First up is Big Rain Coming, written by Katrina Germein (Clarion Books, 1999). The text is snappy and there’s plenty of expansive detail in the illustrations to pore over with a child. Everyone, but everyone is waiting for the rain to come, from Old Stephen, to the kids; from the dogs to the frogs. The clouds gather, and still they wait, right through each day of the week, until finally, on Saturday, it rains. It won’t be long till the child you share this book with knows the words by heart and is jubilantly shouting out the last couple of pages before you get a look in! My favorite illustration: the children swimming in the blue/green billabong, surrounded by tall pink flowers – gorgeous!

Next is Malu Kangaroo: How the First Children Learnt to Surf written by Judith Morecroft (Little Hare, 2007), which again is a finely tuned synthesis of word and image. Malu the Kangaroo boldly tells the people, “I will show you how to play with the ocean.” And then he shapes and polishes a piece of wood into a surf-board. As he tells them how it will feel to surf, Bronwyn’s illustrations underscore the joyous lyricism of Malu Kangaroo’s words, with birds soaring and dipping into the surf, fish flying, and dolphins leaping. The patterns and swirls that have their roots in aboriginal art, coupled with Bronwyn’s characteristic bright pallette are simply (yes I am going to use that words agian!) gorgeous. My favorite illustration: the birds that ‘sweep and fly’, breaking up the horizontal bands of sand, surf and sky.

And lastly, Ready to Dream written by Donna Jo Napoli and Elena Furrow (Bloomsbury Children’s Books, 2009). Young artist Ally’s Mamma is taking her to Australia for the first time. At Alice Springs, Ally meets Pauline, an artist who, with just a few gentle words each time, teaches Ally to get closer in her art to the animals and nature she sees and experiences on her excursions. In their last meeting they draw together in the sandy earth, and Ally’s reaction shows that, in Pauline’s culminating words, she is “ready to dream”. There is much for young people to ponder in this gentle story that will appeal especially to budding artists – and there’s no doubt that they could be trying their hand at something in Bronwyn’s style as a result. My favourite illustration: Ally throwing high the stone on which she has painted a kangaroo, so that it can hop free.

The young cast did a wonderful job of telling the story of four Cinderellas from four different cultures and proved that Cinderella can indeed have brown eyes and black hair! It truly was a multicultural experience with aspects of traditional Chinese theatre, a Korean fan dance, Tae Kwon Do martial arts and the singing of a sacred First Nations song that has been passed down from generation to generation. Director Mandy Tulloch says she wanted to ensure that each version of Cinderella was shown in a manner that was true to its respective culture:

Advisors were consulted to make sure the play was as culturally responsible as possible. In the segment from China, we utilize the traditional method in Chinese theatre where the audience is asked for permission for the performance to take place. We also have the property men as well. For the First Nations piece, we were granted permission by the local elders for the performance to take place. They also blessed the show and worked with us on the music and mask making. In the Korean segment, which was written specifically for this show, you will see an authentic Korean Fan Dance performed by kids as well as award winning Tae Kwon Do artists.

Multicultural versions of Cinderella abound in children’s and young adult books too. To get a sense of what’s out there, check out our blog posts Globe-trotting Cinderella and Bound by Donna Jo Napoli and Books at Bedtime: Fairy Tales (2); and read this review of Abadeha: The Philippine Cinderella, which forms part of our current focus on the Philippines…

In the young adult novel Golden: A Retelling of “Rapunzel”, one of Simon and Schuster’s fairy tale retelling series, this one by Cameron Dokey, the poor girl’s tower-length locks are an infuriating nuisance. The Tower Room by Adele Geras (Harcourt Paperbacks) is set in a 1960′s English boarding school probably modeled on the school Geras (and Princess Diana) attended. One of Donna Jo Napoli’s series of retold tales, Zel (Puffin) is set in 16th century Switzerland. Sugar Cane: A Caribbean Rapunzel (Hyperion) is a picture book by Patricia Storace, “lavishly illustrated” by Raúl Colón. (Here’s a PaperTigers gallery of illustrations by Colón!) Letters from Rapunzel (HarperCollins) is a teen novel about a girl who sees the myth’s relevance in her own life and re-names herself Rapunzel; here’s a 7-Imp interview with author Sara Lewis Holmes. Barbara Ragasky’s Rapunzel (Holiday House), with much lauded illustrations by Trina Schart Hyman, may be out of print but is available online. Lynn Roberts’ Rapunzel: A Groovy Fairy Tale (Abrams), says Lurie, appears to be set in 1970′s New York.

The long hair, the witch, the tower, the inadequate jealous mother, the adopted child and adoptive parents, the rescuing prince–the themes of Rapunzel have been re-told for our times with great verve and vivacity, and Alison Lurie’s thorough and entertaining perspective is not to be missed.