Rapunzel

PUBLISHERS WEEKLY SEP 29, 1997

Zelinsky (Swamp Angel) does a star turn with this breathtaking interpretation of a favorite fairy tale. Daringly--and effectively--mimicking the masters of Italian Renaissance painting, he creates a primarily Tuscan setting. His Rapunzel, for example, seems a relative of Botticelli's immortal red-haired beauties, while her tower appears an only partially fantastic exaggeration of a Florentine bell tower. For the most part, his bold experiment brilliantly succeeds: the almost otherworldly golden light with which he bathes his paintings has the effect of consecrating them, elevating them to a grandeur befitting their adoptive art-historical roots. If at times his compositions and their references to specific works seem a bit self-conscious, these cavils are easily outweighed by his overall achievement. The text, like the art, has a rare complexity, treating Rapunzel's imprisonment as her sorceress-adopted mother's attempt to preserve her from the effects of an awakening sexuality. Again like the art, this strategy may resonate best with mature readers. Young children may be at a loss, for example, when faced with the typically well-wrought but elliptical passage in which the sorceress discovers Rapunzel's liaisons with the prince when the girl asks for help fastening her dress (as her true mother did at the story's start): " `It is growing so tight around my waist, it doesn't want to fit me anymore.' Instantly the sorceress understood what Rapunzel did not." On the other hand, with his sophisticated treatment, Zelinsky demonstrates a point established in his unusually complete source notes: that timeless tales like Rapunzel belong to adults as well as children. Ages 5-up.