Bloom, intensely flourish


Published on Sep 24, 2019


1/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo2/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo3/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo4/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo5/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo6/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo7/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo8/9Frances Hodgson Burnett - Minalima, The secret garden, The ippocampo9/9Frances Hodgson Burnett - Minalima, The secret garden, The hippocampus

Read The secret garden, in my childhood, was for me a revolution. I remember reading feverish that she could not stop, and I remember I wanted to strenuously make friends with Dickon, but also with Colin and Mary. I was able to enter their secret garden and I didn't want to get out of it, for no reason at all.

I read, I read, I read, sbocconcellando unwillingly the food, with the book left open on the chair next to mine, I read lying down on the bed, numb to the pizzicorino of the bedspread of wool, I read.

I watched shyly as the same story, a little less than 30 years later, has managed to avvinghiare my 9enne that he hid behind the door covered in ivy to stay with those guys, a whole day or a little more: because of the beautiful books you read in one breath.

The story is one of those through the centuries and are easily classics. The story of a friendship between boys who live in an age and in a century (the one primonovecentesco) in which the freedom of the congregations of only boys and the desire of adventure and independence begin to peep after childhood. Mary, an orphan, without parents anaffettivi, rediscovers his humanity (and his body) in the English moor. The rusticity of this place is reflected in the characters genuine to who lives there, will help Mary to undress her shell of protest and protection from the world to allow you the hope of happiness. Cross-reference to the she, herself, will be the means by which Colin, the sick cousin, will find the courage to live. Between foxes domesticated, robins character trabordante, gardeners dumb, rulers, severe, pillows, inhabited by mice, solitaire games with the rope, sudden death, pains in the imaginary kids will quench their thirst for life. The discovery and rebirth of a garden forgotten become the metaphor and the resonance of the flourishing of a girl and a friendship. The descriptive writing and evocative the author's English is a large breath in the translation of Luca Lamberti, which gives the text a style which is certainly more usable in today's world (even if at the expense of some syntactic structures in the nineteenth century that have been lost...), but with the same charm of previous editions.

At this point, however, there is a need for a clarification. I read the book in an edition of 1989, which had very few illustrations are a bit dated and not very engaging, but this is not mitigated one iota the powerful impression that the words of Frances E. Hodgson Burnett had on me: the vivid colors of the roses, the fragrance of the flowers and of the earth, the character grumpy and unpleasant, Mary... everything was there in front of my eyes. When, therefore, I have read that Minalima (the couple is the creator of the visual universe of Harry Potter, for instance...) had taken in hand the text and enrich it with interactive elements and illustrations I was wondering: is there a need? You are not likely to obscure the power of the text with gimmicks impressive, but perhaps distracting? Why? I approached, therefore, to the edition of the Hippocampus, a little disoriented from the festosissimo welcome that had been accorded to the text, but basically very suspicious. Instead, the approach of the English couple was very respectful, almost philological, and intelligent in the finding of the cracks, that the text for granted, to lodge with the discretion of a board, an interactive element that, however, does not prevail over the text, but on the contrary, they become an element enhancer.

Beautiful layout with the drop cap decorated with the subdivision of the chapters with short introductions, which remind the intertitoli, the current securities in the header and the small decorations next to the numbering, the illustrations are framed (even if something modernly escapes!): all items paratestuali reminiscent of the ancient texts of the eighteenth-century and nineteenth-century, and contextualize them with the elegance of the narrative. The inserts are functional and not come into competition with the text, of course, but they do literally bloom next to the description of the gardens of Misselthwaite Manor here is a map at the entrance in the secret garden here is a pink card that opens up, showing it dashed like a little hortus conclusus, next to the tale of the snake charmer here are the coils of a cobra that rises next to the letter of Mary to Dikon here's a real ticket to be read by opening it in dribs and drabs...

You feel the passion for paper and paper products of Minalima: matte, glossy, cardstock, folded paper, folded, perforated... in short, a joy for the eyes, magnificent in its detail, and respectful of the text.

A timeless classic to give as a gift to the boys between 9 and 10 years see the conclusion of a first cycle of their existence, more so in the edition of the Hippocampus, which will leave anyone without words.


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