Cinderella

July 31, 2000
As lavish as Craft's (King Midas and the Golden Touch) previous works, this retold fairy tale abounds with ornamental detail. Inspired by the opulent styles of 17th- and 18th-century France, the paintings are confections of luxurious clothing, densely vegetated woods and regally appointed ballrooms. A number of the pictures are breathtaking: Craft's painting of Cinderella's ornate gold carriage flying through the sky is as romantic as any fairy-tale aficionado could wish for. Elaborate initials introduce the narrative on each spread, and the text almost always faces full-page illustrations. The story, adapted from Arthur Rackham's and Andrew Lang's versions, contains pleasing touches as well as a moral. For example, Cinderella and the prince first meet when Cinderella nurses a lame bluebird in the forest; this same bluebird later becomes the fairy godmother. When the glass slipper fits Cinderella, the prince says, "How I knew that day in the woods that you were indeed special, but I should have fully recognized that heart whether clothed in rags or regalia." While this is not the most childlike version of Cinderella, it may be among the most sumptuous. All ages.

November 1, 2000
PreS-Gr 4-Craft retains some of Perrault's formality and many of his story elements in this sumptuous rendition of the oft-told tale. An introductory note points to sources that include The Arthur Rackham Fairy Book, Andrew Lang's The Blue Fairy Book, and the Grimms' "Aschenputtel," in which a bird grants the wish. Craft incorporates the creature at key points throughout her tale. Early on, a bluebird's injury creates a reason for Cinderella to linger in the forest, whereupon she encounters the prince in her unadorned state. Later, it is transformed into a Maxfield Parrish-inspired fairy godmother. Finally, the prince compares his guest's sweet voice to the warbler that sings at his window. While pulling some visual details from the Art Nouveau tradition-most notably the symbolic gilt peacocks in the cover's border-the oil-over-watercolor scenes are mostly reminiscent of French 17th and 18th-century paintings. A consummate artist, Craft conveys the sheen of pearls, the delicacy of lace, the volume of period fashion. She controls the pace with one-page compositions (faced with bordered, illuminated text) interspersed with wordless double spreads at climactic moments. Groups or individuals will enjoy contrasting this offering to Brian Pinkney's artwork for Robert San Souci's Cendrillon (S & S, 1998) or Alan Schroeder's Smoky Mountain Rose (Puffin, 2000). Make room for this one.-Wendy Lukehart, Dauphin County Library, Harrisburg, PA

Copyright 2000 School Library Journal, LLC Used with permission.

Starred review from November 1, 2000
Ages 5-8, younger for reading aloud. Goode tells this version of the Cinderella story almost with a straight face. It's the pictures that give it away: all the characters are dogs. Although the various breeds are no doubt recognizable to dog lovers, there's little concession to dogginess: they wear eighteenth-century clothing and wigs and inhabit fine homes and palaces. Cinderella's dress at the first ball is a doggy fantasy, with bunnies and foxes embroidered on her skirts. Dog biscuits adorn not only all the banquet food but also most of the clothing and hairdos, and, for a final visual fillip, the prince is a dog about half the size of Cinderella. The pastel palette sets off the browns, blacks, and grays of the canine populace nicely, and a good time is had by all --even the forgiven stepsisters. \plain\f2\fs17 (Reprinted with permission of Booklist, copyright 2000, American Library Association.)