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[ 책 소개 ]
미국의 위대한 여류 시인인 에밀리 디킨슨과 이웃집 소녀에 관한 에피소드를 Caldecott 수상작가인 Barbara Cooney가 아름다운 유화 그림으로 보여줍니다.
소녀는 피아니스트였던 엄마와 함께 에밀리 디킨슨의 집을 방문할 기회를 갖게 되었습니다. 에밀리 디킨슨은 평생을 외부와 단절된 채 집 안에서 은둔 생활을 하고 있었는데, 엄마에게 피아노를 연주해 달라는 요청을 한 덕에 소녀는 엄마와 함께 에밀리의 집을 방문할 수 있게 되었지요. 엄마가 피아노를 연주하는 동안 소녀는 몰래 이층으로 올라가다가 의자에 앉아 있는 에밀리를 만나게 됩니다. 소녀는 에밀리에게 주머니에 넣어 온 백합 구근 2개를 선물로 주고, 에밀리는 소녀에게 즉석에서 시 한 편을 적어서 선물로 줍니다. 책 말미에는 에밀리가 자필로 적은 시가 실려 있습니다.
[ 참고: 에밀리 디킨슨 ]
에밀리 디킨슨은 1830년 미국 매사추세츠 주 앰허스트에서 출생, 독실한 청교도 가정에서 자랐고, 1847년 마운트 홀리요크 학교에 진학하였으나 1년 후 중퇴하였습니다. .평생 독신으로 살았으며, 외출을 거의 하지 않고 늘 집안에서 은둔하며 단조로운 삶을 살다가 55세에 사망했습니다. 디킨슨은 사랑과 이별, 죽음, 영원 등의 소재를 즐겨 다루었으며, 운율은 17세기 풍에 가까웠으나 기법은 파격적이었습니다. 평생 2,000여 편의 시를 썼으나 생전에는 4편의 시만이 발표되었으며, 일부 평론가들 외에 대중의 주목은 받지 못했지만, 사후에 여동생이 발표되지 않았던 시를 모아 시집을 출간하면서 널리 알려지게 되었습니다.
[ 서지 정보 ]
Paperback: 40 pages
Language: English
ISBN-10: 0440417406
ISBN-13: 978-0440417408
책 크기: 26 cm x 23 cm
[ 영문 서평 ]
Book Description
A young girl who lives across the street from the reclusive Emily Dickinson gets her chance to meet the poet when her mother is invited to play the piano for Emily. The girl sneaks up to Emily's room and exchanges a small gift for an authentic poem, which is included in the book.
Publishers Weekly
This fictionalized encounter between Emily Dickinson and a young neighbor is, like a Dickinson sonnet, a quiet gem: unassuming upon first glance, it is in fact deeply lustrous, with new facets becoming apparent the longer one looks. The narrator and protagonist is a child who has just moved into the house across the street from "the Myth." She accompanies her mother to Emily's house one day, where she makes her a gift of lily bulbs and receives a poem in return. Bedard's unnamed narrator speaks with the piercing clarity and insight particular to sensitive children. As she contemplates her fear of meeting the reclusive poet, she realizes that "perhaps the lady in the yellow house is also afraid"; she intuitively responds to the hidden life mysteriously contained in the dull, dead bulbs; and she makes a simple but profound connection--"Maybe people are a mystery, too"--that allows her to reach out to her strange, largely hidden neighbor. While, laudably, the story in no way depends upon familiarity with Dickinson's life or work, the fullness of Bedard's accomplishment is most clearly evident in relation to the latter. He uses diction and imagery that might have been the poet's own: strong, sure language whose force derives from its very economy; small but potent details from nature and domesticity. Judiciously employing alliteration, rhyme, assonance and echoes--"Like flakes of flowers the words fell to the sheets. I listened to them fall and fell asleep"--his prose moves with the rhythms and lyricism of poetry, yet retains a child's straightforward, unselfconscious voice throughout. Caldecott Medalist Cooney's oils richly capture the story's subtly shifting moods, from the utter stillness of a street bathed in moonlight and swaddled in snow to the vigor of a sun-flooded room full of growing plants. They visually extend the text's Dickinsonian personification of nature ("There was no one there but winter, all in white") and contain skillful echoes of their own: at different points in the story the child and poet are shown sitting alone on the landings of their respective houses, a visual reinforcing of their special kinship. And in their tranquil beauty these paintings testify to the mysteries and wonders of even the everyday.
School Library Journal
A young girl whose family has just moved into the neighborhood describes her first encounter with the inhabitant of the yellow house across the road. Called ``the Myth'' by some, deemed crazy by others, she is, in fact, the reclusive poet Emily Dickinson. An air of mystery surrounds the woman as the child overhears her parents discussing their neighbor. When the girl's mother is invited to the yellow house to play the piano, curiosity deepens. The first meeting and special gifts exchanged between the girl and the poet are described in this imaginative and unusual picture book. In keeping with a story about a poet, the language of the text is lyrical. The effect, however, is to make the young narrator seem much older than Cooney's wonderful oil paintings suggest. The illustrations convey a sense of place and time long ago, from drawing rooms to clothing. This is a picture book to read aloud and share with older children, both because of the sophisticated language and the nature of the story. For what are youngsters who have never heard of Emily Dickinson to make of her eccentricities? Those who are beginning to encounter her poetry will find that Bedard's charming story demystifies the person and offers some understanding of her odd behavior. |
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