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Original Essays | October 18, 2009

Victoria Hislop: IMG From Leprosy to Lorca — Strange Inspiration



My first novel, The Island, was inspired by a chance visit to a tiny island leper colony off the coast of Greece on our summer holiday. It was a... Continue »
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    The Return

    Victoria Hislop

The Adventures of Pinocchio (New York Review Books)

by Carlo Collodi

The Adventures of Pinocchio (New York Review Books) Cover

Synopses & Reviews

Publisher Comments:

Though one of the best-known books in the world, Pinocchio at the same time remains unknown--certainly in America, where it is linked in many minds to the Walt Disney movie that bears little relation to Carlo Collodi's splendid original. That story--is about, of course, a puppet who succeeds after many trials and tribulations in becoming a real boy, and is hardly the sentimental and morally improving tale it has been taken for. To the contrary, Pinocchio is one of the great subversives of the written page (you might compare him to his close contemporary Huck Finn), a madcap genius, hurtled along at the pleasure and mercy of his desires. It is his unabashedness, his unwillingness to give up on anything he wants, that drives him on and delights us. And Pinocchio the book, like Pinocchio the character, is one of the great inventions of world literature, a sublime anomaly, merging the traditions of the picaresque, of the commedia dell'arte, and of the fairy tale into a singular book that is at once adventure, comedy, and irreducible conundrum, one that anticipates surrealism and magical realism. Thronged with memorable characters and composed with the fluid but inevitable logic of a dream, Pinocchio is a masterpiece of satire, fantasy, and sheer wonder that is endlessly absorbing, amusing, and surprising: essential equipment for life.

In this new translation by Geoffrey Brock, the prizewinning translator of Cesare Pavese and Umberto Eco, Pinocchio finally has an English rendering worthy of the inspired original.

Synopsis:

Though one of the best-known books in the world, Pinocchio at the same time remains unknown--linked in many minds to the Walt Disney movie that bears little relation to Carlo Collodi's splendid original. That story is of course about a puppet who, after many trials, succeeds in becoming a real boy. Yet it is hardly a sentimental or morally improving tale. To the contrary, Pinocchio is one of the great subversives of the written page, a madcap genius hurtled along at the pleasure and mercy of his desires, a renegade who in many ways resembles his near contemporary Huck Finn.

Pinocchio the novel, no less than Pinocchio the character, is one of the great inventions of modern literature. A sublime anomaly, the book merges the traditions of the picaresque, of street theater, and of folk and fairy tales into a work that is at once adventure, satire, and a powerful enchantment that anticipates surrealism and magical realism. Thronged with memorable characters and composed with the fluid but inevitable logic of a dream, Pinocchio is an endlessly fascinating work that is essential equipment for life.

What Our Readers Are Saying

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Average customer rating based on 1 comment:
Edward, January 9, 2009 (view all comments by Edward)
An excellent translation.

If you only know the Disney film, it comes as a shock to read the original story of Pinocchio and discover that the Talking Cricket is killed by Pinocchio at their very first meeting. This unusual creature, who has lived in Geppetto’s house for a hundred years, offers Pinocchio a ‘great truth’, solemnly advising him that he will never come to any good if he doesn’t find a useful occupation, adding that he pities him for being a puppet.

At these last words, Pinocchio jumped up in a rage, grabbed a wooden mallet from the workbench, and flung it at the Talking Cricket.

Perhaps he didn’t mean to hit him at all, but unfortunately he hit him square on the head. With his last breath the poor Cricket cried cree-cree-cree and then died on the spot, stuck to the wall.

The new translation by Geoffrey Brock is wonderfully faithful to Collodi’s speed and vigour. Until now, the best-known modern translation has been Ann Lawson Lucas’s, and in several respects it is still a better buy, thanks to Lucas’s detailed explanatory notes and full historical preface, which are more useful than Umberto Eco’s thin introduction to the new edition. Judged purely as a translation, however, Brock’s version is more natural and engaging, with a better feeling for how to turn colloquial 19th-century Tuscan into colloquial modern English (or rather colloquial American, which is effectively the same thing).
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Product Details

ISBN:
9781590172896
Author:
Collodi, Carlo
Publisher:
New York Review of Books
Translator:
Brock, Geoffrey
Author:
Brock, Geoffrey
Afterword:
West, Rebecca
Subject:
Literary
Edition Description:
Paperback
Series:
New York Review Books
Publication Date:
November 2008
Binding:
Paperback
Language:
English
Illustrations:
Y
Pages:
189
Dimensions:
7.97x5.01x.46 in. .47 lbs.

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