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Barbara Leonie Picard (1917–2011)

Author of Tales of the Norse Gods

26+ Works 1,119 Members 12 Reviews 3 Favorited

About the Author

Works by Barbara Leonie Picard

Tales of the Norse Gods (1953) 125 copies, 1 review
The Odyssey of Homer (1979) 124 copies, 2 reviews
The Iliad of Homer (1960) 111 copies, 1 review
One is One (1965) 81 copies, 2 reviews
Stories of King Arthur and His Knights (1950) 78 copies, 1 review
French Legends, Tales, and Fairy Stories (1955) 70 copies, 1 review
Ransom for a Knight (1956) 69 copies
Tales of Ancient Persia (1972) 45 copies
The Lady of the Linden Tree (1954) 38 copies
The Young Pretenders (1966) 35 copies, 1 review
The Mermaid and the Simpleton (1949) 20 copies, 1 review
Lost John (1962) 18 copies

Associated Works

All Color Book of Greek Mythology (1972) — Introduction, some editions — 172 copies
The Provensen Book of Fairy Tales (1971) — Contributor — 137 copies
Princess Tales (1971) — Contributor — 93 copies, 1 review
Stories of Ghosts, Witches, and Demons (1971) — Contributor — 62 copies, 1 review
A Golden Land (1958) — Contributor — 46 copies, 1 review
Midsummer Magic: A Garland of Stories, Charms, and Recipes (1977) — Contributor — 30 copies, 1 review
Vampire and Werewolf Stories (1998) — Contributor — 23 copies
Encyclopedia of Myths and Legends of All Nations (1972) — Editor — 21 copies
Strange Tales from Many Lands (1975) — Contributor — 13 copies
Castles and Dragons (1960) — Contributor — 10 copies
Tales of Magic and Enchantment (1966) — Contributor — 8 copies

Tagged

Common Knowledge

Canonical name
Picard, Barbara Leonie
Birthdate
1917-12-17
Date of death
2011-12-15
Gender
female
Occupations
librarian
fairy tale writer
historical novelist
children's book author
young adult writer
Awards and honors
Carnegie Medal commendation (1954, for Lady of the Linden Tree, 1956, for Ransom for a Knight, and 1965, for One Is One)
Short biography
Born of a French father and Venezuelan-German mother; her parents separated when she was young, and she lived a rather reclusive life as a child. After graduating high school, she became a librarian. During WWII, she began to write, and her first book of fairy tales, The Mermaid and the Simpleton, was published in 1949. She subsequently wrote The Faun and the Woodcutter's Daughter (1951). These tales were modeled on those of Oscar Wilde and Andersen, whose works she much admired. At Oxford University Press' request, she began writing retellings of epics, myths, and legends, in which she had always been interested. She also wrote historical novels for children, her best-received being One is One (1965), of which one reviewer said "it has the cleansing power of a great literary experience." Aside from folk culture, mythology & comparative religion, archaeology, primitive and Oriental music, she likes: "clocks, the climate of the British Isles, trees, animals of every kind," theatre, opera, embroidery, and Japanese prints. Sources: Something About the Author 2 (1971); Gale Literature Resource Center (accessed May 8, 2009)
Nationality
England
UK
Birthplace
London, England, UK
Places of residence
France
Seaford, Sussex, England, UK
Associated Place (for map)
England, UK

Members

Reviews

12 reviews
At first glance this book seems like it would be a quintessential book of it's genre. It's a historical fiction with teenage protagonists written in the mid 20th century which will mean the historical detail will be thorough and correct and the writing style will be more dense than YA books written more recently.
But look further and you will see that there are many moral questions in this book as well, such as; is the arrogant distance between gentry and the lower classes ever a good thing? show more Is thievery bad when the situation is desperate? Does honour require you keep your promise even when the promise was made on a lie? Can a villain ever be truly reformed? and what do you do when the main characters who you are supposed to like, casually and positively talk about the slave trade?
This book leaves many of these questions open for each reader's interpretation.
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I like folk & fairy tales. I love good retellings. But most of all I love & appreciate original 'wonder' tales like those of Andersen, Wilde, [a:Richard Kennedy|63509|Richard Kennedy|https://s.gr-assets.com/assets/nophoto/user/m_50x66-82093808bca726cb3249a493fbd3bd0f.png], and Picard. I don't know why these lovely warm stories are not more widely enjoyed. I do highly recommend them.

The Goldfinch Garden -- The king is bored with formal gardens. A few of the 72 other attempts at an unusual show more garden seem interesting, but the lazy Least Gardener gets the prize with goldfinches and....
Bertrade and Dominic -- A tiny bit of Romeo & Juliet mixed with characters who have courage and plenty of optimism leads to a happy ending for all.
Sir Hermit of the Forest -- Seems 'off" until the denouement, at which point the valuable theme of forgiveness is brought to light.
The Pavilion in the Laurels -- A tiny bit of The Fisherman and his Wife, told from the pov of their daughter who only wanted to marry her childhood sweetheart. I love the old lady and the mirror-portal.
The Milkmaid and the Water-Sprite -- The two look alike, and so trade places. Who wants to trade back first, and what makes the other finally agree?
The Cabbage that had no Heart -- A short fable about a withered cabbage allowed to flower and how it finds its purpose.
Diccon and Elfrida -- One human man fairy woman couple has a few happy years together... if Diccon weren't such a poor listener they'd have had many more before the end.

Four stars from me now, plus a bonus for how much I would have adored it as a child. I would literally have worn it out with rereads.

Some stories by Picard are avl on open library. This is not (yet).
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Barbara Leonie Picard snips many familiar tropes from the cloths of famous fairy tales and folkloric legends and weaves them into unique new little tapestries that would not look out of place in the grand old halls of traditional storytelling—although, unlike in old tales, Picard's stories sometimes touch upon sexist, classist, and political realities (in ways more subtle than obvious) & even some ambiguously happy endings. Philip Gough's pen illustrations add an antiquarian touch to this show more lovely volume of tales. show less
I found this retelling a bit dry, but nonetheless good. The illustrations by Kiddell-Monroe are rather odd, clearly they are influenced by Greek vase paintings; the legs of men and horses are strange: the men's legs have odd curlicues in them, and the horse's legs are attenuated, like that of the Uffington White Horse.

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Statistics

Works
26
Also by
13
Members
1,119
Popularity
#22,958
Rating
4.0
Reviews
12
ISBNs
55
Languages
1
Favorited
3

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