Publishers Weekly - Publisher's Weekly
Midway on the spectrum between the harshness of Carlo Collodi's (1826-1890) original and the sweet, sanitized Disney version lies this thoughtful adaptation. Young (Seven Blind Mice) views the story theatrically, in an author's note emphasizing the influence of the commedia dell'arte, and dividing the story itself into "scenes." But other than this structural tinkering, Young stays true to the plot, deviating from the original only to smooth out the rough edges for a modern audience. For example, he includes Pinocchio's near-fatal hanging, yet omits morbid details. The stylized cut-paper, fabric and chalk illustrations, however, are problematic. While inventive and skilled, they have little emotional appeal and may even be unsettling with their dissonant, clashing colors. Earlier versions by Roberto Innocenti and Chris McEwan are more visually pleasing, but Young's storytelling is the most in tune with a young audience. Ages 6-up. (Sept.)
School Library Journal
K-Gr 3Although originally a full- length book, the thread of Collodi's story (via Disney) is what has become embedded in our culture, and that thread is what Metaxas chooses to retell here. He focuses on some of the best-known characters and portions of the tale, smoothly leading Pinocchio from one episode to the next. Some of the macabre moments have been altered: Pinocchio chases away the talking cricket rather than squashing it, and the Blue Fairy rescues the puppet from two assassins rather than leaving him to be hanged. Ajhar's muted watercolor illustrations support the text well, and the portrayal of Pinocchio is especially appealinghe has a pathetic and puzzled expression on his face for most of the book. While Metaxas and Ajhar have done a good job, the accompanying audiotape is the crowning touch. Danny Aiello's honey-and-gravel voice adds dimension to the text, and the merry music of Les Misrables Brass Band provides perfect punctuation for the hapless puppet.Donna L. Scanlon, Lancaster County Library, PA
Kirkus Reviews
What most readers know of Pinocchio is a wooden puppet whose nose grows from telling lies. This episode—longer than a picture book but shorter than the original tale—is one small chapter in the exploits and adventures of Pinocchio, the boy wannabe. An illustrated adaptation, it follows the original M.A. Murray translation closely, yet succeeds without the long-windedness of the 1892 classic, and with all the rich language, spirited characters, and lively escapades intact. Inspired by the commedia dell'arte, the Italian traveling street theater of Collodi's time, Young (Night Visitors, 1995, etc.) has created scenes that authentically capture the playlike quality of the story. Reminiscent of his colorful cut-paper collage in Seven Blind Mice (1993), the array of characters and images cleverly reflect a stage production, complete with double-page spreads that act as scenery backdrops. It's an energetic rendition that invites the audience to meet again the mischievous puppet with all his foibles, setting the stage for an Oz-like ending that reaffirms the power of good.
