Ann Keay Beneduce

American publisher and author Ann Keay Beneduce and expatriate Russian artist Gennady Spirrin join forces in this picture-book retelling of the traditional English folktale concerning young Jack and the beanstalk, and the result is a distinct triumph. Set in Elizabethan times, "in the days of good Queen Bess," the story follows Jack as he exchanges his family's cow for some magical beans—much to the despair of his mother—and proceeds to ascend the massive beanstalk which grows from those show more beans. Meeting a good fairy in the land at the top of the beanstalk, Jack learns of the death of his father at the hands of a terrible giant, who also stole his father's fortune. Visiting the giant's home three times, Jack makes off with a fortune of good coins, a goose that lays golden eggs, and enchanted harp, eventually defeating the giant permanently when he gives chase...

I found this presentation of Jack and the Beanstalk quite interesting, as most other versions I have read do not include the episode of the fairy—a story element that gives Jack's actions a moral basis, making him an avenging son, rather than just a thief. According to Ann Keay Beneduce's brief afterword, her version is based upon that found in Horace Scudder's 1881 The Children's Book. This version of the story, in which a fairy appears, is also that found in Andrew Lang's 1890 Red Fairy Book. I was fascinated to learn, from the afterword, that the story of Jack and the Beanstalk has ties to the legend of the giant-slaying King Corineus of Cornwall, as set out in Geoffrey of Monmouth's pseudo-historical History of the Kings of Britain, as this is not something I recall reading before. In any case, I found the telling here engaging, and my reading pleasure was greatly enhanced by Gennady Spirin's gorgeous artwork! These paintings are breathtaking—detailed and ornate, with a rich color palette, they are presented on the right-hand side of every two-page spread, and are beautifully paired with the lovely decorative border designs which surround the text on the left-hand side pages of those spreads. If I had any critique to make, visually, it would be that I wish the painting themselves took up the entire page, rather than being encased in a white border, but leaving that aside, this was an aesthetic delight!

All in all, a beautiful book, one I would recommend to young folk and fairy-tales lovers, as well as to fans of the artist. Apparently this author and illustrator have collaborated on other picture books, which I think I will have to try and track down. show less

An issue that I had with an earlier book in the series comes to fruition in this book. While I don't have an issue with Modern English being used in Early Modern plays, at least for younger audiences, something is definitely lost when a Shakespeare play is abridged as severely as this one had been. While not the main part of the story, excising Caliban to mere sentences is an injustice to the work itself. it leads to a cursory and misleading interpretation of Caliban as a character. Indeed, show more the opening sentences demonstrates this concern when he is stated to be "evil" with very little further explanation.
While I would never say that I enjoy Caliban as a character, I nevertheless feel that the character would be better served with a tad more back story. For instance, no where is it mentioned that the Island belonged to him by virtue of he and his late mother inhabiting the island years before Prospero's arrival. Furthermore, this telling of the play conveniently leaves out that he had been enslaved by Prospero. While it is true that Prospero dealt with him kindly in the beginning, this was the kindness that a colonizer might dole out to a newly subaltern native population. While young students don't need to have their innocence shattered through learning about European colonialism just yet (and most current readings of "The Tempest" have it as a commentary on England's early forays into colonization), Caliban cannot be presented so one dimensionally if this is to be considered a good book. show less

For a kids book, this is a good introduction to Shakespeare. The language is made modern so it is easier to understand and reads like a fairy tale. The author keeps some of the original Shakespearean language as little songs and speeches and the artwork makes it look even more amazing. This isn't the best Shakespeare play because of how strange it is originally, but it works perfectly for a picture book to introduce Shakespeare to kids. I appreciate Beneduce downplaying a lot of the violence.

As I continue my quest to read all books illustrated by Gennady Spirin, as always, I am totally amazed at the team of Beneduce and Spirin. The Tempest was William Shakespeare's final work. It is a stellar work.

Miranda and her father Prospero are exiled on a faraway island. They are alone except for Caliban and other magical spirits. Once a prosperous Duke of Milan, his jealous brother Antonio stole his dukedom and banished him to the island. Now 15 years old, Miranda is a beautiful young show more woman. When a strong storm (a tempest) occurs, the violent waves overthrow Prospero's enemy, his brother Antonio, and young, handsome Ferdinand,

As the waves crash against the rocks, the ship splits and, tempest tossed, lands on the island where Prospero and Miranda are. Immediately, Ferdinand and Miranda are drawn to each other and loves ensues.

Shakespeare's plays are usually very complicated with many themes. In this drama, there is treachery, magic, love and forgiveness.

Spirin's watercolors rend this tale one of beauty and longing.

Personally, I am drawn to this tale because my favorite Pre Raphaelite artist, J.W. Waterhouse, painted an incredible image of Miranda as she looks out to see as the ship nears the island as the waves beat the ship. show less