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Sto caricando le informazioni... The Castawaydi James Stevenson
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During a family vacation, Hubie the mouse falls out of a dirigible and is stranded on a tropical island, where a very inventive fellow castaway, Leo, helps him overcome his fears. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)517Natural sciences and mathematics Mathematics CalculusClassificazione LCVotoMedia:
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The rambling narrative in this hybrid picture book/comic is typical of the kind of thing one of my writing teachers used to refer to as the "one damn thing after another" sort of story. Initially I bristled at this sort of description of a narrative because, in my scholarly MFA haze, I believed it was a possible approach to storytelling that would appeal to boys and was not bound by the hard and fast laws of Aristotlean thought. What I've since come to understand is that the real problem with this sort of structure is that it is difficult to pull off, and as a result it is easy to declaim it as an inferior narrative device rather than confuse young writers with nuance.
If this seems like far too heavy an approach to a children's picture book allow me to suggest that underneath the visceral "I like" and "I don't like" there are sometimes sophisticated reasons beneath what "works" and doesn't, and puzzling out what causes that rift I find useful. In The Castaway what doesn't work is that the one-thing-after-another (which for a variety of reasons I think of as an Ovidian structure) doesn't convincingly build to it's conclusion. In the beginning we have Hubie who is clearly afraid, and in the end we have Hubie the fearless, and in between we have a series of events that happen to him that show no shading of his changing emotional state. It doesn't "work" because it doesn't satisfy our desire to see exactly how the character changes. Events happening to a character don't necessarily change a character unless we can see how. Things happen just because, and we all understand how unsatisfying "just because" can be as an answer.
Along those same lines I think Stevenson gets away with it because he can, because his stature as a children's illustrator is high enough that he can put together a story like this and not be challenged at the editorial level because the publishers can bank on his name making more sales than if an unknown were to put out a similar book. Don't misunderstand, I genuinely like Stevenson's loose ink drawings for the same reasons I like Quintin Blake's work; both artists have a shabby gestural style that is immediately recognizable and for the most part fun.
I wouldn't say I had high hopes going into this book, but it did surprise me that Stevenson had put out essentially a graphic novel for the picture book set before it fell into vogue and I was curious to know why it hadn't shown up on my radar before. Now I know. Style and concept can't carry weak execution on the narrative level. ( )