Kidnapped

In 1751, after the untimely deaths of his parents, Scotsman David Balfour, the 17-year-old protagonist and narrator of Stevenson's classic adventure yarn, travels to his father's childhood home to meet with his uncle, Ebenezer. Instead of a warm welcome, Ebenezer pays the captain of a pirate ship to kidnap his nephew and transport him to America. On board, David meets dashing Highlander Alan Breck Stewart, and together they manage to take over the ship, beginning a friendship that continues through several land-based adventures. One of these involves witness (and escaping blame for) a murder. Scottish actor Rintoul does an amazing job of delivering a bouquet of brogues-including David's mild-mannered narration, his uncle's croaky, angry snarl, and Alan Stewart's almost musical, supremely confident pronouncements. (June) © Copyright PWxyz, LLC. All rights reserved.

Gr 6 Up-The graphic novel format has been applied to these literature classics, with a result that sacrifices much of the literary integrity of the original works, while at the same time relying heavily on descriptive text in order to move the plot forward. Each book in this series begins with an introduction to the characters, and concludes with information about the source author, notable historical events from around the time of the classic's first publication, and a bibliography of the source author's works. The story is depicted through a series of paneled illustrations with accompanying text summarizing the plot. Each spread has been given a heading that relates to the main plot point therein. The images are realistic, and focus primarily on the protagonists' faces. Opportunities to depict the lush settings, such as Paris in Hunchback, or the unknown landscapes in Journey, are given over to close-ups on the characters mentioned in the accompanying text. An uninviting use of the format with limited appeal.-Matthew C. Winner, Ducketts Lane Elementary School, Elkridge, MD (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Stevenson's tale of sixteen-year-old David Balfour's kidnapping at the hands of his malevolent uncle has been pared down a good two or three hundred pages to fit the confines of this simplified ""storybook"" edition. Fans of Wyeth's oil paintings will appreciate the fourteen reproductions included in this volume; all others will want to seek out an unabridged edition of this swashbuckling classic. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.

Introduction by Margot Livesey I. When I was growing up in Scotland, Robert Louis Stevenson was the first author whom I knew by name, and he remains the only one whom I can truthfully claim to have been reading all my life. From an early age, my parents read to me from A Child's Garden of Verses , and I soon learned some of the poems by heart. I have a little shadow that goes in and out with me, And what can be the use of him is more than I can see. Perhaps I recognized, even then, Stevenson's unique gift for keeping a foot in two camps. While the poems vividly captured my childish concerns, somewhere in the margins shimmered the mystery of adult life. A few years later Kidnapped was the first chapter book I read, and I can still picture the maroon binding and the black-and-white drawings that illustrated David Balfour's adventures. At the age of seven, a book without pictures would have been out of the question, but, in fact, they turned out to be superfluous. I could imagine everything that happened just from the words on the page, although I must admit to the small advantage that the view from my bedroom window--bare hills, rocks, heather--was very much like the landscape of Kidnapped . At first glance such early acquaintance might seem like a good omen for an author's reputation. In actuality, that Stevenson is so widely read by children has tended to make him seem like an author from who, as adults, we have little to learn. It is worth noting that his contemporaries would not have shared this prejudice. Nineteenth-century readers did not regard children's books as separate species. Stevenson's own father often reread The Parent's Assistant, a volume of children's stories, and Leslie Stephen, Virginia Woolf's father, writes of staying up late to finish Treasure Island . Like the shadow of his poem, Stevenson's reputation has waxed and waned at an alarming rate. He died in a blaze of hagiography, which perhaps in part explains the fury of later critics. F.R. Leavis in The Great Tradition dismisses Stevenson (in a footnote, no less) as a romantic writer, guilty of fine writing, and in general Stevenson has not fared as well as his friend Henry James. People comment with amazement that Borges and Nabokov praised his novels. Still, his best work has remained in print for over a hundred years, and his is among that small group of authors to have given a phrase to the language: Jekyll and Hyde. Besides our perception of Stevenson as a children's author, two other factors may have contributed to his ambiguous reputation. Although his list of publications is much longer than most people realize--he wrote journalism and travel pieces for money--he failed to produce a recognizable oeuvre, a group of works that stand together, each resonating with the others. In addition, the pendulum of literary taste has swung in a direction that Stevenson disliked and was determined to avoid: namely, pessimism. After reading The Portrait of a Lady he wrote to James begging him to write no more such books, and while he admired the early work of Thomas Hardy, he hated the darker Tess of the d'Urbervilles. The English writer John Galsworthy commented memorably on this aspect of Stevenson when he said that the superiority of Stevenson over Hardy was that Stevenson was all life, while Hardy was all death. Excerpted from Kidnapped by Robert Louis Stevenson All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.