Starred Review for Publishers Weekly (Thu Apr 28 00:00:00 CDT 2022)

As she has with previous interpretations of classics, Zwerger (<EMPHASIS TYPE=""ITALIC"">Alice in Wonderland) works from Bell's faithful translation of Andersen's text, with no happily ever after. Here the mermaid must watch her beloved prince marry another, knowing that she herself will die the following day. Zwerger's exquisite watercolors bring to life the mermaid's world. At a window in the castle of her father, the sea king, the mermaid gazes out into the blue-green distance, wondering what life above must be like; while fish dart in and out, she pets one absently. Watery meadows of jade and turquoise suggest empty silence and foreshadow the mermaid's sacrifice to the sea witch—in exchange for a human form, the heroine must trade her voice, "a lovelier voice than anyone on earth or in the sea." Zwerger represents the mermaid's shunning of her undersea home with a depiction of her overgrown garden, once the heroine's pride and joy. Other memorable scenes, framed in a white border, depict the mermaid towing the prince to shore after a shipwreck and, later, as dawn breaks on the day she is to turn to sea foam, the mermaid looks resolute, clothed in a glorious golden gown that resembles fish scales. Zwerger's parting scene, an aerial view of the prince's ship sailing away, amplifies the bittersweet yet redemptive conclusion, in which the little mermaid, now a "child of the air," may earn an immortal soul. The illustrations may well provide endless hours of reverie. Ages 4-8. <EMPHASIS TYPE=""ITALIC"">(Sept.)

ALA Booklist

Reviewed with E. T. A. Hoffman's Nutcracker .Gr. 3-5. Artist Zwerger expands her repertoire of beguilingly illustrated tales by two, both of which contain surprises for readers primarily familiar with popular film or stage versions. Mermaid reinstates the tragic ending and spiritual-mystical components abandoned by Disney; Nutcracker, though condensed by adaptor Susanne Koppe, preserves the Mouse King's seven heads and devotes a good chunk of the narrative (as in Hoffman's original) to the story-within-a-story starring Princess Pirlipat. The hypnotic, even slightly chilly, sensibility that pervades Zwerger's work seems a more logical accompaniment to the poignant Mermaid than to Nutcracker , whose spirited fantasy seems somehow dampened by the artist's penchant for quiet, dimly lit scenes and slightly arcane imagery. Zwerger first illustrated The Nutcracker and the Mouse King in 1979, but has created entirely new paintings this time around, which will compete for balletomanes' attention with Sendak's lengthier, more rambunctious 1981 treatment. These renditions of cherished stories will prove useful in the coming months, as the 200th anniversary of Andersen's birth approaches and as ballet companies commence their annual march to the Kingdom of Sweets.

Horn Book (Tue Aug 01 00:00:00 CDT 2000)

Determined to get a good view of the royal parade, "egg boy" Humpty Dumpty perches on top of a brick wall. But when Humpty loses his balance and topples through the roof of the king's carriage, it's up to shy King Moe to put all of Humpty's pieces together again. Collage art makes this slight tale visually interesting but doesn't make up for a forced and awkward rhyme scheme in the text.

Kirkus Reviews (Wed Sep 07 00:00:00 CDT 2022)

From Isadora (A South African Night, p. 496, etc.), a rich retelling of a dark and complex tale, with illustrations that are surprisingly uneven. The little mermaid turns 15: "She rose to the surface as light as a bubble. In the glow of sunset, a great ship lay anchored." She peers inside the porthole to view the young prince with whom she'll fall in love. The telling has a spellbinding cadence, lending itself to reading aloud. Scenes such as the storm destroying the ship, the sea witch, and the first portrait of the mermaid as a young girl are grand and accomplished; others aren't as strong. In almost every scene the little mermaid's hair and face varies to an amateurish degree; a scene of her and her grandmother demonstrates markedly different approaches to drawing faces: The little mermaid's is all but featureless, the elderly woman's is explicitly detailed. The text stands alone, but given Isadora's past accomplishments, it needn't be so. (Picture book/folklore. 6-9)

School Library Journal

Gr 3-6 Bell provides a smooth and accurate translation of Andersen's moralistic tale of a little mermaid who saves a prince from drowning, then gives up her own life to ensure his happiness. The cover illustration showing the little mermaid pulling the prince to shore sets the tone for the story to come. Soft blues and greens predominate in Zwerger's impressionist watercolors, but she has added some eye-catching spots of color to the people, buildings, and boats. There is also color in the many small illustrations of fish and other sea creatures that appear throughout, adding a bit of brightness to the narrative's heavy-handed emphasis on suffering and death, and breaking the monotony of pages packed with text. Sentences printed in colored type serve as captions for the larger paintings. This version will be appreciated by an older, more sophisticated audience than Rachel Isadora's condensed retelling (Putnam, 1998) with its warmly colored, more realistic scenes. Susan Scheps, Shaker Heights Public Library, OH