Gr 1–3—Text and illustrations weave seamlessly to create an involving, fast-paced update of a much-loved tale. Rylant's retelling is abridged, yet sprightly, and Corace's watercolor, gouache, acrylic, and pen-and-ink illustrations add nuance and whimsy to Andersen's original. When the retelling states that, "Toys have their own mysterious lives and adventures that we may never know…," the artist shows a cozy, toy-filled playroom with an evil goblin glowering mysteriously in the shadows. Readers first meet the steadfast tin soldier, a brave toy with only one leg, and the beautiful little dancer, and see the playroom from their perspectives. When the goblin is introduced, kids see the scene from his shabby home in the matchbox under the stove. The retelling is enlivened by a keen sense of the characters. Despite tragic obstacles, the tin soldier, "managed to be as proud as ever, as all soldiers should in difficult times," while the little dancer, "kept her balance, as all dancers should in difficult times." The distinctive illustrations capture both the story's melodrama and playful appeal, such as when two boys salute the tin soldier as his newspaper boat speeds along the fast-moving gutter stream. This spirited retelling reinvigorates this classic tale.—
Marilyn Taniguchi, Beverly Hills Public Library, CAWhile faithfully tracing most of the canonical story, Rylant changes its slant and pulls it into the mainstream with a happy ending. Where Andersen plunged right into a crisp narrative ("There were once twenty-five tin soldiers, all brothers, for they all came from one old tin spoon" [Keigwen translation]), Rylant begins with her own explicit, different, theme ("There are some who believe toys cannot love, but this is far from true"). While neither endows toys with agency, Rylant gives them thoughts and emotions, whereas Andersen ironically suggests that any meanings to their experiences are borne of our imagination -- and that what this signifies is larger than the toys' drama. Still, Rylant is an appealing storyteller, and though she lets the soldier stay "forevermore" with the little dancer, that romantic outcome may suit those who find the Dane's bittersweet ending hard to bear. Large, broad spreads suggest group sharing; closer perusal reveals many a detail, especially of toys in a well-filled nursery. In Corace's mixed-media art, with its puddled-on watercolor and flat perspectives, these details can be individually intriguing, though at times the overall effect is unfocused and cluttered (especially an unforgivably information-distressed title page). Earlier (and handsome) editions illustrated by Fred Marcellino and P. J. Lynch (both rev. 3/93) are truer to Andersen, but Rylant's is sure to find a place. joanna rudge long
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