April 27, 1992
In this Algonquin Indian version of the Cinderella story, two domineering sisters set out to marry the ``rich, powerful, and supposedly handsome'' Invisible Being, first having to prove that they can see him. They cannot, but their mistreated younger sister the Rough-Face Girl--so called because the sparks from the fire have scarred her skin--can, for she sees his ``sweet yet awesome face'' all around her. He then appears to her, reveals her true hidden beauty and marries her. Shannon ( How Many Spots Does a Leopard Have? ) paints powerful, stylized figures and stirring landscapes, heightening their impact with varied use of mist, shadows and darkness. His meticulous research is evident in intricate details of native dress and lodging. In places, though, he struggles with the paradox of illustrating the invisible--an eagle, tree, cloud and rainbow form the face of the Invisible Being in one disappointingly banal image. For the most part, however, the drama of these haunting illustrations--and of Martin's ( Foolish Rabbit's Big Mistake ) respectful retelling--produce an affecting work. Ages 4-8.
May 1, 1992
Gr 3 Up- -Simply, in the words of an oral storyteller, Martin retells an Algonquin folktale. The youngest of three sisters is forced by the other two to sit by the fire and feed the flames, which results in the burning and scarring of her hair and skin. Desirous of marriage to an Invisible Being who lives in a huge wigwam across the village, these cruel siblings must prove to his sister that they have seen him, but they fail. The Rough-Face Girl, however, sees the Invisible Being everywhere and can answer his sister's questions correctly. Comparable in presentation to Caroline Cunningham's "The Little Scarred One" from The Talking Stone (Knopf, 1939; o.p.; reprinted in Castles and Dragons, Crowell, 1958; o.p.), but different in detail, this is a splendid read-aloud. It is the only single illustrated version available. Shannon's finely crafted full- and double-page acrylic paintings in the rich hues of the earth embody the full flavor of the story. His stunning cover portrait shows at one glance both the girl's beauty and her frightful scars. Another in the recent succession of Cinderella stories, The Rough-Face Girl begs for comparison with Princess Furball (Greenwillow, 1989), Tattercoats (Putnam, 1989), Mufaro's Beautiful Daughters (Lothrop, 1987), Moss Gown (Clarion, 1987), etc., and will provide both entertainment and a cultural lesson.- Susan Scheps, Shaker Heights Public Library, OH
April 15, 1992
Ages 6-9. This variant of the Cinderella tale takes place by the shores of Lake Ontario. Every girl in the Algonquin village wishes to marry the Invisible Being, who lives in a beautiful wigwam with his sister, but only a girl who can see the Invisible Being and answer his sister's questions can marry him. When the Rough-Face Girl (whose face and arms are scarred because her wicked sisters have forced her to tend the fire) goes to his wigwam, she alone knows that his bow is made of the rainbow's curve and his sled runner is formed from the Milky Way because she alone has seen him in the natural world around her. Shannon's dramatic, full-color paintings are striking and often rich in atmosphere, though some of the character portrayals seem glamorized or European. Martin introduces the story as an Algonquin Indian tale taken from a longer work, though he doesn't name its source. Given the beauty of the story, the strength of many of the illustrations, and the current interest in comparing variants of folktales from different cultures, libraries will find this a well-used picture book. ((Reviewed Apr. 15, 1992))(Reprinted with permission of Booklist, copyright 1992, American Library Association.)
January 1, 1992
In this powerful retelling of a Native-American Cinderella story, the Rough-Face Girl, the youngest of three daughers, is so named because years of tending the fire have scarred her face and arms. She earns the love of and the right to marry the powerful Invisible Being by seeing him in the beauty of the earth around her. The text contains the cadences and rhythms of oral language, and the illustrations, dark and vivid, use earth tones and shadows to convey the drama.
(Copyright 1992 by The Horn Book, Incorporated, Boston. All rights reserved.)