About Product Details Philip Gonzalez had lost all interest in living after an industrial accident left him disabled. A friend suggested he adopt a dog. Reluctantly he went to the shelter, where Ginny, a badly abused one-year-old pup,quickly won him over. Philip realized immediately that Ginny was no ordinary dog--she had an amazing sixth sense that enabled her to find and rescue stray and ailing cats. There's Madame,who is completely deaf; Revlon, who has only one eye;Betty Boop,who has no hind feet;and Topsy, a paralyzed kitten whom Ginny found abandoned in an empty building.
Ginny and Philip have now rescued and found homes for over cats, and they have over 60 "outdoor cats" whom they visit and feed twice daily. Even more than extraordinary, Ginny's angelic mission has given Philip a sense of purpose and a new lease on life. You will never forget the true adventures of Ginny, the dog who rescues cats. Harper Perennial On Sale: The Bond by Wayne Pacelle.
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Harper Perennial literary fiction and nonfiction. Too soon the caterpillar awoke and was astonished to find that he was still a caterpillar. Perhaps my life is only a butterfly's dream. Demi, Demi's Reflective Fables , This unusual text offers its reader new and shifting perspectives on reality and dream. While it is different in its bearing and tone from many traditional fables in the Aesopic corpus, it does just what a fable does: It is what its last line claims that it is, a reflective fable.
In the light of the definition of fable that I have offered here, I present two comments: I commented near the beginning of this article that care in defining Aesopic fable is particularly important today. I am concerned about the way the word "fable" is used today, particularly for materials that are not in any sense short. With Ziolkowski summarizing Perry I find that "fables must record a single action, short chain of actions, or speech that took place once in the past" 9. For Carnes, "fables are very short partly because of their environment and partly from their function, which in some cases is the same thing.
Since fables are invariably used to make a point, and are therefore rhetorical devices, their brevity is an essential feature, even though there have been some fables that were considerably longer than the classical forms" "The Fable" 7. This sense of Aesopic fable as short, which is compelling in my experience of fable and crucial in the definitions of Ziolkowski and Carnes, does not seem as compelling in the theories and descriptions of others.
I have trouble understanding what "fable" means when it is applied to longer and arguably different works. Blackham's The Fable as Literature is a fascinating case in point. It presents a wealth of valuable material for the student of fable to ponder. Its descriptions of fable are wonderfully suggestive.
For Blackham, fable "gets past the garrison of resident assumptions"; it is a "tactical manoevre to prompt new thinking" xi. Fable says more than it seems to say xi ; it never says "Think this" but always says "Think about this" ; it does not state anything but only shows These suggestive expressions give a strong sense of fable. But Blackham's work fails to go beyond description of Aesopic fable to achieve satisfying definition.
Blackham's project is to extrapolate from Aesopic fable to all sorts of other literary works:. One can see in the primitive Aesopic fable a potentiality for development as a mental artefact, which detains the thought that conceived it in the further reflection it prompts. Stripped and focused as it must always be, fable is then, like any work of art, dense enough to abide repeated examination, and to abound in stimulus.
It is this development, with the achievements that have marked it, which the present study sets out to describe. My fear is that in the project, the very sense of fable itself can be lost, including the sense of Aesopic fable, "stripped and focused as it must always be. My problem lies not with his descriptions of Aesopic fables, which are helpful, but with his attempts to apply "fable" to all sorts of works quite distinct from Aesopic fable. I know what it means to talk of Aesopic texts as fables; I am not sure I know what it means to call these works fables.
Why do people in fact speak of these and other such long works as "fables"? I suspect that they use the word "fable" of a longer work in order to evoke the kind of response that one would make to a work that is simple and profound in meaning. Perhaps they mean to suggest that the literary piece in question yields its meaning more easily, clearly, or directly than other literary pieces.
Probably they want the work in question to be seen in a positively nostalgic light as something similar to the tales we may remember lovingly from our youth. Consider three books that I as a collector of editions of fables have found recently. They are taken almost at random from my shelf: If we hope to be precise about the effect of Aesopic fable, we need to respect that difference. There is already an extensive and sometimes bewildering literature built up around fable.
Borders and distinctions are difficult enough among the many genres that touch on "fable. My fear is that loose understanding of the applicability of "fable" to all sorts of literature will end up confusing even the one part of fable literature that we can define with some strictness, the Aesopic fable that Carnes calls the "fable proper" "The Fable" 6. Extension of the name "fable" to other and longer works which are doing different things may come to obscure what Aesopic fable does clearly and effectively: As a collector of versions of Aesopic fables, I am accustomed to wincing over what I find in or on editions meant for popular consumption.
For what is written on their dust jackets or in their introductions often plays loose with the definition of Aesopic fable so patiently elaborated in discussions like this. In popular editions fables have been frequently equated with fairy tales, or emphasis is put on the magical powers of animals, assumed to be the only characters of fables.
The stories themselves and their illustrations often suffer a sentimentalizing softening as fables are converted into comforting bedtime reading. To the collector of Aesopic fables, it is a sign of the strength and resiliency of this genre that it has survived the sometimes cumbersome handling it has received from fables' own writers and editors!
Against this background, I am happy to report that a survey of popular editions of Aesopic fables in the past five years  shows, despite some lapses, a decided tendency to respect the genre's character. The definition over which this article and the literature it cites labor actually makes a difference to good writers of Aesopic fables today! There are lapses, to be sure. In particular, some recent editions tend especially to soften the harsh conflicts that help give Aesopic fables their power to awaken perception. In them killing, losing, dying, wounding and other negative experiences are simply written out of the fables.
Despite these lapses, a spectator of Aesopic fable publication has to be heartened at the careful and creative respect being shown this genre by many of its present practitioners. Let me mention seven examples in chronological order. Chapter Three is devoted exclusively to fables. It presents 26 fables well told and well moralized. A short introduction to this chapter shows remarkable sense. It finds fables "more a case of intelligent gossip over a fence than a sermon" and "better suited to illuminate than to instruct. It distinguishes clearly the style and rhythm of fables from those of fairy tales, finding fables crisp and dispassionate against the leisure and romance of the latter.
Fables should never be prescribed to a young child who needs correction or punishment. For Allison, life teaches the lessons; fables shed light on the lessons. Once a hearer is ready for fables, Allison says, "you cannot hear them too often" I am heartened to find a parents' coach so sensitive to the particular medium of Aesopic fable. This book works creatively with the morals of Aesopic fables. Here is no simple moral slapped on a story for form's sake, but rather a probing of, in Carnes' phrase, the "multivalent resolution of the metaphor. Anno's Aesop is an engaging though sometimes frustrating book-within-a-book done from a Japanese original.
The book's fiction is that a young fox finds a book Aesop's fables and asks Mr. Fox to read it for him. Fox does so, creating his own idiosyncratic stories from the pictures, for, as we soon discover, he cannot read. His stories given below the found book's pages thus have almost nothing to do with the traditional fables narrated in the found book just above them. Though the fiction may sometimes strain the reader with maddeningly irrelevant interpretations of familiar fables and beautiful pictures, this kind of counterpoint helps fable to do just what it does best: Demi's Reflective Fables presents thirteen ancient Chinese fables, including one from the normal Aesopic corpus: The stories here are brief and have no morals.
Clark explains this decision in her foreword:. The stories ascribed to [Aesop] were not written down until about years later. So whether he insisted on spelling out the morals underlying his stories we don't know. Charlotte Voake and I decided they were best left unsaid: What we have tried to do is to dispel altogether the "preacherly" tone from the best of Aesop's shrewd and funny stories.
In several stories Clark goes one step further. She leaves out the last phase of the narrative. She stops, for example, after the villagers ignore the boy shouting "Wolf! This book shows a good sense of the reader's and listener's responsibility to take up fable's invitation. An excellent introduction draws upon Perry, Daly, Carnes and others to offer readers some glimpses into the history of fables from Sumeria on. One happy result of her study, this observer surmises, is the care with which she approaches the telling of the fables and the crafting of their morals.
In any case, it is encouraging to see an active writer using the results of fable-scholars' researches. In fact, they perform them admirably: McClintock's color illustrations in the anthropomorphic tradition of J. Grandville present the fables in engaging and provocative fashion. The reader is surprised then by an excellent last illustration: It was humans after all that we were observing the whole time!
The dramatic presentation of the fables underscores their fictitious character, while the human actors inside the animals suggest to us the metaphorical leap we need to make. There are points about our human lives to perceive in these animal stories. These seven are but a small representation of the strong output of Aesopic fable publications in the past five years. Their excellence suggests that we stand only to profit from attending carefully to the nature of Aesopic fable. A special bibliography at the end of the article lists English-language books of which I am aware from the years to the present that contain more than three Aesopic fables.
Here the eagle drops the turtle, as is traditional in Perry Then, however, he catches the turtle before he can hit the ground! The ant serves a nice meal to the near-frozen grasshopper Perry The same tendency is apparent in Linda Jennings' Bedtime Tales; for example, the tortoise here is only bruised when he falls from the eagle's grasp in Perry The old man's donkey does not fall into the river and drown; rather the old man is so furious at being laughed at that he lets his donkey loose in a field, while he returns home with his son Perry Magnum Easy Eye Books.
Fables of Wit and Elegance. The Fable as Literature. The Age of Fable. New York and London: D emi's Reflective Fables. Foreword by John Cleese. Literary Fables of Yriarte. Translated by George H. A Fable for All Ages. Illustrated by Phil Parks. Created by Christopher Zavisa. The Biggest Pig in Barbados. A Fable by Wolf Mankowitz. Longmans, Green and Company. The Black Sheep and Other Fables. A Book of Fables by Aesop and Mr. Ash, Russell, and Bernard Higton, editors. A Classic Illustrated Edition.
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With Scenes from His Legendary Life. Pictured by Arthur Geisert. The Country Mouse and the City Mouse. A First Little Golden Book. Illustrations by Jeffrey Severn. A Native American Aesop's Fables. Pictures by Wendy Watson. A Hundred Fables of La Fontaine. Illustrated by Richard Bernal. Tales of a Long Afternoon.
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Paintings by Jindra Capek. Translated by Joel Agee. Fables and Tales Papercrafts. Carr, Samuel, and Carolyn Jones, editors. The Treasury of Children's Classics. Illustrations by Jane Harvey. Illustrations by William Ronalds. Canadian Society for Italian Studies. The Best of Aesop's Fables. Illustrated by Charlotte Voake. Little, Brown and Co. Classic Bedtime Fairytales and Fables. Illustrated by Violayne Hulne. The Fox and the Grapes. No author or illustrator acknowledged. The Lion and the Mouse. The Tortoise and the Hare. The Town Mouse and the Country Mouse. Great Tales of Old. No editor or illustrator acknowledged.
Choun Moon Wha SA. Folk Tales and Fables of the World. Illustrated by Robert Ingpen. After versions from Joseph Jacobs. Limericks, Fables, and Poems. Illustrated by Hilda Offen. The Big Book of Fables. Illustrated by Tessa Hamilton. Illustrations by Eric Kincaid. Kinghorn, Harriet, and Robert King. The Big Lion and the Little Mouse. Illustrated by Jane Shasky. Cry Wolf and other Aesop Fables. Paintings by Barry Castle. Knopf Nursery Tale Library. MacDonald, Suse, and Bill Oakes. Dial Books for Young Readers. Aesop's Fables in Song.
Animal Fables from Aesop. Overhead Transparencies for Creative Dramatics: Illustrations by Terra Muzick. Troll Treasury of Animal Stories. Illustrated by Angel Dominguez. Illustrations by Robert Rayevsky. Androcles and the Lion and Other Aesop's Fables. Illustrated by Robert Rayevsky. Belling the Cat and Other Aesop's Fables. The City Mouse and the Country Mouse.
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The Fables of Aesop. The Hare and the Tortoise. The Raven and the Fox. Fables Are Forever, Vol 1. Illustrated by Johnny Jett. Pan American Publishing Company. Fables and Tall Tales. No editor or artist acknowledged. Fables, Tall Tales, Myths. Illustrated by Erasmo Hernandez. Illustrated by Pat Schories. Illustrations by Walt Sturrock. Fifty Fables of La Fontaine.
Illustrations by Alan James Robinson. University of Illinois Press. Spector, Norman B, translator. The Complete Fables of Jean de la Fontaine. Spiegel, Harriet, editor and translator. University of Toronto Press. Androcles and the Lion. Thomas, Peter, and Donna Thomas.
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