Bibliographic Data:
San Souci, Robert D. 1998. Cendrillon. Ill. by Brian Pinkney. New York: Simon & Schuster Children's Publishing Division. ISBN 068980668X
Plot Summary:
This version of the classic Cinderella is based on the French Creole tale Cendrillon. Son Souci retold the story from the point of view of the godmother, or Nannin', which gives the tale a unique twist. The usual plot elements are all intact though: the girl is made to do work by her stepmother, there is a grand ball, and of course Cendrillon is found after leaving her slipper behind.
Critical Analysis:
Cinderella must be one of the most well-known fairy tales existing, and because of this variations on the tale are plentiful. In reading Cendrillon by Robert D. San Souci, the traditional elements of Cinderella are expanded upon to create a wonderful picture book.
The illustrations by Brian Pinkney explode with color. The painted etching feel of the illustrations blends well with the story to create a whole picture of the Caribbean world that Cendrillon is living in.
The story begins with the narrator, later to be revealed as Cendrillon's godmother, telling the story of her childhood. The origin of a familiar element, the wand used to change ordinary items into the carriage, ballgown, etc. for the ball, is introduced. In this version of the fairy tale, the godmother receives the wand from her mother as a child before she is orphaned, but finds no use for it until she wishes to help Cendrillon attend the ball.
The story continues as Cendrillon's stepmother works her constantly, and finally the notice of the ball comes. Cendrillon's nannin', or godmother, has her pick a fruit a pain, or breadfruit, to turn into a coach with the wand. Native Caribbean words for fruits and animals are used to bring the culture of the story to life. There is a glossary at the end of the book I referenced several times. The native words helped the classic and familiar fairy tale become something special and unique.
After the ball, the young man that danced with Cendrillon searches for her using her lost slipper. As is standard, she is locked in a room as her stepmother attempts to squeeze the stepsister's foot into the tiny shoe. As the godmother continues to narrate from the doorway inside the house she says, "If you cut off those big toes it would be a fine fit." This was my favorite part of the story as it is a direct homage to the Brother's Grimm version of the story where the stepsisters actually do have their toes cut off to fit the slipper. As it is in Cendrillon, it adds a somewhat comic touch.
Review Excerpts:
Publisher Weekly: Pinkney's oil and scratchboard illustrations burst with vigorous movement as he captures the exotic palette and the lush textures of the "green-green island in the so-blue Mer des Antilles." The lyrical cadences of the text spattered with French and Creole words combine with the sensuous paintings to bring the tropics to life. However, the story's charm lies not in the well-matched Caribbean bride and groom or in the (rather predictable) happy ending, but in the authentic voice of the godmother.
Connections:
Of course there are many picture books that tell the Cinderella story, but here are a few that use other cultures as well.
San Souci, Robert D. Sootface: An Ojibwa Cinderella Story. Ill. Daniel San Souci. Random House Children's Books. ISBN 044041363X
Hickox, Rebecca. Golden Sandal: A Middle Eastern Cinderella Story. Ill. by Will Hillenbrand. Holiday House, Inc. ISBN 0823415139
Louie, Ai-Ling. Yeh-Shen: A Cinderella Story from China. Ill. by Ed Young. Penguin Young Readers Group. ISBN 0698113888
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