The Rose and the Beast: Fairy Tales Retold
The Rose and the Beast: Fairy Tales Retold
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HarperCollins
Just the Series: Ageless Books   

Series and Publisher: Ageless Books   

Annotation: Nine classic fairy tales set in modern, magical landscapes and retold with a twist.
Genre: [Fairy tales]
 
Reviews: 10
Catalog Number: #257716
Format: Perma-Bound Edition
Special Formats: Inventory Sale Inventory Sale
Publisher: HarperCollins
Copyright Date: 2000
Edition Date: 2001 Release Date: 08/07/01
Pages: 229 pages
ISBN: Publisher: 0-06-440745-4 Perma-Bound: 0-605-36557-1
ISBN 13: Publisher: 978-0-06-440745-8 Perma-Bound: 978-0-605-36557-5
Dewey: 398.2
LCCN: 00022444
Dimensions: 18 cm.
Subject Heading:
Fairy tales.
Fairy tales.
Language: English
Reviews:
ALA Booklist (Tue Aug 01 00:00:00 CDT 2000)

Beginning with her debut novel, Weetzie Bat (1989), Block has made a name for herself as a writer of magic realism who uses strong, metaphorical language. In this somewhat uneven collection of fairy-tale retellings, her lush, beautiful words turn modern-day Los Angeles into a fantastical world of fairies, angels, and charms. Some stories, such as Beast and Wolf (Beauty and the Beast, Little Red Riding Hood), are clearly updated versions of the originals. Others, such as Snow and Glass (Snow White and Cinderella) are barely recognizable. In Snow, the dwarves have been transformed into slightly deformed siblings and Prince Charming into a creepy middle-aged farmer who is aroused by the comatose Snow. The context is very modern, with issues of drug addiction, rape, and suicide smoothly woven into the stories, which are infused with a palpable if not explicit eroticism. As Block's fans would expect, the story heroines are strong young women who eventually learn they are capable of controlling their own fate. This makes a good companion to Emma Donoghue's Kissing the Witch (1997) and Robin McKinley's A Knot in the Grain (1994).

Horn Book (Sun Apr 01 00:00:00 CST 2001)

Image-rich and narratively oblique, Block's re-imagined fairy tales exist both in her sensuous, dangerous vision of L.A. and in a misty wish-fulfillment world of cozy beds and natural scents. Her style ("The girl was nightmare. Young young young. Silver white. Perfect. Untorn. Perfect"), once groundbreaking, here occasionally parodies itself, but the whirlwind incoherence and literary naïveté can still enchant.

Kirkus Reviews

Nine fairytales are given shimmering and scary shape in very modern dress, with Block's luminescent, darkling prose. The one-word titles evoke but do not prescribe. In "Snow," a screaming child who quiets in the arms of the gardener is given over by him to a houseful of self-described freaks—seven men with the names of animals, who are not-quite-fathers to her. It is the gardener who awakens Snow from her poisoned sleep, but she rejects him to choose the life she knows with the seven. "Wolf" reconfigures the Red Riding Hood story in a harrowing tale of incest and sorrow; "Rose" is a powerful metaphor of the bond between sisters, Rose White and Rose Red, and how emergent eroticism looses that tie. "Bones" recasts Bluebeard as a sinister L.A. promoter. The place of California dreams, desert light, and movieland glitz familiar in other Block books is her fairy landscape, repopulated with girls who have rose tattoos and remember River Phoenix. She uses language like a jeweled sword, glittering as it cuts to the heart. Readers who thrilled to Donohue's Kissing the Witch (1997) and Donna Jo Napoli's Zel (1996) will find similar dark magic here. (Fiction. YA)

Publishers Weekly (Fri Oct 06 00:00:00 CDT 2023)

In a starred review, <EMPHASIS TYPE=""ITALIC"">PW wrote, "Block sets out to revisit nine fairy tales, filling her stories with gritty, even headline-grabbing issues. The darkness of these conflicts and subjects proves the strength of the magic she describes: the transfiguring power of love." Ages 12-up. <EMPHASIS TYPE=""ITALIC"">(Aug.)

<EMPHASIS TYPE=""BOLD"">Note: Additional reviews of children's books can be found in the Children's Religion section (p. 82).

School Library Journal

Gr 9 Up-In this new addition to the growing body of reworked fairy tales, Block writes modern situations into the framework of nine traditional tales. Her style is almost more poetry than prose as she interweaves contemporary life with common themes without losing the timeless feel; the stories could be happening anywhere, and to anyone. In "Wolf," the predator waiting at Grandma's house is a man who is sexually abusing the nameless Red Riding Hood character. The needle that pricks in "Charm" is not from a spindle, but from a heroin fix. All the young women change, deepen, and become strong through the difficulties they face. They learn to overcome physical differences, like the Thumbelina character in "Tiny," or realize a truth about relationships with the opposite sex, like the girl who escapes Derrick Blue (Bluebeard) in "Bones." Like "the fairy who was not old, not young, who was red roses, white snowfall, who was blind and saw everything, who sent stories resounding through the universe-," Block herself wields "-a torch to melt sand into something clear and bright."-Trish Anderson, Pinkerton Elementary School, Coppell, TX Copyright 2000 Cahners Business Information.

Word Count: 21,525
Reading Level: 5.6
Interest Level: 9-12
Accelerated Reader: reading level: 5.6 / points: 3.0 / quiz: 44725 / grade: Upper Grades
The Rose and The Beast
Fairy Tales Retold

Chapter One

Snow

When she was born her mother was so young, still a girl herself, still didn't know what to do with her. She screamed and screamed--the child. Her mother sat crying in the garden. The gardener came by to dig up the sod. It was winter. The child was frost-colored. The gardener stood before the cold winter sun, blocking the light with his broad shoulders. The mother looked like a broken rose bush.

Take her please, the mother cried. The gardener sat beside her. She was shaking. The child would not stop screaming. When the mother put her in his arms, the child was quiet.

Take her, the mother said. I can't keep her. She will devour me.

The child wrapped her tiny fingers around the gardener's large brown thumb. She stared up at him with her eyes like black rose petals in her snowy face. He said to the mother, Are you sure? And she stood up and ran into the house, sobbing.

Are you sure are you sure? She was sure. Take it away, she prayed, it will devour me.

The gardener wrapped the child in a clean towel and put her in his truck and drove her west to the canyon. There was no way he could keep her himself, was there? (He imagined her growing up, long and slim, those lips and eyes.) No, but he knew who could.

The seven brothers lived in a house they had built themselves, built deep into the side of the canyon among the trees. They had built it without chopping down one tree, so it was an odd-shaped house with towers and twisting hallways and jagged staircases. It looked like part of the canyon itself, as if it hadsprung up there. It smelled of woodsmoke and leaves. From the highest point you could see the sea lilting and shining in the distance.

This was where the gardener brought the child. He knew these men from work they had all done together on a house by the ocean. He was fascinated by the way they worked. They made the gardener feel slow and awkward and much too tall. Also, lonely.

Bear answered the door. Like all the brothers he had a fine, handsome face, burnished skin, huge brown eyes that regarded everyone as if they were the beloved. lie was slightly heavier than the others and his hair was soft, thick, close cropped. He shook the gardener's hand and welcomed him inside, politely avoiding the bundle in the gardener's arms until the gardener said, I don't know where to take her.

Bear brought him into the kitchen where Fox, Tiger, and Buck were eating their lunch of vegetable stew and rice, baked apples and blueberry gingerbread. They asked the gardener to join them. When Bear told them why he was there, they allowed themselves to turn their benevolent gazes to the child in his arms. She stared back at them and the gardener heard an unmistakable burbling coo coming from her mouth.

Buck held her in his muscular arms. She nestled against him and closed her eyes-dark lash tassels. Buck looked down his fine, sculpted nose at her and whispered, Where does she come from?

The gardener told him, From the valley, her mother can't take care of her. He said he was afraid she would be hurt if he left her there. The mother wasn't well. The brothers gathered around. They knew then that she was the love they had been seeking in every face forever before this. Bear said, we will keep her. And the gardener knew he had done the right thing bringing her here.

The other brothers, Otter, Lynx, and Ram, came home that evening. They also loved her right away, as if they had been waiting forever for her to come. They named her Snow and gave her everything they had.

Bear and Ram built her a room among the trees overlooking the sea. Tiger built her a music-box cradle that rocked and played melodies. Buck sewed her lace dresses and made her tiny boots like the ones he and his brothers wore. They cooked for her, the finest, the healthiest foods, most of which they grew themselves, and she was always surrounded by the flowers Lynx picked from their garden, the candles Fox dipped in the cellar, and the melon scented soaps that Otter made in his workroom.

She grew up there in the canyon--the only Snow. It was warm in the canyon most days--sometimes winds and rains but never whiteness on the ground. She was their Snow, unbearably white and crystal sweet. She began to grow into a woman and although sometimes this worried them a bit-they were not used to women, especially one like this who was their daughter and yet not--they learned not to be afraid, how to show her as much love as they had when she was a baby and yet give her a distance that was necessary for them as well as for her. As they had given her everything, she gave to them--she learned to hammer and build, cook, sew, and garden. She could do anything. They had given her something else, too--the belief in herself, instilled by seven fathers who had had to learn it. Sometimes at night, gathered around the long wooden table finishing the peach-spice or apple-ginger pies and raspberry tea, they would tell stories of their youth--the things they had suffered separately when they went out alone to try the world. The stories were of freak shows and loneliness and too much liquor or powders and the shame of deformity. They wanted her to know what they had suffered but not to be afraid of it, they wanted her to have everything--the world, too. And to be able to return to them, to safety, whenever she needed. They knew, though, she would not suffer as they had suffered. She was perfect. They were scarred.

The Rose and The Beast
Fairy Tales Retold
. Copyright © by Francesca Block. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

Excerpted from Rose and the Beast: Fairy Tales Retold by Francesca Lia Block
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

With language that is both lyrical and distinctly her own, Francesca Lia Block turns nine fairy tales inside out.

Escaping the poisoned apple, Snow frees herself from possession to find the truth of love in an unexpected place.

A club girl from L.A., awakening from a long sleep to the memories of her past, finally finds release from its curse.

And Beauty learns that Beasts can understand more than men.

Within these singular, timeless landscapes, the brutal and the magical collide, and the heroine triumphs because of the strength she finds in a pen, a paintbrush, a lover, a friend, a mother, and finally, in herself.

Snow
Tiny
Glass
Charm
Wolf
Rose
Bones
Beast
Ice.

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