The Impact of Pinocchio: History of Children's Literature
Written by Carlo Lorenzini under the pen name of Carlo Collodi in 1882, The Adventures of Pinocchio has been, and continues to be a staple in the magnificent world of children's literature. It has proven itself a timeless novella with universal moral lessons that children and adults from many different countries continue to share. Apart from Machiavelli's The Prince and Dante's The Divine Comedy, no other piece of Italian literature rivals it. Because the book has been translated into more than ninety different languages and has been adapted for the stage and film, it has undergone a significant evolution to say the least. From a dark, often times vulgar rendering in Collodi's original novella, to a sweet, sappy, watered-down, Americanized version, The Adventures of Pinocchio has been influenced by cultural and societal shifts throughout the past century. Still, "Translated into more than ninety languages, 'Pinocchio' has never been out of print" (Scholastic, n.d.). Noteworthy literary devices have transcended the multifarious adaptations of Collodi's original novella and have even reappeared in the pages of some of our most prized contemporary children's literature. Collodi's The Adventures of Pinocchio set a precedent for many fairy tales, short stories, novels, and novellas to follow and continues to maintain it's position as a children's classic.
Bildungsroman:
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"For instead of crying and moaning like human beings, they brayed like donkeys. And their loud braying filled the room. 'Hee-haw! Hee-haw!'"
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Jack Tales:
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"Don't be one of those kids who fight with their parents and run away from home, and all for no good reason. Everything turns out wrong for them. Sooner or later they ruin their lives, and when it's too late they're sorry."
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The Cautionary TaleFrom the mid-eighteenth century on, the popularity of the cautionary tale genre of children's literature sky-rocketed. Aesop's Fables served as a prototype for many other successive cautionary tales which concluded with moral lessons and contained small, sometimes discreet warnings throughout. Emer O'Sullivan, author of the Historical Dictionary of Children's Literature writes, "[Cautionary tales] often fall into three parts: first a prohibition is named--an act, place, or thing supposedly dangerous; then follows the story of someone who disregards the warning; finally the great misfortune that befalls the violator as a direct consequence of the forbidden deed is related" (O' Sullivan, 2010, p. 62). Pinocchio follows this same trajectory of events multiple times throughout the novella. For example, the wise and patient cricket warns Pinocchio that his decision to not go to school, remain idle, and live selfishly will turn him into an "absolutely perfect donkey" (p. 33, Ch. IV). Pinocchio disregards this warning and sends the cricket "stiff and squashed against the wall" (p. 34, Ch. IV). As Collodi attempts to reconcile Pinocchio's aggression by essentially claiming that the cricket's death was an accident, the reader can't help but hope that Pinocchio takes heed of the cricket's warning. In the end, Pinocchio transforms into a donkey just like the cricket says he will and the cautionary tale trifecta is complete. The cautionary tale's classic three part progression is also evident in the scene where Pinocchio sees his own coffin ushered in by four rabbits. The Blue Fairy tells him, "'In a few hours your fever will carry you to another world'" (p. 93, Ch. XVII). Once again, Pinocchio does not listen to her, even tricking her into giving him candy. He says, "'This awful medicine-water--I won't drink it! No! No! No!'" (p. 93, Ch. XVII). Pinocchio has to be threatened into drinking the medicine with the image of his own coffin. He exclaims, "'Oh dear, kind Blue Fairy, dear kind Blue Fairy,' shouted the puppet, 'please--quickly--hand me that glass!...I don't want to die'" (p. 93, Ch. XVII). Warnings, dismissals of such warnings, and consequences as a result of such dismissals are weaved throughout The Adventures of Pinocchio and support Collodi's cautionary tale's moral lesson. O'Sullivan, E. (2010). Historical Dictionary of Children's Literature. Volume 46 of Historical Dictionaries of Literature and the Arts. (p. 62). New York, NY: Scarecrow Press.
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"They tied his hands behind his back, tied a rope around his neck, and hanged him from the highest branch of an enormous tree called the Big Oak...They were waiting for him to stop his kicking and jerking and die."
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The Censorship of Children's LiteratureThe Adventures of Pinocchio underwent many changes with the prominence of censorship specifically in children's literature. The "Americanization" of the novella is a direct result of the changing tides of societal and values. Although the story's general premise remains consistent throughout the turn of the century, little by little, Collodi's violent imagery begins to disappear. Students from American urban common schools had such a propensity for violence, that around 1904 editors of the novella decided to substitute many violent scenes with "kid friendly" ones. According to Richard Wunderlich's research,"While the elimination of violence might have been due to an overall protective, benevolent attitude toward children, it might have also been provoked by an urgent pair of concerns facing school teachers: that is, to discourage violence among children and to maintain discipline in the classroom" (Wunderlich, 2000, p. 201). Another notable censorship of Collodi's classic took place in the 1940's as an attempt to combat the societal changes in the aftermath of World War II. With so many children with fathers away at war, editors believed that the gruesome scenes in the book would escalate their fears about their fathers' well-being. Especially with the introduction of Disney's version of the story, all deaths were removed and replaced with mild buffoonery. Wunderlich, R. (2000). The Tribulations of Pinocchio: How Social Change Can Wreck a Good Story. Poetics Today. (p. 201). Duke University Press.
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HISTORY OF CHILDREN'S LITERATURE TIMELINE:
Works that Contributed to Collodi's Pinocchio
According to Scholastic, The Adventures of Pinocchio has been "translated into more than ninety languages...[and] has never been out of print."
Pinocchio Vampire SlayerWith four installments in their dark graphic novel series, creators Dusty Higgins and Van Jensen tell a gripping tale of Pinocchio, Vampire Slayer. After turning into a real boy, Pinocchio finds his quiet town violently pillaged by blood-sucking vampires. As he avenges the death of his beloved father, Geppetto, Pinocchio unites his village with his “wooden stake” nose at the helm. Ironically enough, Pinocchio’s dishonesty (the growth of his nose) is not condemned, but rather sensationalized in this series, as it is used as a tool for impaling vampires. Awarded one of the top ten graphic novel picks for young adults by the Young Adult Library Services Association, Pinocchio, Vampire Slayer puts a dark spin on Carlo Collodi’s children’s classic while also challenging the ethical intent of the original novella. Higgins, D. & Jensen, V. (2009). Pinocchio: Vampire Slayer. San Jose, CA: SLG Publishing.
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Wooden BonesExtrapolating the themes of resurrection evident in Carlo Collodi’s The Adventures of Pinocchio, author Scott William Carter challenges the morality of his main character, Pino (Pinocchio’s “real boy” name) in his fast-paced story, Wooden Bones. After completing a morality marathon to transform into a real boy, Pino must adapt to his new life as Geppetto’s son in a village that is much too curious about his transformative powers. Pino finds that his talents for woodworking are as admirable as his father’s when he carves Geppetto’s late wife back to life. Although Pino’s gesture brings Geppetto happiness, the villagers are not as happy and turn into an angry mob demanding that Pino carve their loved ones back to life. In the end, Pino must succumb to the wishes of the village or realize that resurrection is a delicate and precious act not to be messed with. Carter, S. W. (2013) Wooden bones. New York, NY: Simon & Schuster Books for Young Readers.
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The Real BoyAnne Ursu's The Real Boy is an ideal text to use with upper-elementary students. It tells the tale of Oscar, a young boy growing up on the island of Ateri. Oscar works for one of the most powerful magician's in the land, grinding up herbs and preparing ingredients for some of the island's most secret potions. Oscar aspires to be a famous wizard when he grows up, but his inability to fit in and desire to be unnoticed in world of magic and wonder impair his aspirations. As magic moves through the trees of Barrow, a forest in Ateri, Oscar is positive that the age-old power of Barrow will save the island from a mysterious illness. With the lives of his people in danger, Oscar will be challenged to make tough choices about power, magic, and love. Ursu, A. (2013). The Real Boy. New York, NY: Walden Pond Press.
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Tales From PinocchioRetold by Helen Rossendale, Tales of Pinocchio features eight chapters of Carlo Collodi's infamous story of a wooden puppet who longs to be a real boy. Each section of the short set of tales details one of Pinocchio's adventures from Collodi's original novella. Because Rossendale wrote this book as a children's bedtime story series, much of the violent language and punishments from Collodi's version has been revised or omitted. In other words, Rossendale's story is more friendly for very small children who need to hear a story before bed. To hang Pinocchio on a tree, or describe him biting off a cat's paw would certainly not be conducive for "sweet dreams." Graham Philpot's colorful illustrations keep children engrossed in the winding turns throughout Collodi's classic. Rossendale, H. & Philpot, G. (2011). Tales from Pinocchio (10-minute bedtime stories). Pavilion.
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Pinocchio the BoyLane Smith’s Pinocchio the Boy provides readers with a witty, new spin on a classic tale. Smith’s rendition of the story details the events that transpire after Pinocchio is transformed into a real boy. The catch? Pinocchio fails to realize that he is a real boy because the Blue Fairy casts her spell on him while he is sound asleep. When his papa falls ill, he makes a laborious trek across town looking for some chicken soup. Because he is a real boy, the cricket fails to recognize him and he gets booed off stage at a puppet show. Pinocchio can’t understand why no one knows who he is, including his own papa. In the end, with the help of the Blue Fairy, Pinocchio realizes that he is a real boy after all and is finally able to help his papa feel better. Smith, L. (2002). Pinocchio: The boy. Viking Juvenile.
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Pinocchio by PinocchioMichael Morpurgo's interpretation of Collodi's The Adventures of Pinocchio is humorous and colorful. Protagonist and narrator become one as main character, Pinocchio steals the pen from Morpurgo and shares his side of Collodi's classic tale. With wit and charm, Pinocchio's narration recounts some of his most adventurous moments from The Adventures of Pinocchio. Emma Chichester Clark's stunning illustrations are colorful and engaging for young readers. Morpurgo gives agency to a now real boy, Pinocchio so that he can finally reveal his thoughts throughout his mischievous and troublesome adventure. Morpurgo, M. & Clark, E. C. (2013). Pinocchio: By Pinocchio. New York, NY: HarperCollins Children’s Books.
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The Story of PinocchioThrough simple, yet stylistically unique illustrations, Mauro Evangelista portrays Pinocchio's journey from puppet to real boy. Illustrated and written with young readers in mind, The Story of Pinocchio delivers a straightforward account of Collodi's complex text. With simple illustrations and a minimal number of words on each page, young children are able to follow the story line and major themes within the story. Collodi, C. Daynes, K,. & Evangelista, M. (2006). The story of Pinocchio. UK: Usborne Pub Ltd.
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A Cut-Paper Book PinocchioAgnese Baruzzi's A Cut-Paper Book Pinocchio captures the whimsical essence of Carlo Collodi's children's classic. With pages carefully cut and beautifully executed, this version of the book is paper artistry that readers have to see to believe. Baruzzi's simple text and wildly imaginative artistic interpretation of Pinocchio's puppet world, bring Pinocchio's story to life. Readers will feel as though Baruzzi crafted their copy of the book just for them. Baruzzi, A. (2013). Pinocchio: A cut-paper book. London, UK: Tango Books.
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PinocchioA tactile interpretation of Collodi's The Adventures of Pinocchio, Ed Young illustrates his abridged version of the story with three-dimensional art. In other words, Ed Young's book is one that children can interact with. Children can feel the string, cloth, grainy paper, and various other materials while they read this classic tale. Interacting with Young's three-dimensional images gives readers a tactile experience that enhances the original story and makes it jump from the page. Young's version is also a unique adaptation because he includes many of the dark scenes which Disney fails to include in the film adaption of Collodi's work. Collodi, C., & Young, E. (1996). Pinocchio. New York, NY: Philomel Books.
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Zombie Fairy Tales: The Zombie PinocchioIn this horrific thriller, Kevin Richey recreates Collodi's puppet into a zombie. Instead of carving his son from wood, Geppetto scours graveyards late at night to dig up the body parts of young children. With bits and pieces from each child, he creates a temperamental zombie who he soon finds is out of control. Similar to Mary Shelley's Frankenstein, Richey's monster, Pinocchio goes on a rampage through his village killing any children in his path. In the end, his destruction does reap repercussions and leaves his city engulfed in absolute horror. A dark, yet satisfyingly creative read, The Zombie Pinocchio is sure to keep young adult readers begging for more Zombie Fairy Tales from Kevin Richey. Richey, K. (2013). The Zombie Pinocchio [E-book]. Amazon Digital Services, Inc.
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PinocchioThis edition of Carlo Collodi's The Adventures of Pinocchio is the original text with the addition of illustrations throughout. Known by the illustration world as the "mad creator," Gris Grimly draws Pinocchio's journey with a horror slant. His characters throughout the classic story are especially intriguing and whimsical with disproportionate faces and bodies that speak to the characteristically nefarious deeds Pinocchio commits throughout the novella. Unlike Disney's Americanized version of Pinocchio in which the protagonist is portrayed as an adorable, wide-eyed puppet, Grimly captures the true nature of the puppet in Collodi's version--dark, distorted, and quite disturbing. Collodi, C., & Grimly, G. (2002). Pinocchio. New York, NY: Starscape.
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Pinocchio in VeniceImagining that Pinocchio adhered rigidly – too rigidly, as one might conclude - to his academic and hardworker reformation at the end of Collodi’s tale, Coover presents Pinocchio as an aged, disgruntled scholar who won two Nobel Prizes in literature. Pinocchio is cast as a wayfarer at a train station, where he naively plunges back into a journey very reminiscent of his adventures as a puppet. A porter and his blind friend assume the role of the Cat and the Fox, and pull similar tricks on Pinocchio. Pinocchio is then abused by the police, mocked by puppets, and reunited with his schoolmate Eugene whose turned Pleasure Island into an wealthy, industrial park. As he shuffles through familiar misfortunes and familiar faces, Pinocchio shows an unhealthy, erotic passion for the now college-aged Blue Fairy. Since Pinocchio begins to regress back into his wooden form, Coover presents Pinocchio as one who cannot escape the choice between human flesh and wooden artifice. Coover, R. (1997). Pinocchio in Venice. New York, NY: First Grove Press.
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The Pinocchio Syndrome
After a nuclear explosion obliterates an American student cruise ship, a mysterious plague ravages the the planet on a global scale. Sudden onset renders it incurable, so the disease first paralyzes its victims, then it creates a physical deformity reminiscent of Lampwick and Pinocchio's donkey metamorphism in Funland: fingers and toes fuse together, essentially equipping humans with hoofs. Was the nuclear explosion an act of biological terrorism, government conspiracy, or something worse? When the disease hits the Vice President, Senator Michael Campbell rises as the political voice. However, Colin Goss - a self-made billionaire with a Hitler-like extermination philosophy - eyes this spotlight. As scientists try to unravel the disease, U.S. politics devolves into chaos. Zeman, D. (2003). The Pinocchio syndrome. New York, NY: Doubleday.
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