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Little Red Riding Hood
Cover of Little Red Riding Hood
Little Red Riding Hood
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The tale with the beautiful illustrations by Carl Offterdinger: Once upon a time there was a dear little girl who was loved by everyone who looked at her, but most of all by her grandmother, and there was nothing that she would not have given to the child. Once she gave her a little riding hood of red velvet, which suited her so well that she would never wear anything else; so she was always called 'Little Red Riding Hood.' One day her mother said to her: 'Come, Little Red Riding Hood, here is a piece of cake and a bottle of wine; take them to your grandmother, she is ill ...
The tale with the beautiful illustrations by Carl Offterdinger: Once upon a time there was a dear little girl who was loved by everyone who looked at her, but most of all by her grandmother, and there was nothing that she would not have given to the child. Once she gave her a little riding hood of red velvet, which suited her so well that she would never wear anything else; so she was always called 'Little Red Riding Hood.' One day her mother said to her: 'Come, Little Red Riding Hood, here is a piece of cake and a bottle of wine; take them to your grandmother, she is ill ...
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  • Publisher's Weekly

    Starred review from October 6, 2014
    This lush production is a companion to Schenker’s earlier Hansel and Gretel, though it has a slightly different look. Here, Schenker uses die-cuts to add depth and complexity to her black, hand-cut silhouette portraits. Japanese touches, including traditional stencil patterns and binding, give the book a lightness that offsets its dark subject matter. Despite the title, Bell’s fine adaptation uses “Little Red Cap” throughout the text. Little Red Cap appears on plum-colored board whose cutouts suggest the tendrils and leaves of the deep forest. The wolf’s profile is visible through the tangle, but only just. When the page is lifted, Little Red Cap is seen setting off down the path as the wolf looms after her. Delicate, threadlike trees beyond them draw the eye on. More die-cuts provide glimpses through the window of the grandmother’s house, through the lacy curtains around her bed, and, at the climax, into the gaping maw of the wolf. The suspense created by the shadowed, partial views of what is to come deepens the menace of innocence pursued by evil. It’s a remarkable example of the book as art. Ages 5–7.

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