| Author | Message | ||
| Jenn |
The Tale of Despereaux, by Kate DiCamillo, is a delightful novel that blends the best elements of the fantasy, heroic epic and fairy tale genres. Add to that some complex characters who pursue their dreams at all costs and you have this “must read”. The characters are extremely well developed. Despereaux Tilling, the youngest mouse of his litter, is portrayed as an exceptional mouse from birth. “Despereaux’s eyes should not have been open. But they were. He was staring at the sun reflecting off his mother’s mirror. The light was shining onto the ceiling in an oval of brilliance, and he was smiling up at the sight” (13). Despereaux Tilling is a Renaissance mouse; he values the finer things —music, the arts, classic literature and a brimming bowl of delicious soup. The narrator is equally complex as the other characters within this novel i.e. Princess Pea, Roscuro, and Miggery Sow. The narrator educates the reader regarding the character’s past, foreshadows future conflict and serves to reassure during pivotal moments. “[The Rat, the Princess and the serving girl] sat together until the candle had burned out and another one had to be lit. They sat together in the dungeon. They sat. And Sat. And reader, truthfully, they might be sitting there still if a mouse had not arrived” (257). The plot moves briskly between the four books; each book highlights a different set of characters. Yet DiCamillo successfully weaves the story lines together with the voice of the narrator. She explores many themes within this rich tale: good vs. evil, light vs. dark, what it means to be honorable and the power of hope. The text is carefully crafted; the cadence of words flows effortlessly. This is one of those books that I would like to listen to on audio. The Newbery award criteria states that “the committee members must consider excellence of presentation for a child audience; The Tale of Despereaux appeals to both children and adults (http://www.ala.org/ala/alsc/awardsscholarships/literaryawds/newberymedal/newbery terms/newberyterms.htm). |
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| Shirley |
This was my actual 3rd choice--I loved this book and recently reread parts of it aloud to my children's lit classes. The style just flows so graciously. I love the actual book and cannot imagine it being published as a paperback. |
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| Rachel |
As an aside, Jenn, what a great presentation! It brought back many memories of reading this book. Thanks. Besides nodding my head off in agreement with Jenn, here are some other things I loved about the book....DiCamillo presents ideas that are very complex and abstract, e.g. love, honor, hope, empathy, in a way that can be understood by children (and I'm thinking on the younger spectrum of our audience). And she does this without simplification or condescension. Here I'm thinking back to what Roxanne wrote in another thread about the special talents of good children's writers. A good example of DiCamillo "unpacking" a complex idea is her description of Pea's heart as she's led down to the dungeon, page 198. DiCamillo describes very simply what it means to be terrified and angry, but to still be able to open to what the other person is feeling: empathy. |
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| Roxanne |
What I found extraordinary of this work is how the tone is breezy and cozy, and yet, the story is dark and the quest dangerous. Also a strong point for me: that those who were influenced by the darkness are not that easily mended. The struggle that still goes on at the end of the story for Roscuro between his desire for light and his life-long habit of darkness gives the story the weight of truth. -- Roxanne |
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| Katrina |
Well, I appreciated Desperaux and Pea and Roscuro - but had a real problem with Miggery Sow. Her life was horrible. She was sold for nothing and became the slave of an abusive man who beat her to the point of being deaf and having huge cauiflour ears. I thought perhaps the princess would have some pity on her, help her to overcome the abuse, bring some sunshine in - but alas, no. I felt that diCamillo treated this abuse very lightly as if it were of no consequence - making Miggory into a somewhat imbecile who did not matter to anyone - as indeed, she did not. This colored a story and writing that for me was otherwise enjoyable - I would always have the "but" - but what about Miggory? I am amazed that it received the Newbery. How am I misinterpreting this as no one else seems to notice it? |
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| Rachel |
Miggery's abuse seems to be made light of, but kind of in the way that many horrible things are made light of in a traditional tale. I do think Miggery mattered, though. It's Pea who finally asks her what she wants, page 254. And though Mig doesn't become a princess, her father treats her like one the rest of his life, page 267. |
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| Jane |
I, too, admire DiCamillo's skill at using the elements of old-style fairy tales while giving the story a modern sensibility and humor that make it unique. |
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| Roxanne |
hey, hey, hey.. we have not opened the forum for criticism yet... oh, well... I guess all my pleas were just blown in the wind!! *sigh* -- Roxanne |
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| Katrina |
I'm sorry, I knew that. Because things seem to be moving so much more slowly, I was wondering if everyone was done commenting with the postives - and also because I am anxious to hear the opinions of others. |
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| Roxanne |
Katrina, It's alright.. I was hoping to see more posts for each book, also. Maybe everyone was busy today! -- Roxanne |
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| Roxanne |
Can anyone offer your take on Miggery Sow? I think it is an important aspect in the book - she is NOT just a supporting character, but one of the movers of the storyline (actually, everyone in the story is integral to the advancing of events. Not a single piece can be removed from this tightly woven story,) and quite a real villain. Does anyone else feel the same as Katrina? Completely opposite? Can't decide? Let's explore this more. -- Roxanne |
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| Susan |
I agree that Miggery Sow is a villan in the story, and it is her desire to be a princess that is one of the driving forces to the story. That is her quest. Do not each of the characters search for something, follow the thread (literaly) through the darkness to find their heart's desires? That she has been mistreated allows us to feel more compassion for her. (Compare her to Tadpole, but this is likely not the right place for that, sorry, Roxanne.) Delineation of setting is one of our criteria, and the palace, especially the dungeon and the kitchen were described well. In terms of style, the narrative, storyteller's voice is introduced right away with "The world is dark, and light is precious. Come closer, dear reader. You must trust me. I am telling you a story." Just in that admonishment DiCamillo has established the voice and the theme and foreshadows that all will come out right in the end (at least, that is how I read the "trust me" part). The foreshadowing occurs throughout the book, and this helps the readers. And the storyteller's voice asks questions of the reader. This shows that the narrator respects the reader's opinion and skill in anticipating, and recalls the reader to the threads of the plot. It allows the young readers to feel pride in figuring it out. When introducing it to third and fourth graders, after just the first 3 chapters, they know that Despereaux is different, that his differences will get him into trouble, but that he has been touched by light, and will likely triumph, but the quest will be difficult. That is alot of plot and characterization in just the first few pages. |
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| Shirley |
I hadn't read this book in awhile until this last week when I read the opening chapters to my classes. I was again impressed with the flow of the language. I loaned my book out today, but I'm thinking of the passage such as when the reader is asked if it is ridiculous for Despereaux to fall in love with a princess and we are told love is ridiculous, but wonderful. And other similar passages. The writing is really beautiful. As for Miggory, she is not a very nice person at all. True, she has been mistreated horribly, but she is very willing to treat others badly. (I used to teach in reform school and was an adult parole officer so maybe I am jaded. ) But she isn't a nice person at all. So maybe I don't feel so badly for her. Also, as has been noted this is like a folktale and the violence is treated as such. Miggory wants to be a princess and is willing to do whatever it takes. Despereaux was not my first choice, but I can definitely agree that it is worthy of an award. |
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| Roxanne |
Regarding Miggery: I agree strongly with Susan's analysis. I believe that the Readers need the miserable life history and its influence on Miggery to make sense of her willingness in such a despicable plot -- without this back story, we will just have another senseless act of evil. The Storyteller (DiCamillo, not the Narrator) seems to be attempting at making sense of how and why evil acts happen -- and eventually, how they these acts might be defeated by light and Story, which is Knowing How Things Come About (which is Knowledge.) So, from the plot angle, Miggery's abuse is necessary; and from the thematic angle, it is crucial. Rachel already pointed out that Miggery goes back to her father, a reformed man, and supposedly has a better life. |
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| Moira |
I too was disturbed by the fact that the facts of Miggory's life were treated far more lightly than I felt they deserved, however, she was emotionally scarred to the point that she was very unkind. She only hesitates in Roscuro's plan when it is clear that she must hurt Pea, but anything else to become a princess is fine. When I look at the book as a whole, I can see her treatment as the violence that is so often an element of fairy tales (roasting the witch in the oven in Hansel and Gretl for example) where it is simply seen as just desserts. While I was reading the book, I felt more strongly about Miggory's treatment. I wonder if perhaps this might influence some of the more sensitive children reading the book? Overall, I still adored the book for the beauty of its language and the ideas on love and life the narrator passes along to the reader. The plot flows smoothly through the different books, and the narration serves as a comfort to the reader during the more dire moments, particularly those in the dark dungeon (my book has been returned to the library, so I apologize for no specific page references!). |
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| Jane |
(Can we mention elements of this book we didn't like yet? I will anyway) I must confess that I disliked this book by the time I got the end of it. At first I couldn't pinpoint what it was that I found so annoying, but I decided it was simply DiCamillo's use of the word "reader." For whatever reason I found it condescending and grating and also kind of derivative. I'm not sure it's entirely DiCamillo's fault, but everytime I read that I thought of the back cover of the Lemony Snicket books with their letters to "Dear Reader." I didn't mind it (I even enjoyed it) on those books because they are meant to be humorous and over the top. I don't think the intent of "Tale of Despereaux" was to be humorous in quite this way and so I found this writing style to be incongruous with the tone of the story. It wasn't even the conversational style in general that bothered me, it was just the endless repetition of that word that finally got to me. |
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| Susan |
I found the repetition of "reader" comforting, as if I was at the Storyteller's knee, and being reassured that the story will follow the threads to the light, to a conclusion satisfying to Despereaux, and hence, to me. |
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| Roxanne |
Yes, we can definitely start our concerns and problems of this title. I'm responding to the comment on the use of READER in the book (in defense of DiCamillo): The addressing of the READER is a tradition that dates way back (17th century English Lit.) Many Victorian and early 20th children's authors used this conversational tone. Lemony Snicket utilizes the Dear Reader convention in a parodic way -- making fun of a much established tradition to create comic effects. DiCamillo, on the other hand, uses this tradition to fit the form of the old fashioned storytelling style. So, I think it is absolutely natural for anyone to either find this style comforting or grating (I imagine most child readers will find it a great comfort.) However, I plea that we do NOT fault DiCamillo for something she did not do -- which is copying Lemony Snicket. |
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| Cherri |
Despereaux did not draw me in readily as some of our other books did. This was one of the first books I started reading, and I expected to be engaged quickly. I'm still analyzing why (more to follow in the compare and contrast section). |
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| Wendy |
I echo Susan's first posting. The storyteller's presence creates an interactive and comforting reading experience. The "dear reader" technique, I found to be an invitation to the story. By inviting or asking the reader to join the story, the audience is empowered to not just read the work, but become involved in the story. I love the way you used the word "respect" in your posting, Susan. Other strength of the book: DiCamillo's segmentation of the book (the four smaller pieces) weaving together to create a tightly woven storyline involving the interdependent needs, abilities, and desires of an ecclectic group of characters. |
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| Shirley |
I agree with Susan and Wendy. I found the "Dear Reader" to be both comforting and inviting. I think children will find it so as well. It really draws the reader in and makes him/her feel a part of the story. The four books told separately and brought together is a literary device that works well here and will enable children to become more sophistecated readers. |
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| Ellen |
My nods: DiCamillo uses the "Dear Reader" device very effectively. I agree with Shirley and Roxanne in their descriptions as cozy and inviting. The book is physically lovely---you're right, what would the paperback look like? To Rachel: in her description of complex ideas being presented in an understandable manner. To Wendy: The segmentation and the weaving together makes the novel more intricate and challenging. And what is there to say about the language but exquisite? Perhaps in all the books being considered, this is the most unique. |
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| Wendy |
Unique. I agree, Ellen. Perhaps that is why this books stands out from the others. Not only do we have a stylistically, beautifully written piece, but it does so breaking conventions (using "dear reader"). The story and presentation of the story are outstanding. |
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| Katrina |
I'm with Jane on finding the Dear Reader annoying. |
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| Roxanne |
Jane and Katrina, What do you think most children will react to the use of "Reader"? |