libraries will want to own this title.?Wendy Lukehart, Dauphin County Library, Harrisburg, PA
Copyright 1995 Reed Business Information, Inc.
See all Editorial Reviews
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- Deconstructing the Hero: Literary Theory and Children's Literature by Marger Hourihan on page 193, page 195, and page 196
- From the Beast to the Blonde: On Fairy Tales and Their Tellers by Marina Warner on page 127, page 150, and page 192
- Deconstructing the Hero: Literary Theory and Children's Literature by Marger Hourihan on page 193, page 195, and page 196
- The Uses of Enchantment: The Meaning and Importance of Fairy Tales by Bruno Bettelheim on page 136, page 143, and Back Matter
- The Therapeutic Use of Stories: A Handbook for Professionals by Kedar Dwivedi on page 47, and page 62
See all 57 books citing this book
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