" This is a reminder of hope and possibility, of kindness and compassion, and perhaps most salient imagination and liberty. Through the imaginations of our childhoods, can we find our true selves liberated in adulthood? Chelsea Handler In her debut children's book, Rebecca Solnit reimagines a classic fairytale with a fresh, feminist Cinderella and new plot twists that will inspire young readers to change the world, featuring gorgeous silhouettes from Arthur Rackham on each page. In this modern twist on the classic story, Cinderella, who would rather just be Ella, meets her fairy godmother, goes to a ball, and makes friends with a prince. But that is where the familiar story ends. Instead of waiting to be rescued, Cinderella learns that she can save herself and those around her by being true to herself and standing up for what she believes.Rebecca Solnit is the author of more than twenty books including Men Explain Things to Me, Call Them by Their True Names, Hope in the Dark, and The Mother of All Questions.Arthur Rackham (1867– 1939) was a prominent British illustrator of many classic children's books from The Fairy Tales of the Brothers Grimm to Sleeping Beauty. His watercolor silhouettes were featured in the original edition of Cinderella. "
Biographisches: " Arthur Rackham (1867-1939) was described by The London Times as one of the most eminent book illustrators of his day with a special place in the hearts of children. He was a prominent British illustrator of many classic children's books from The Fairy Tales of the Brothers Grimm to Sleeping Beauty to Fairy Tales by Hans Andersen and dozens more. His illustrations from the 1919 edition of Cinderella are timeless examples of his unique and beautiful watercolor sillouettes. " Rezension(2): "〈a href=http://www.publishersweekly.com target=blank〉〈img src=https://images.contentreserve.com/pw_logo.png alt=Publisher's Weekly border=0 /〉〈/a〉: February 25, 2019 In this progressive retelling, Solnit carefully excises nearly every aspect of the “Cinderella” tale that readers might find objectionable. No one falls in love, the prince wishes he was a farmer, and the stepsisters eventually apologize to Cinderella, who herself says, “It was very interesting to see all the fancy clothes... but even more interesting to see lizards become footwomen.” Every possible moral lesson is explicitly spelled out—“everyone can be a fairy godmother if they help someone who needs help, and anyone can be a wicked stepmother”—and the low-key action, which resolves in everyone finding the work that suits them, supports the idea that “there is no happily ever after, only... tomorrow... and the day after that.” Illustrations based on Rackham’s masterful, timeless silhouettes offer a counterpoint to a text that is very much of the moment. Ages 7–10. " Rezension(3): "〈a href=http://www.kirkusreviews.com target=blank〉〈img src=https://images.contentreserve.com/kirkus_logo.png alt=Kirkus border=0 /〉〈/a〉: With a little help from her fairy godmother, Cinderella takes care of business while learning how to be her best and freest self. With the avowed intention of creating a kinder vision of the familiar tale that also gets away from the invidious notion that marrying (preferably marrying up) is the main chance in life for women, Solnit (Call Them by Their True Names, 2018, Kirkus Prize winner in nonfiction) offers younger readers this revisionist Cinderella. She arrives at the ball attended by transformed footwomen, befriends Prince Nevermind (who really just wants to be a farmer), and, while her stepsisters take up careers in fashion, goes on to open a cake shop where she harbors refugee children. The author's efforts to get away from sexist tropes and language aren't entirely successful (one stepsister becomes a seamstress, for instance), and an analytical afterword in cramped type that rivals the tale itself for length further weighs down the wordy, lecture-laden narrative. Still, readers ready to question the assumptions innate in most variants, European ones in particular, will find this one refreshing. The carefully selected Rackham silhouettes, first published a century ago, invest Ella with proactive spirit while (as the author notes) sidestepping racial determinations (in skin color at least, if not hair texture). A story with a serious claim to universality again proves that it can bear a carriage full of messages. (lengthy source note) (Folktale. 8-10) COPYRIGHT(2019) Kirkus Reviews, ALL RIGHTS RESERVED. (Online Review) " Rezension(4): "〈a href=http://www.slj.com/ target=blank〉〈img src=https://images.contentreserve.com/schoollibraryjournal_logo.png alt=School Library Journal border=0 /〉〈/a〉: August 16, 2019 Gr 2-4- Though she still has plenty of dirty chores to do, Cinderella is not confined to household drudgery in this feminist reworking of the old tale. She's a good cook and bakes ginger cookies, and she's out and about visiting farms and the marketplace, becoming friends with all the workers there. On the day of the Prince's ball she's a skillful hairdresser for Pearlita and Paloma, those obnoxious stepsisters. And she's the most talented dancer when she herself arrives at the ball. Solnit tells the story in five numbered segments. She mostly follows the general scheme of Perrault, but this is not the romantic story of falling in love that he was telling. The fairy godmother, a little blue woman, shows up when Cinderella wishes that someone might help her. The familiar magic happens. Cinderella and Prince Nevermind (we don't know how or why the character names were devised) will become friends as both are liberated from their confining lives. In the lengthy closing section they are too young to marry but she owns a very successful bake shop, and he becomes a farm worker. Solnit explains how Ella (no more cinders) is a liberator-someone who helps others figure out how to be free. Selected silhouettes from Rackham's Cinderella and Sleeping Beauty work pretty well with the long narrative with its generous phrasing of conversations, descriptions, explanation of personality traits, and several philosophical lessons along the way. In a long afterword, the author discusses choices she made in selecting this story, reworking it, and choosing the Rackham illustrations. The liberator theme may be murky for many children. The feminization of some characters-the coachwoman, the footwomen, Cinderella's real mother the sea captain-will strike some readers as rather forced. Nonetheless, this is a version of the oft-told tale that will surely find a place among the copious retellings. VERDICT Give this variant to older fairy-tale fans. It could certainly be a fun discussion choice.-Margaret Bush, Simmons College, Boston Copyright 2019 School Library Journal, LLC Used with permission. "