Versos salvajes. Joohee Yoon

$16.000

Agotado

Ilustraciones y selecci贸n de JooHee Yoon

50 p谩ginas
A帽o de publicaci贸n 2017
Edad recomendada +5
ISBN: 9789563650440
Versi贸n en espa帽ol de Marcela Fuentealba
Coedici贸n con Hueders.聽Comprar.
Edici贸n original: Enchanted Lion Books, Nueva York 2015.
Son 16 poemas sobre animales ilustrados por JooHee Yoon, que eligi贸 sus favoritos de ni帽a y los dibuj贸 con tres colores, a mano y digital, en un libro vibrante e inagotable. Sorprende con p谩ginas desplegables con el cl谩sico聽 鈥淓l Tigre鈥 de William Blake hasta la perdida 鈥淥da al picaflor鈥 de Pablo Neruda. Esta versi贸n en espa帽ol incluye poemas de la tradici贸n latinoamericana, para acercar el humor, el ritmo y la sorpresa de la poes铆a:聽Francisco de Quevedo, Nicol谩s Guill茅n, Gabriela Mistral, Eugenio Montale.
Hay canciones y adagios an贸nimos, traducciones de poemas conocidos y desconocidos de Lewis Carroll, Arthur Waugh (padre de Evelyn), Carolyn Wells, Robert Desnos, Laura E. Richards, Hilaire Belloc, Christina Rosetti, Eileen Mathias.
Rese帽a en New York Times

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聽 Rese帽a a la versi贸n inglesa de Versos salvajes de JooHee Yoon en New York Times: Poems don鈥檛 necessarily need pictures, nor pictures poems. But children 鈥 for whom magic is real and logic overrated 鈥 love and need both. In three handsome new poetry collections for children, word and image energize and illuminate each other, becoming journeys for the eye and ear. The word 鈥渘ursery鈥 in the title 鈥淥ver the Hills and Far Away: A Treasury of Nursery Rhymes鈥 implies that these poems are for the very youngest children, but my 8-year-old daughter read this book for a long time, saying, 鈥淚 like that the poems come from all over the world.鈥 Because each of the book鈥檚 77 illustrators gets a two-page spread featuring one to three poems, to turn a page is to shift worlds. Tongue-twisters (鈥淏etty Botter鈥) segue to spirituals (鈥淲ho built the ark?鈥/Noah, Noah鈥) to Mother Goose (鈥淟ittle Boy Blue鈥) to this luminous tercet, accompanied by a desert sunset, from the Southwestern indigenous tribe Tohono O鈥檕dham: How shall I begin my song In the blue night that is settling? I will sit here and begin my song. The illustrations in this book make bridges, helping us, say, to see similarities and differences in animal poems with wordplay from Australia and America. Trinidadian clapping rhyme verses (鈥淢osquito鈥痮ne,鈥/鈥塎osquito鈥痶wo,鈥/鈥塎osquito jump in de callaloo鈥) are pasted into a vivid paper collage by Petrina Wright. John Lawrence鈥檚 woodcuts of London townspeople seem perfect for the old English bell poem: 鈥淲hen will you pay me?鈥/鈥塖ay the bells of Old Bailey.鈥/When I grow rich,鈥/鈥塖ay the bells of Shoreditch.鈥 Pamela Zagarenski鈥檚 Chagall-like village features a tiny elephant, a child asleep on a hillside and a giant man blowing cloud-swirls across a monumental moon. The untitled American lyric it accompanies is casually riveting: Bed is too small for my tiredness. Give me a hilltop with trees; Tuck a cloud up under my chin. Lord, blow out the moon 鈥 please. That contains both mystery and comfort, which might be key to what makes good kids鈥 poetry good. Diversity helps, too. My daughter and I discovered, reading this book, that the lullaby I still sing her (鈥淎ll the pretty little horses鈥) is 颅African-American in origin. Holly Sterling鈥檚 illustration shows a burly brown man cradling a baby girl as dream horses run through a night sky. Wonderful, but not common, to find dads in a book of children鈥檚 poems. JooHee Yoon鈥檚 鈥淏eastly Verse鈥 is very much about its pictures. Three-color illustrations of critters fill up page after intense page, cheerily aggressive, goofy, beastly-friendly. Yoon鈥檚 poem selection is economical, intelligent, even hip. Laura Richards鈥檚 kid-anthology standard 鈥淓letelephony鈥 (鈥淥nce there was an elephant,鈥/鈥塛ho tried to use the telephant 鈥/鈥塏o! no! I mean an elephone鈥/鈥塛ho tried to use the telephone 鈥斺夆) is here. So, naturally, is Blake鈥檚 sublime 鈥淭he Tyger鈥 (modernized to 鈥淭he Tiger鈥: Why?), and Ogden Nash: The Eel I don鈥檛 mind eels Except as meals. And the way they feels. 鈥淏eastly Verse鈥 also contains sur颅prises, like Robert Desnos鈥檚 鈥淭he Pelican,鈥 involving pelican eggs and omelets, and D.鈥塇. Lawrence鈥檚 鈥淗umming-bird,鈥 which begins I can imagine, in some otherworld Primeval-dumb, far back In that most awful stillness, that only gasped and hummed, Humming-birds raced down the avenues. That鈥檚 characteristic Lawrence 鈥 sprawling, neurotically alive. Kids appreciate the bizarre and off-kilter, and are too often denied it when grown-ups edit for positive messages and sweetness. Hooray for Yoon for countering that. Within the book鈥檚 visual continuity, Yoon鈥檚 selections change mood: 鈥淪unlight, moonlight,鈥/鈥塗wilight, starlight 鈥斺/Gloaming at the close of day,鈥 begins Walter de la Mare鈥檚 鈥淒ream Song,鈥 which goes on to talk of 鈥渁n owl calling鈥 and 鈥渓ions roaring,鈥/鈥塗heir wrath pouring. .鈥.鈥.鈥夆 I don鈥檛 particularly want to read poems in sans-serif type in bright colors or white letters, never in black, but my daughter thought that was silly of me. Certainly it makes visual sense that in 鈥淒ream Song,鈥 鈥淓lf-light, bat-light,鈥/鈥塗ouchwood-light and toad-light. .鈥.鈥.鈥夆 emerge golden from the dark forest Yoon has painted behind the words. Paul B. Janeczko鈥檚 excellent selections for 鈥淭he Death of the Hat: A Brief History of Poetry in 50 Objects鈥 are mainly grown-up poems that children will like for their emotional authenticity, verbal texture, accessibility and figurative magic. Chris Raschka鈥檚 watercolor-and-ink renderings are attractively impressionistic: 鈥済ray and batter鈥檇 ship鈥 for Walt Whitman鈥檚 鈥淭he Dismantled Ship鈥; ethereal scarecrow for Basho鈥檚 鈥淢idnight frost 鈥斺/I鈥檇 borrow鈥/鈥塼he scarecrow鈥檚 shirt鈥; wheelbarrow and puffy white chicken for William Carlos Williams. Organized chronologically from the early Middle Ages to the contemporary 颅Palestinian-American poet Naomi Shihab Nye, the book interprets the word 鈥渙bject鈥 broadly. The inanimate includes Neruda鈥檚 stamp album, Sandburg鈥檚 lackadaisically aphoristic 鈥淏oxes and Bags,鈥 Dickinson鈥檚 railway train that her speaker likes to see 鈥渓ap the miles.鈥 Living objects include Sylvia Plath鈥檚 鈥淢ushrooms鈥 (鈥淥vernight, very鈥/鈥塛hitely, discreetly鈥), Lawrence Ferlinghetti鈥檚 鈥淭he Cat鈥 (who 鈥渟ees ghosts in motes of air鈥) and Tennyson鈥檚 鈥淭he Eagle,鈥 which my in-house predator-lover liked especially for the metaphors: The wrinkled sea beneath him crawls; He watches from his mountain walls, And like a thunderbolt he falls. It may be of moral importance for children to have magic in their lives; metaphor is one way for them to experience that. In 鈥淭he Death of the Hat,鈥 objects can be cosmic, and political, like Langston Hughes鈥檚 鈥淪tars鈥: 鈥淥, sweep of stars over Harlem streets, .鈥.鈥. /鈥塕each up your hand, dark boy, and take a star.鈥 Janeczko doesn鈥檛 shy from serious matter. There鈥檚 war and pastoral richness in the medieval Arab-Andalusian poet Ibn Iyad鈥檚 鈥淕rainfield鈥: Look at the ripe wheat bending before the wind like squadrons of horsemen fleeing in defeat, bleeding from the wounds of the poppies. Janeczko knows that poetry for kids, as for adults, needn鈥檛 be simplistic, that in writing about objects, poets write about people. In the title poem, Billy Collins describes how 鈥渢he day war was declared鈥/鈥塭veryone in the street was wearing a hat鈥 and remembers a father coming home from work in a hat with the evening paper. Some poems in this book, like Collins鈥檚, don鈥檛 exclude difficult emotions 鈥 but deliver them gently: And now my father, after a life of work, wears a hat of earth, and on top of that, a lighter one of cloud and sky 鈥 a hat of wind.
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