Paperback ©2009 | -- |
Ghost stories.
Christmas. Juvenile fiction.
Misers. Juvenile fiction.
Poor families. Juvenile fiction.
Ghost stories.
Christmas. Fiction.
Misers. Fiction.
Poor families. Fiction.
London (England). Juvenile fiction.
London (England). Fiction.
Pairing a text shortened enough to be read in a single session with gasp-inducing illustrations, this rendition of the classic tale is well suited for reading aloud to younger audiences. Opening with an attention-getting "MARLEY WAS DEAD" in block letters, the narrative moves forward without long-winded descriptive passages and inessential details but with the original's sonorous tone intact: "The Spirit answered not, but pointed onward with its hand." The illustrations follow suit with full-page or full-spread scenes of a pared-down human cast in carefully drawn Victorian settings, led by a silver-haired Scrooge whose scowl and sharply chiseled nose perfectly capture his ill humor. The Ghosts of Christmas Past, Present, and To Come are particularly notable presences (the last could double as a Dementor), appearing suddenly and towering over the terrified miser as they guide him through what was, is, and very well could be unless he mends his ways. Which he does, of course, and is last seen happily squiring the newly nimble Tiny Tim and an unnamed Cratchit daughter home.
Horn BookThis simplified version of Dickens's classic Christmas story is accessible for a picture book audience. The text loses much of its richness in the abbreviation, but children may find it a useful (if pallid) introduction to the story's events. Illustrator Helquist (A Series of Unfortunate Events) uses sharp angles and saturated colors to create a spooky Victorian ambiance.
Kirkus ReviewsThe beloved Christmas classic is skillfully adapted for this simplified introduction to the tale, amplified by large-format art from the illustrator of A Series of Unfortunate Events. Helquist's artistic style is an excellent match for the Dickensian world of mysterious spirits and spooky graveyards, and the illustrations are full of authentic Victorian details in costumes and settings. The extra-large trim size gives him plenty of room to depict the complex scenes of Scrooge's travels through time and space, and the artist succeeds in making him a believable character who transitions from a grouchy, gray grump to a jovial fellow ready to enjoy life. This abridgement makes the original story accessible to a wide age range and would be a fine preparation for families preparing to attend a theatrical production of A Christmas Carol . (Picture book. 7-12)
Publishers Weekly (Fri Oct 06 00:00:00 CDT 2023)Helquist's vision of the classic story depicts a hawkish Scrooge (who's a cadaverous shade of green) against a backdrop of bustling Victorian streets, with pleasing touches of detail, humor and a few frightful strokes. When the clock strikes one, announcing the arrival of the first ghost, the moon hangs in an unholy green sky, and the Ghost of Christmas Yet to Come stands in a tattered cloak, surrounded by eddying mists (but also draped with strings of Christmas lights). The eye-catching art makes a strong pairing to the accessible abridgment of Dickens's text. Ages 5–up. <EMPHASIS TYPE=""ITALIC"">(Oct.)
School Library JournalGr 5 Up-Over the years, Dickens's holiday classic has been embellished by some of the finest artists around. Michael Foreman, Trina Schart Hyman, Greg Hildebrandt, and Lisbeth Zwerger are just a few of the luminaries who have taken on the challenge originally set by Arthur Rackham in 1915. Joining the list is Lynch, whose watercolor-and-gouache illustrations lavishly enhance this handsome edition, which includes the complete text. Ranging from spot art to full spreads, with something to savor on almost every page, they offer a real flavor of Victorian England and make the most of the inherent drama of the story. The gold-embossed spine and thick, textured paper contribute to the appeal of the package.-Mara Alpert, Los Angeles Public Library Copyright 2006 Reed Business Information.
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Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door-nail.
Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don't know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain.
The mention of Marley's funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet's Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot—say Saint Paul's Churchyard for instance—literally to astonish his son's weak mind.
Scrooge never painted out Old Marley's name. There it stood, years afterwards, above the warehouse door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the business called Scrooge Scrooge, and sometimes Marley, but he answered to both names: it was all the same to him.
Oh! but he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas.
External heat and cold had little influence on Scrooge. No warmth could warm, nor wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often 'came down' handsomely, and Scrooge never did.
Nobody ever stopped him in the street to say, with gladsome looks, 'My dear Scrooge, how are you? when will you come to see me?' No beggars implored him to bestow a trifle, no children asked him what it was 'oclock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blindmen's dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, 'no eye at all is better than an evil eye, dark master!'
But what did Scrooge care? It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call 'nuts' to Scrooge.
Once upon a time—of all the good days in the year, on Christmas Eve—old Scrooge sat busy in his counting-house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement-stones to warm them. The city clocks had only just gone three, but it was quite dark already: it had not been light all day: and candles were flaring in the windows of the neighbouring offices, like ruddy smears upon the palpable brown air. The fog came pouring in at every chink and keyhole, and was so dense without, that although the court was of the narrowest, the houses opposite were mere phantoms. To see the dingy cloud come drooping down, obscuring everything, one might have thought that Nature lived hard by, and was brewing on a large scale.
The door of Scrooge's counting-house was open that he might keep his eye upon his clerk, who in a dismal little cell beyond, a sort of tank, was copying letters. Scrooge had a very small fire, but the clerk's fire was so very much smaller that it looked like one coal. But he couldn't replenish it, for Scrooge kept the coal-box in his own room; and so surely as the clerk came in with the shovel, the master predicted that it would be necessary for them to part. Wherefore the clerk put on his white comforter, and tried to warm himself at the candle; in which effort, not being a man of a strong imagination, he failed.
Excerpted from A Christmas Carol by Charles Dickens
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.
Merry Christmas, everyone!
“Bah!” said Scrooge. “Humbug!”
With those famous words unfolds a tale that renews the joy and caring that are Christmas. Whether we read it aloud with our family and friends or open the pages on a chill winter evening to savor the story in solitude, Charles Dickens’ A Christmas Carol is a very special holiday experience.
It is the one book that every year will warm our hearts with favorite memories of Ebenezer Scrooge, Tiny Tim, Bob Cratchit, and the Ghosts of Christmas Past, Present, and Future—and will remind us with laughter and tears that the true Christmas spirit comes from giving with love.
With a heartwarming account of Dickens’ first reading of the Carol, and a biographical sketch.