The Ugly Duckling (Caldecott Honor Book)

Three-time Caldecott Honor artist and four-time winner of the Coretta Scott King Award, Jerry Pinkney doesn't disappoint with this lovely, old-fashioned, richly textured watercolor adaptation of Hans Christian Andersen's The Ugly Duckling . The mother duck knew from the very beginning that one of her babies would be different from the rest... the sixth egg was large and oddly shaped. When it finally hatches that summer, she thinks the "monstrous big duckling" must be a turkey chick! Other ducks are appalled by the ugly duckling, and he is chased, pecked, and kicked aside. When he can't stand it anymore, he runs away from the pond, eventually taking refuge in the warm cottage of an old woman with a cat and a hen. Missing the delicious feeling of the water too much to stay, however, he heads out again into the wide, increasingly cold autumn world. One day, he heard a sound of whirring wings, and up in the air he saw a flock of birds flying high. They were as bright as the snow that had fallen during the night, and their long necks were stretched southward. Oh, if only he could go with them! But what sort of companion could he be to those beautiful beings?" At last, after a hard, cold winter--and plenty of the kind of adventures no one really wants to have--the duckling sees the same flock of birds he'd seen in the sky so many months ago. He decides he will follow them, somewhat dramatically preferring to be killed by them rather than suffer any more "cold and hunger and cruelty." Much to his surprise, they welcome him! And when he looks for his dull, awkward reflection in the water, he sees a beautiful swan instead. Children who feel ostracized, even for the tiniest of differences, may shed a few sympathetic tears for the ugly duckling. And no doubt, it was Andersen's wish to give them the hope of one day finding their own peaceful place. (Ages 3 to 9) --Karin Snelson From Publishers Weekly Pinkney's (Rikki-Tikki-Tavi) supple, exquisitely detailed watercolors provide a handsome foil to his graceful adaptation of the Hans Christian Andersen classic. This "duckling" is teased unmercifully by his apparent siblings but loved by the mother duck: "He may not be quite as handsome as the others," she says, "but... I am sure he will make his way in the world as well as anybody." Eventually he runs away, and as the seasons turn, the fledgling has a series of adventures, from a close encounter with a hunting dog to getting trapped in ice. All the while he is growing, transforming, and in the triumphant ending, he finds peace and happiness when his real identity is revealed to himself and to readers. Pinkney's artwork is a swan song to the beauty of the pastoral, and his lush images flow across the pages in sweeping vistas and meticulous close-ups. Whether depicting the subtle patterns and colors of a duck's feathers, the murky twilight of a freshwater pond or the contrast of red berries against dried grasses etched with snow, Pinkney's keenly observed watercolors honor nature in all its splendor. A flawlessly nuanced performance by a consummate craftsman. Ages 3-up. Copyright 1999 Reed Business Information, Inc. From School Library Journal Kindergarten-Grade 4-The appeal of this tale is as strong today as it was 150 years ago, and Pinkney has done an admirable job of repackaging it for a new generation. His adaptation of the text succeeds in capturing the gentleness and melancholy of Andersen, although a bit of the social commentary has gone by the wayside. Pinkney does not shy away from including the more disturbing elements, such as the shooting of the geese, recognizing this episode's importance to the fabric of the story. The first glimpse he gives readers of the duckling, having at long last emerged from his shell, exhausted and vulnerable despite his size, foreshadows the events to come and immediately engages children's sympathy. Naturalists will quibble over the artist's choice of birds. This duckling is born into a mallard family, wild, not domestic, and the geese are Canadas, whose range is generally North America. However, these details do not in any way detract from the feast to the eye that these illustrations are, carefully composed and rich in detail. Even those owning The Ugly Duckling as told by Marianna Mayer, illustrated by Thomas Locker (Macmillan, 1987; o.p.)-the most recent "Duckling" of note-will welcome this fresh new version. An artistic tour de force that is worthy of its graceful fine-feathered subject. Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ Copyright 1999 Reed Business Information, Inc. From Kirkus Reviews PLB 0-688-15933-8 Outstanding illustrations and some new characters make Pinkney's retelling of a familiar tale memorable. This time around, there's an old woman who befriends the duck for its egg-laying potential, a hunting dog that happens upon the duck, a man who pulls the duck out of a frozen river and provides warmth and shelter, and children who comment on the once-ugly duckling's arrival at a pond, saying it is the finest of the flock. As in the original, suffering and loneliness are appeased, and the enduring lessons are reaffirmed: suffering may be necessary for growth and happiness, and loneliness may be overcome. A spirited, artistic adaptation, and a welcome addition to the shelves. (Picture book/folklore. 3-9) -- Copyright ©1999, Kirkus Associates, LP. All rights reserved. For over one hundred years The Ugly Duckling has been a childhood favorite, and Jerry Pinkney's spectacular new adaptation brings it triumphantly to new generations of readers. With keen emotion and fresh vision, the acclaimed artist captures the essence of the tale's timeless appeal: The journey of the awkward little bird -- marching bravely through hecklers, hunters, and cruel seasons -- is an unforgettable survival story; this blooming into a graceful swan is a reminder of the patience often necessary to discover true happiness. Splendid watercolors set in the lush countryside bring drama to life. Hans Christian Andersen was a Danish author and poet best remembered for his fairy tales, both original and retold, including the beloved classics "Thumbelina," "The Emperor's New Clothes," "The Fir Tree," "The Steadfast Tin Soldier," "The Princess and the Pea," "The Red Shoes," "The Ugly Duckling," and "The Snow Queen." Jerry Pinkney was one of America’s most admired children’s book illustrators. He won the Caldecott Medal and five Caldecott Honors, five Coretta Scott King Awards, the Coretta Scott King–Virginia Hamilton Award for Lifetime Achievement, the Laura Ingalls Wilder Award, the Society of Illustrators’ Original Art Show Lifetime Achievement Award, and many other prizes and honors. Jerry Pinkney's work can be viewed at www.jerrypinkneystudio.com. In His Own Words... "I grew up in a small house in Philadelphia, Pennsylvania. I was a middle child of six. I started drawing as far back as I can remember, at the age of four or five. My brothers drew, and I guess in a way I was mimicking them. I found I enjoyed the act of putting marks on paper. It gave me a way of creating my own space and quiet time, as well as a way of expressing myself. You can imagine six children competing for attention and to be heard. I would sit, watching and drawing. "In first grade I had the opportunity to draw a large picture of a fire engine on the blackboard. I was complimented and encouraged to draw more. The attention felt good, and I wanted more. I was not a terrific reader or adept speller in my growing-up years, and I felt insecure in those areas. Drawing helped me build my self-esteem and feel good about myself, and, with hard work, I graduated from elementary school with honors. "I attended an all-black elementary school, and I gained a strong sense of self and an appreciation of my own culture there. But Roosevelt Junior High was integrated. There I had many friends, both white and black, at a time when there was little mixing socially in school. There the spark for my curiosity about people was lit. You can see this interest and fascination with people of different cultures throughout my work. "My formal art training started at Dobbins Vocational High School, and upon graduation I received a scholarship to the Philadelphia Museum College of Art. My major was advertising and design. The most exciting classes for me were drawing, painting, and printmaking. It is no wonder I turned to illustrating and designing books. For me the book represents the ultimate in graphics: first, as a designer, considering space, page size, number of pages, and type size; then, as an illustrator, dealing with the aesthetics of line, color, and form. "There were three books that somehow magically came into my possession in the early sixties: The Wind in the Willows , illustrated by Arthur Rackham; The Wonder Clock , illustrated by Howard Pyle; and Rain Makes Applesauce , illustrated by Marvin Bileck. You can see those influences in my art today. Later, my work was greatly influenced by such African American artists as Charles White, Romare Bearden, and Jacob Lawrence. "From the very beginning of my career in illustrating books, research has been important. I do as much as possible on a given subject, so that I live the experience and have a vision of the people and places. To capture a sense of realism for characters in my work, I use models that resemble the people I want to portray. My wife, Gloria Jean (also an author), and I keep a closetful of old clothes to dress up the models, and I have the models act out the story. Photos are taken to aid me in better understanding body language and facial expressions. Once I have that photo in front of me I have freedom, because the more you know, the more you can be inventive. "For illustrating stories about animals, I keep a large reference file of over a hundred books on nature and animals. The first step in envisioning a creature is for me to pretend to be that particular animal. I think about its size and the sounds it makes, how it moves (slowly or quickly), and where it lives. I try to capture the feeling of the creature, as well as its true-to-life characteristics. There are times when the stories call for the animals to be anthropomorphic, and I've used photographs of myself posing as the animal characters. "It still amazes me how much the projects I have illustrated have given back to me in terms of personal and artistic satisfaction. They have given me the opportunity to use my imagination, to draw, to paint, to travel through the voices of the characters in the stories, and, above all else, to touch children." Read more