From School Library Journal
Grade 1-4?A Bluebeard variant from Italy. The two younger daughters of an old washerwoman are lovely, foolish, and useless, while the oldest is homely, clever, and strong. She is also fiercely protective of her sisters, and when each is carried off by the mysterious Count Silvernose and later reported dead, Assunta resolves to discover the truth. She finds her sisters alive, tormented by imps and demons in a fiery pit. She rescues them and outwits the wicked Count, who ends up in the pit himself. Kimmel's smooth, richly detailed narrative differs significantly from the source cited, building on its basic framework and adding original interpretation and characterization. Assunta is a memorable and powerful heroine and more than a match for the shallow, smooth-talking Count. Rayyan's impressive watercolors resemble a Renaissance sketchbook. Many of the double-page spreads lead the eye from sepia-washed sketches to a central, vibrantly colored, and sometimes scary painting. The centerpiece is a magnificent spread of Assunta walloping the imps and demons. Rayyan's command of color, line, and movement is exceptional, and the illustrations and narrative balance one another beautifully. A striking offering.?Donna L. Scanlon, Lancaster County Library, PA
Copyright 1996 Reed Business Information, Inc.
Gr. 3^-6. She is as "ugly as a barn door," with a wart on her nose and a glass eye, but Assunta is clever, and she dearly loves her beautiful sisters. When a mysterious stranger with a silver nose rides in looking for a servant, Assunta's foolish sister Maria goes off with him. A week later, the stranger returns for another sister, claiming Maria has died. When he comes a third time, Assunta goes with him, determined either to rescue or to avenge her sisters, as the case may be. With ingenuity and courage, Assunta finds her sisters behind the forbidden thirteenth door, puts her glass eye to good use, and gives Count Silvernose his just reward. Kimmel's storytelling combines humor and suspense, pitting good against evil and delivering a magnificently satisfying conclusion. Rayyan's watercolors ingeniously reproduce, as his note indicates, a sixteenth-century Italian sketchbook, with the beatific faces characteristic of Renaissance art in fine contrast to the lumpy homeliness and power of Assunta. Tattered edges and tiny cracks of age add character to the sketchbook pages, and lightly sketched details blend with more finished work to create an effect that is both elegant and energetic. Perfect for convincing older children that picture books aren't just for preschoolers.
Susan Dove Lempke