Cendrillon: A Caribbean Cinderella

Picture Book

1. BIBLIOGRAPHY
San Souci, Robert D. 1998. CENDRILLON: A CARIBBEAN CINDERELLA. Ill. by Brian Pinkney. New York: Simon & Schuster. ISBN 0689848889

2. PLOT SUMMARY
To begin this timeless tale, Nannin’, Cendrillon’s godmother, was given a magic wand of mahogany when her mother died; a wand to be used to help someone she loved. Years later our heroine, Cendrillon, found herself treated like a slave by her step-mother and step-sister in her own home. Tearfully, when Cendrillion and Nannin' were washing clothes side-by-side at the river, she told her godmother about Paul, the handsome son of a wealthy man. His father was hosting a ball in honor of Paul's birthday. Cendrillon desired more than anything to attend, but alas, she could not, because “Mamma” claimed she was lazy. Nannin’ lovingly used the magic wand to enable Cendrillon to attend the ball, where she and Paul fell in love. As the clock neared midnight, she had to leave quickly before the “magic” disappeared. In her haste she lost one pink slipper, which Paul used to search the town for the owner and reclaim his lost love. The slipper fit Cendrillon perfectly. She and Paul were married and Nannin’ was overjoyed to tell Cendrillon and Paul's story of love.

3. CRITICAL ANLAYSIS
Robert Souci realistically retells the classic tale of Cinderella in CENDRILLON: A CARIBBEAN CINDERELLA, with a West Indian cultural flare. The voice of the story comes from a poor washerwoman, who has known the main character, Cendrillon, since the day she was born. This loving relationship is an interesting twist to this adaption of Cinderella. The Creole retelling of the classic tale is authentically flavored with French Creole vocabulary. Although San Souci provides the reader with a glossary at the back of the book with definitions and pronunciations of the French Creole vocabulary used in the tale, many unfamiliar words can be understood by the reader from the context of the story.

There are thousands of versions of the Cinderella story. The fairy-tale protagonist suffers at the hands of an unkind or evil stepfamily, but luckily has a magical guardian that assists her (him) in triumph over evil. Research shows the turning point of these stories has to do with an article of clothing. In the case of the Caribbean Cinderella, a pink slipper leads him to her true love.

San Souci stays true to this famous structure, but adds a deeper meaning to the story when Cendrillon failed to let her godmother turn her rags into a beautiful gown when Paul discovered her at the home of her “cold, puffed-up proud" step-mother, Madame Prospèrine. Paul loved her for herself (dressed in rags) not the lovely stepdaughter dressed in finery.

Caldecott Honor winner, (Jerry) Brian Pinkney’s scratchboard, luma dyes, gouahe, and oil paints make dazzling illustrations and give life to the beautiful Carribean. His illustrations are waves and swirls of vivid color. Pinkney once noted he chooses stories to illustrate which he feels a personal connection. "I like illustrating stories about African-American subject matter because I learn about my culture and heritage."

Scratchboard—a technique similar to engraving, wherein the artist uses small tools to scrape and scratch away the surface of a prepared board's black coating to reveal the white clay underneath
Gouahe—a method of painting with watercolors mixed with a preparation of
gum that turns opaque as opposed to transparent watercolors.

4. REVIEW EXCERPT(S)
Horn Book Review: "Pinkney's signature multimedia art . . . glows with the richly
saturated colors of the Caribbean."

Publishers Weekly starred review: “… the story's charm lies not in the well-matched Caribbean bride and groom or in the (rather predictable) happy ending, but in the authentic voice of the godmother. Her affection for the kind Cendrillon inspires her bold and selfless acts to ensure the happiness of another. Through this colorful and deeply human godmother, readers witness the enduring power of love.”

Booklist starred review: …This (Cinderella) version, set on the island of Martinique, is particularly vibrant, both in its melodious language and its spirited art… The story follows the traditional lines, but always includes its own piquant touches…Pinkney's artwork, executed in his signature style, is softened here by pinks, greens, and blues evoking the warm breezes of the islands. Flowers border some of the pictures and swirls of color add texture to the backgrounds. Even the pace of the story seems slowed by the setting.”

School Library Journal starred review: “An outstanding Cinderella variant for any
collection."

5. CONNECTIONS
My grandchildren, ages seven and eight, loved this Carribean version of Cinderella. They are very familiar with the typical American adaptation and watch every one available on video. They were enchanted with the vibrant illustrations and loved the border details Pinkney added to some pages. They began doing the same to their own drawings

I would love to create a series of staff developments based on a study of several culturally unique tales from settings around the world. The website http://people.ucalgary.ca/~dkBrown/cinderella.html offers additional internet resources, reference books, picture books, full-length versions, as well as versions of Cinderella in collections.