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Twelve-year-old Meggie learns that her father, who repairs and binds books for a living, can "read" fictional characters to life when one of those characters abducts them and tries to force him into service.Tags
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Member Recommendations
Leishai Ebenfalls ein Buch, dessen Handlung in einer anderen Welt spielt
Also recommended by VictoriaPL, Bitter_Grace
190
missmaddie Magical adventures for preteen girls
Leishai Ebenfalls ein Buch, das in einer anderen Welt spielt mit einem Mädchen als Protagonistin
54
Leishai Also a book with another world and a girl as main figure.
36
Leishai Also a book with another world and a girl as main figure.
Medicinos Coeur d'Encre montre des personnages de fiction devant s'adapter à la vie réelle tandis que La Bibliothécaire montre des personnes réelles entrant dans des univers de fiction.
11
MortimerFolchart A story of the unlikely hero.
MortimerFolchart A wonderful fantasy book that shows the consequences of one's actions.
Leishai Ebenfalls ein Buch, das in einer anderen Welt spielt mit einem Mädchen als Protagonistin
15
Member Reviews
Meggie's father, Mo, is *very* good at reading aloud. So good, in fact, that he can read things right out of books. This isn't always a fun or good thing, though, as Meggie discovers when a mysterious man shows up on their doorstep in the middle of the night and sends them all on a dangerous adventure. I *love* books that are about both the everyday magic of books and reading (books can transport you to other worlds,...) and also about books and readers actually being magic, and this one is at the top of that list. The main characters clearly love books in a way that makes me love them both, and the author, too, does a great job of sharing that same love. Definitely recommended.
In the first book of the Inkheart trilogy, we are introduced to Mo, an unassuming book-repairman, who lives alone with his precocious 12-year-old daughter, Meggie. Their lives are disrupted one night when they meet a mysterious man named Dustfinger, who comes to warn them of a villain named Capricorn chasing after them. As the story unravels, Mo's past becomes clear: he has a secret gift for bringing words to life, literally, when he reads aloud. With the help of a surly Aunt Elinor, Dustfinger, and a boy brought straight out of Arabian Nights, Mo and Meggie face down Capricorn - one of the greatest villains come to life.
I admit I was surprised when I read that so many reviewers disliked this book, until I read them. For me, the book show more was utterly charming - combining a great love of reading, the magic of them made manifest in this fantasy world, and the inclusion of quotes from some of my childhood - and adult - favorites (Peter Pan, Lord of the Rings, and so many others. The metamessage, of course, is that reading is powerful and can bring things to life - in this case, literally. But the inclusion of these quotes brought things to another layer. They aren't just sequestered above the chapters, but brought into the chapters itself. The effect was that it felt real.
Take the character of Fenoglio, who wrote the in-book Inkspell and who initially marvels at his characters brought to life. He progresses through the book and becomes their captive and realizes how terrifying and real the villains are - no longer his creations, but something more. There's some interesting things in there about the power of a creation over a creator, and maybe a wink and a nod to the famed old chestnut authors invoke when they "didn't know a character would do that". But it also takes the reader away from "these are characters in the book" to a genuine uncertainty and fear, which is of course, what good fantasy should do.
Most of the reviews mentioned that they hated the "padding" thrown in, and initially I could see this problem. However, it makes sense within the context. We are used to books that are tightly plotted, with the action barreling along a single track, proceeding with twists and turns but always leading to the end in one line. This book is not like that. The book meanders and turns - Meggie is captured, then escapes, then captured again. An ordinary book would shake its head and claim the second capture was unnecessary. Or the first.
However, read this book in its context: it is meant to be read aloud. It is not a book in the traditional sense, but a story. Imagine a child begging to be told a story. You begin with your characters and put them in an exciting scene, then they escape. The next night you tell of their heroic strides across a dry landscape infested with snakes and with the threat of discovery looming over them. The next night, the villains encounter them again! They're subdued and your heroes make it home.
But that's not the end of the story - because there's the next night before bed, and the night after that. The book meanders and turns sharply because it's meant to mimic that oral tradition, particularly within the context of telling a story to a child before bedtime.
In that respect, the length becomes absolutely brilliant.
It's unconventional, and I certainly don't blame people for finding that approach not to their taste, but for those of you who do, read this book. You won't be disappointed. show less
I admit I was surprised when I read that so many reviewers disliked this book, until I read them. For me, the book show more was utterly charming - combining a great love of reading, the magic of them made manifest in this fantasy world, and the inclusion of quotes from some of my childhood - and adult - favorites (Peter Pan, Lord of the Rings, and so many others. The metamessage, of course, is that reading is powerful and can bring things to life - in this case, literally. But the inclusion of these quotes brought things to another layer. They aren't just sequestered above the chapters, but brought into the chapters itself. The effect was that it felt real.
Take the character of Fenoglio, who wrote the in-book Inkspell and who initially marvels at his characters brought to life. He progresses through the book and becomes their captive and realizes how terrifying and real the villains are - no longer his creations, but something more. There's some interesting things in there about the power of a creation over a creator, and maybe a wink and a nod to the famed old chestnut authors invoke when they "didn't know a character would do that". But it also takes the reader away from "these are characters in the book" to a genuine uncertainty and fear, which is of course, what good fantasy should do.
Most of the reviews mentioned that they hated the "padding" thrown in, and initially I could see this problem. However, it makes sense within the context. We are used to books that are tightly plotted, with the action barreling along a single track, proceeding with twists and turns but always leading to the end in one line. This book is not like that. The book meanders and turns - Meggie is captured, then escapes, then captured again. An ordinary book would shake its head and claim the second capture was unnecessary. Or the first.
However, read this book in its context: it is meant to be read aloud. It is not a book in the traditional sense, but a story. Imagine a child begging to be told a story. You begin with your characters and put them in an exciting scene, then they escape. The next night you tell of their heroic strides across a dry landscape infested with snakes and with the threat of discovery looming over them. The next night, the villains encounter them again! They're subdued and your heroes make it home.
But that's not the end of the story - because there's the next night before bed, and the night after that. The book meanders and turns sharply because it's meant to mimic that oral tradition, particularly within the context of telling a story to a child before bedtime.
In that respect, the length becomes absolutely brilliant.
It's unconventional, and I certainly don't blame people for finding that approach not to their taste, but for those of you who do, read this book. You won't be disappointed. show less
This is still an AMAZING book. I read it before, when I was much younger, and am happy to note that it's still a magical read. There's just something about the idea of turning reading into magic that gets to the very heart of me as someone who loves reading. Now, as an adult reader, I can quibble a little about the relative shallowness of the villains here and such, though there was obviously a great deal to cover including a whole host of characters, but, really, there seems to be little point. The book is a magical read, and I actually really look forward to reading the whole series this time around (I somehow never got the chance before).
If you're not a booklover, as in, someone who loves both the content and physical presence of books, this wasn't written for you. If you are, reading this will be like your dream come to life. The idea is original, well carried-out, heartwarming and heartstopping at times, and just altogether cozy in an adventurous, high-stakes sort of way. It has some of my favorite characters of all time. The only less-than ideal moments come from some scenes that are a bit too slow due to plot points that don't lend themselves to very interesting possibilities, but none of them are worth docking a whole star.
Many people label this as elementary fiction, but in my opinion, it falls under a handful of books that I understand to be disconnected when it show more comes to content versus writing style verses perspective. Perspective-wise, sure we can call this elementary. But the way it's written is more teen, and the principles are more young-adult-oriented, only increasing in books 2 & 3.
Altogether a favorite read of mine.
I don't factor performance into auidiobooks, but I'd give Lynn Redgrave a 4/5 stars. Her narration is very good, but her dialogue isn't varied enough to be engaging, and when it is, some of the voices can come off as overdone or even annoying. show less
Many people label this as elementary fiction, but in my opinion, it falls under a handful of books that I understand to be disconnected when it show more comes to content versus writing style verses perspective. Perspective-wise, sure we can call this elementary. But the way it's written is more teen, and the principles are more young-adult-oriented, only increasing in books 2 & 3.
Altogether a favorite read of mine.
I don't factor performance into auidiobooks, but I'd give Lynn Redgrave a 4/5 stars. Her narration is very good, but her dialogue isn't varied enough to be engaging, and when it is, some of the voices can come off as overdone or even annoying. show less
I had wanted to read this since fifth grade and never managed to get very far into it each time, I think because I felt very overwhelmed at the time by the length. I was revisiting my tbr list to figure out what I wanted to read next, and I figured, why not?
I think if I had read this in middle school like I had wanted, I would have given it five stars. The story is incredibly unique and inventive, and the writing is enchanting.The thing holding me back now is that I felt a bit of whiplash as the characters kept getting kidnapped and escaping several times. It just felt a bit like filler. I also was so frustrated when Eleanor immediately goes back home after escaping the first time, and nobody tells her that maybe she should hide for a show more little bit. I loved her character but that just felt really unbelievable.
Overall, even though I'm not in the target age bracket of this story anymore, I still think it's an incredible work of children's fiction and thoroughly enjoyed reading it. show less
I think if I had read this in middle school like I had wanted, I would have given it five stars. The story is incredibly unique and inventive, and the writing is enchanting.
Overall, even though I'm not in the target age bracket of this story anymore, I still think it's an incredible work of children's fiction and thoroughly enjoyed reading it. show less
Welp, I guess it was inevitable that, in rereading a bunch of classics from my childhood, I'd find one that just didn't hold up for me. I absolutely adored this book when I first read it--its physical beauty (I had the hardback), its fun characters, its enchanting premise, its literary references--but only three images really stuck with me over the years: Dustfinger performing his juggling and fire-eating acts for tourists; Meggie, on the top bunk bed in a small room, reading Tinker Bell out of Peter Pan ; and Meggie reading to Capricorn in an open outdoor space at the finale (I remembered no details of what that space was like or what she actually read) .
Don't get me wrong! The story is still fun, the writing still beautiful (such lovely show more similes!), the secondary characters lively, the central premise charming...but it just didn't feel as amazing as it did the first time I read it. Maybe it was a victim of nostalgia: I expected to be as awed as I was the first time, but just wasn't.
It takes a long time--almost a third of the book--for Meggie to learn her dad's secret: that when he reads, his wonderful voice summons forth people and objects from the pages of the book in his hands. That's something that readers already know from the jacket description, and I ended up feeling impatient for Meggie to learn the secret and start being more proactive...which she never really is. Much of the plot happens around her and she's only an active agent in it twice, once at the beginning (when she plans to run away to find her father ) and once at the end, when she's just fulfilling someone else's plan. I'm not saying she needs to be a kick-butt heroine who does everything herself despite being twelve years old--I actually kind of liked how the adults around her were both whimsical but also, generally, rounded characters aware of their responsibilities--but it would have been nice to see Meggie take a little bit more initiative.
Still, Funke's strengths are present and many: she creates a big cast of characters and gives them all striking personalities so that we can tell them apart; many of the side characters are nuanced, with sometimes contradictory desires and emotions (which, honestly, made me a lot more interested in some of them than in Mo and Meggie, who were pretty static throughout--I'd have read a whole book about Aunt Eleanor or Basta, for instance); her writing is brimming with colorful imagery, even if the translation from German seems a bit choppy in places; and the story's pace never flags, even if it is a little bit slower than you'd expect from an adventure.
Now, with the review done first, here's a plot summary for my forgetful brain (so I remember more than three things next time):
12-year-old Meggie lives constantly on the move with her father, Mo, who is a book binder. They are both voracious readers, though Mo prefers to make up elaborate stories rather than read them aloud. Book obsession runs in the family, so when a young man shows up one dark and stormy night and warns Mo that someone named Capricorn is coming for him, Mo takes up the offer of his long-lost wife's aunt to come fix up some of the books in her sprawling collection. Eleanor doesn't trust Dustfinger, who demonstrates for Meggie his talent as a juggler and (potentially book-endangering) fire-eater, or Meggie, who she assumes is a book-disrespecting child, but she'll take them in for the time being if it gives her a chance to read the mysterious and rare book,Inkheart, that Mo asks her to hide among her collection.
But before Eleanor or Meggie can sneak in a read, men dressed in black break into Eleanor's house and steal away Mo and the book disguised as Inkheart. Dustfinger knew these men, and at Meggie's insistence Eleanor reluctantly agrees to let him lead them after Mo, hoping they can trade him for the book. Alas, they are betrayed and captured, and Mo can no longer hide his secrets from Meggie. He tells her about his magical voice and explains that, one night when she was three, he read the high fantasy novel Inkheart aloud to her mother and accidentally read Dustfinger and Capricorn, the book's terrible villain, out of the page. Unfortunately, when Mo reads something out of a book, something always goes the other way as well, and in this case Meggie's mother was a victim of the swap. Dustfinger has been homesick ever since, but Capricorn has made the most of the new world. Now Capricorn wants Mo to read him riches...and his most terrifying minion.
Meggie, Mo, Eleanor, Dustfinger, and Farid (accidentally pulled out of One Thousand and One Nights) escape the crumbling town in the Italian hills that Capricorn and his men have tried to make resemble their home in Inkheart. Unfortunately, they've lost their copy of the book, which Mo can't bear, as it feels as if he's lost any chance of regaining his wife. With Meggie in tow, he tracks down Inkheart's author, Fenoglio, and trades his skills as a bookbinder for Fenoglio's help with a mysterious plan. This gets delayed a bit when Eleanor calls in hysterics--Capricorn has taken revenge on her by burning favorite books, and Mo needs to pick her up at the airport.
While he's gone, in swoop Capricorn's men, whisking off Meggie and Fenoglio (though, in amusing twist, they don't actually believe he's the author of Inkheart because they can't imagine that an author would still be alive) as bait for Mo. Of course he and Eleanor go after Meggie, joining up with Dustfinger and Farid, who are already on site in the village hoping to reclaim that last copy of Inkheart. Meanwhile, Meggie confirms that she can also read things in and out of books, Capricorn finds out and is delighted, and Fenoglio puts Mo's plan into action: rewriting the end of Inkheart in a way that will hopefully get everyone out of the mess.
Here at the end, many characters get complicated:
> We learn that Dustfinger has kept secret the fact that Mo's wife is (imperfectly) back in our world, because he hopes she will forget Mo and choose him instead;
> Farid, who had followed Dustfinger out of a desire to learn how to manage fire, finds that Mo makes a far better mentor but still decides to follow Dustfinger;
> Basta, Capricorn's right-hand man, who loves his cruel knives but is incredibly superstitious and afraid of the fire that is his leader's calling-card, is heartbroken when his father figure throws him into disgrace;
> Mo, who has refused to read books for fear of harming others, saves Meggie from having to read the part of Fenoglio's rewrite that kills people;
> Eleanor, whose affection for Meggie and Mo has overridden her earliest distrust, opens her once carefully guarded house of books not only to her family but to fantastical refugees from Inkheart (her character arc reminded me a bit of Bilbo: a bit grumpy at first and fond of her comforts, but secretly up for an adventure, even if she complains the entire way);
> and, in an interesting contrast, Fenoglio the author turns against his creations but can't let go of the thrill of seeing the power of his written words.
Other characters are less complex, but still intriguing: Flatnose and Cockerel, two of Capricorn's brutal men; "the Magpie", Capricorn's mother and housekeeper, who's definitely a Slytherin; and Dustfinger, who's a sympathetic character and who doesn't physically hurt anyone, but whose selfish actions do cause harm; and Farid, whose ultimate choice of companion seems to go against good sense.
And Meggie? She decides she wants to be a writer. Kind of an anticlimax compared to everyone else.
Oh, and I guess I do have to say something about the romance. I was clipping along through the book, quite happy that 12-year-old Meggie wasn't being saddled with unnecessary romance when she was on the run for her life when...suddenly Farid apparently has a crush on her? And Fenoglio teases Meggie and she doesn't mind, even though she's in the middle of a life-and-death situation? This totally came out of left field and, of course, annoyed me. show less
Don't get me wrong! The story is still fun, the writing still beautiful (such lovely show more similes!), the secondary characters lively, the central premise charming...but it just didn't feel as amazing as it did the first time I read it. Maybe it was a victim of nostalgia: I expected to be as awed as I was the first time, but just wasn't.
It takes a long time--almost a third of the book--for Meggie to learn her dad's secret: that when he reads, his wonderful voice summons forth people and objects from the pages of the book in his hands. That's something that readers already know from the jacket description, and I ended up feeling impatient for Meggie to learn the secret and start being more proactive...which she never really is. Much of the plot happens around her and she's only an active agent in it twice, once at the beginning (
Still, Funke's strengths are present and many: she creates a big cast of characters and gives them all striking personalities so that we can tell them apart; many of the side characters are nuanced, with sometimes contradictory desires and emotions (which, honestly, made me a lot more interested in some of them than in Mo and Meggie, who were pretty static throughout--I'd have read a whole book about Aunt Eleanor or Basta, for instance); her writing is brimming with colorful imagery, even if the translation from German seems a bit choppy in places; and the story's pace never flags, even if it is a little bit slower than you'd expect from an adventure.
Now, with the review done first, here's a plot summary for my forgetful brain (so I remember more than three things next time):
12-year-old Meggie lives constantly on the move with her father, Mo, who is a book binder. They are both voracious readers, though Mo prefers to make up elaborate stories rather than read them aloud. Book obsession runs in the family, so when a young man shows up one dark and stormy night and warns Mo that someone named Capricorn is coming for him, Mo takes up the offer of his long-lost wife's aunt to come fix up some of the books in her sprawling collection. Eleanor doesn't trust Dustfinger, who demonstrates for Meggie his talent as a juggler and (potentially book-endangering) fire-eater, or Meggie, who she assumes is a book-disrespecting child, but she'll take them in for the time being if it gives her a chance to read the mysterious and rare book,Inkheart, that Mo asks her to hide among her collection.
Meggie, Mo, Eleanor, Dustfinger, and Farid (accidentally pulled out of One Thousand and One Nights) escape the crumbling town in the Italian hills that Capricorn and his men have tried to make resemble their home in Inkheart. Unfortunately, they've lost their copy of the book, which Mo can't bear, as it feels as if he's lost any chance of regaining his wife. With Meggie in tow, he tracks down Inkheart's author, Fenoglio, and trades his skills as a bookbinder for Fenoglio's help with a mysterious plan. This gets delayed a bit when Eleanor calls in hysterics--Capricorn has taken revenge on her by burning favorite books, and Mo needs to pick her up at the airport.
While he's gone, in swoop Capricorn's men, whisking off Meggie and Fenoglio (though, in amusing twist, they don't actually believe he's the author of Inkheart because they can't imagine that an author would still be alive) as bait for Mo. Of course he and Eleanor go after Meggie, joining up with Dustfinger and Farid, who are already on site in the village hoping to reclaim that last copy of Inkheart. Meanwhile, Meggie confirms that she can also read things in and out of books, Capricorn finds out and is delighted, and Fenoglio puts Mo's plan into action: rewriting the end of Inkheart in a way that will hopefully get everyone out of the mess.
Here at the end, many characters get complicated:
> We learn that Dustfinger has kept secret the fact that Mo's wife is (imperfectly) back in our world, because he hopes she will forget Mo and choose him instead;
> Farid, who had followed Dustfinger out of a desire to learn how to manage fire, finds that Mo makes a far better mentor but still decides to follow Dustfinger;
> Basta, Capricorn's right-hand man, who loves his cruel knives but is incredibly superstitious and afraid of the fire that is his leader's calling-card, is heartbroken when his father figure throws him into disgrace;
> Mo, who has refused to read books for fear of harming others, saves Meggie from having to read the part of Fenoglio's rewrite that kills people;
> Eleanor, whose affection for Meggie and Mo has overridden her earliest distrust, opens her once carefully guarded house of books not only to her family but to fantastical refugees from Inkheart (her character arc reminded me a bit of Bilbo: a bit grumpy at first and fond of her comforts, but secretly up for an adventure, even if she complains the entire way);
> and, in an interesting contrast, Fenoglio the author turns against his creations but can't let go of the thrill of seeing the power of his written words.
Other characters are less complex, but still intriguing: Flatnose and Cockerel, two of Capricorn's brutal men; "the Magpie", Capricorn's mother and housekeeper, who's definitely a Slytherin; and Dustfinger, who's a sympathetic character and who doesn't physically hurt anyone, but whose selfish actions do cause harm; and Farid, whose ultimate choice of companion seems to go against good sense.
And Meggie? She decides she wants to be a writer. Kind of an anticlimax compared to everyone else.
This is a strange and magical and wonderful book--I imagine that, if I'd happened onto this as a child, I might have simply read it over and over again, and never then ventured beyond to fantasy. It's that good, that special, with Funke's writing telling the story that makes it feel as if you're being read to, told something that maybe perhaps happened once upon a time, or may happen tomorrow somewhere else that you could almost barely reach, in a dangerous and wonderful fashion.
It is violent and dark, but then, lots of children like dark things, as did I. I can see, though, how some parents would shudder at reading this aloud to their children or worry about nightmares, and I'm sure it's given more than one child nightmares since the show more violence of it surprised me over and over again.
But, still, it is wonderful, and if you read fantasy or middle grade fiction at all, ever, I recommend it. My only regret is that the bookstores nearby are closed, and I've neglected to buy the sequel yet. I shall, tomorrow. show less
It is violent and dark, but then, lots of children like dark things, as did I. I can see, though, how some parents would shudder at reading this aloud to their children or worry about nightmares, and I'm sure it's given more than one child nightmares since the show more violence of it surprised me over and over again.
But, still, it is wonderful, and if you read fantasy or middle grade fiction at all, ever, I recommend it. My only regret is that the bookstores nearby are closed, and I've neglected to buy the sequel yet. I shall, tomorrow. show less
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ThingScore 88
Such breathtaking things are going to happen, you cannot even imagine. SPECTACULAR!, FABULOUS! BREATHTAKING! If you've got to read a book it's got to be this one.
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Inkheart is a book about books, a celebration of and a warning about books. The "Inkheart" of the title is a book. I don't think I've ever read anything that conveys so well the joys, terrors and pitfalls of reading. ...
When the villains are at last defeated and the denizens of the book tumble through into reality, it is quite disappointing to find them gaudy, small and trivial. Is Funke show more saying that, while books as books are wonderful, real life has a solid sort of grimness that renders make-believe flimsy? Or is she pleading with us to mix at least a little fantasy with our reality? I don't know. Inkheart leaves you asking such questions. And this is, to my mind, an important thing for a story to do. show less
When the villains are at last defeated and the denizens of the book tumble through into reality, it is quite disappointing to find them gaudy, small and trivial. Is Funke show more saying that, while books as books are wonderful, real life has a solid sort of grimness that renders make-believe flimsy? Or is she pleading with us to mix at least a little fantasy with our reality? I don't know. Inkheart leaves you asking such questions. And this is, to my mind, an important thing for a story to do. show less
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Books Illustrated Inkheart in Fine Press Forum (December 2023)
Author Information
Author Cornelia Maria Funke was born in Dorsten, Germany on December 10, 1958. After graduating from the University of Hamburg, she worked as a social worker for three years. After completing a course in book illustration at the Hamburg State College of Design, she worked as a children's book illustrator and designed board games. Her desire to show more draw magical worlds and her disappointment over the way some stories were written inspired her to write her own children's books. Her book, The Thief Lord, won the Mildred L. Batchelder Award for the best translated children's book of the year and the Book Sense Book of the Year Award. She has also received the Book Sense Children's Literature Award for Inkheart and Inkspell. Funke has written numerous books including Dragon Rider, When Santa Fell to Earth, Igraine The Brave, Reckless, Saving Mississippi, Inkheart, Inkspell, Inkdeath, Igraine the Brave, and The Princess Knight. Inkheart was adapted into a film. Cornelia Funke was voted into the Time magazine's list of the 100 most influential people of 2005. (Bowker Author Biography) show less
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Common Knowledge
- Canonical title
- Inkheart
- Original title
- Tintenherz
- Original publication date
- 2003-09-23 (Germany) (Germany); 2004-06-06 (United States of America) (United States of America)
- People/Characters
- Meggie Folchart; Mortimer Folchart (Mo); Capricorn; Dustfinger; Basta; Farid (show all 10); Elinor Loredan; Fenoglio; Mortola (The Magpie); Resa Folchart
- Important places
- Capricorn's Village, Italy; Europe; Italy
- Related movies
- Inkheart (2008 | IMDb)
- Epigraph
- If you are a dreamer, come in
If you are a dreamer, a wisher, a liar,
A Hope-er, a Pray-er, a Magic Bean Buyer,
If you're a pretender, come sit by my fire
For we have some flax-golden tales to spin... (show all)
Come in!
Come in!
Shel Silverstein - Dedication
- For Anna, who even put The Lord of The Rings aside for a while to read this book. Could anyone ask for more of a daughter?
And for Elinor, who lent me her name, although I didn't use it for an elf queen. - First words
- The book she had been reading was under her pillow, pressing its cover against her ear as if to lure her back into its printed pages.
Rain fell that night, a fine, whispering rain. - Quotations
- Some books should be tasted, some devoured, but only a few should be chewed and digested thoroughly.
Why do grown-ups think it's easier for children to bear secrets than the truth? - Last words
- (Click to show. Warning: May contain spoilers.)As Mo had said: writing stories is a kind of magic, too.
(Click to show. Warning: May contain spoilers.)And where better could she learn that trade than in a house full of magical creatures, where fairies built their nests in the garden and books whispered on the shelves by night? As Mo had said: writing stories is a kind of magic, too. - Blurbers
- Jones, Diana Wynne; Barker, Clive
- Original language
- German
- Canonical LCC
- PT2666.U49 I55413
Classifications
- Genres
- Tween, Fantasy, Kids, Fiction and Literature
- DDC/MDS
- 833.914 — Literature & rhetoric German & related literatures German fiction 1900- 1900-1990 1945-1990
- LCC
- PT2666 .U49 .I55413 — Language and Literature German, Dutch and Scandinavian literatures German literature Individual authors or works 1961-2000
- BISAC
Statistics
- Members
- 20,701
- Popularity
- 272
- Reviews
- 542
- Rating
- (3.91)
- Languages
- 27 — Catalan, Chinese, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hebrew, Hungarian, Italian, Kru, Lithuanian, Norwegian (Bokmål), Norwegian, Polish, Portuguese, Romanian, Russian, Croatian, Slovak, Spanish, Swedish, Thai, Turkish
- Media
- Paper, Audiobook, Ebook
- ISBNs
- 126
- ASINs
- 45