Others, many children


Published on May 31, 2019


1/5Gabriele Climate - Giacomo Agnello Modica, The bimboleone, Editions Corsare2/5Gabriele Climate - Giacomo Agnello Modica, The bimboleone, Editions Corsare3/5Gabriele Climate - Giacomo Agnello Modica, The bimboleone, Editions Corsare4/5Gabriele Climate - Giacomo Agnello Modica, The bimboleone, Editions Corsare5/5Gabriele Climate - Giacomo Agnello Modica, The bimboleone, edizionicorsare

The bimboleone and other children of Gabriele Climate offers readers a catalog of children, and this initially left me very puzzled. I do not love, in fact, the catalogues that concern the people. There are no clear boundaries when it comes to a character, but we are facing a range of infinite greys. How many times I felt mistreated in feel define by a word, an adjective that I felt so distant from my person? Why, therefore, seek to classify and define a child?

But then two details for anything discounted have convinced me that it was a book of which to speak.

First, for each category of the child follows a short text, which begins thus: "To make happy...".

"There is the bimbolepre snappy, fast, always on the run. “You're a bit quiet! Stopped for a moment!” shout all. But he is a bimbolepre, don't do it on purpose, for him the others are slow. To make happy a baby hare you have to... to give him a piece of meadow in which to run free".

In this gallery children are represented through stereotypes, which the imagination attaches to the various animals. There is one that never stands still, one that ignites and takes the world of the chest, reflective that it is going to look: bimbopesce, bimbotoro, bimboscimmia, bimbotalpa, bimboleone, bimbozanzara, and so on. If the narration is limited to that would be, in my opinion, very partial: the children can be a thousand animals at the same time, and each one has a personal and unique approach the same inclination. However, the concern to answer the question in the mail regarding the happiness of each one gives to the text an originality that concerns the acceptance of the child and the enhancement of his being, as if to say: I'm not interested in (only) define who you are, but I start from there to help you be happy. For example, the definition of bimbozanzara touches, turns, bothers might seem like a judgment tranchant, but not if we add "to make happy a bimbozanzara you have to... give him an ear each time when to do zzz... zzz". The path then becomes a sort of exhortation to the understanding and the empathy towards the child, in accordance with its nature. The text is therefore aimed exclusively at adults (although it can be a valuable support to reflection on personal identity in school age), perhaps in particular to those with children working, as is suggested with delicacy the final table:

"And you? You tell me a little bit... Which child are you?"

The second reason that pushed me to talk to you about this book are the illustrations really beautiful Giacomo Agnello Modica, which have the capacity to remain etched in the eyes in a unique way. The illustrator throws us into an environment of the Sixties, with skirts to the middle of the calf, pyjamas, stripes, braids and stops with ribbons, colored bath tubs with the feet... The portraits of the children are realistic in their energy disorder (watch the hair) and gestures are caught with a naturalness that leaves the observer stunned, the light abbacina and is striking in its borders with the shadows. The looks, ever speak to the readers, are filled with a concentration of typically a child, and the bodies are innervated energy, calm or packed, which makes the figures alive.

Greater care could finally be dedicated to the lettering (fonts, line spacing, separation of words, etc.).

A nice idea for a gift to the teachers, that happens to the bean in these days of the end of the school, and an illustrator to keep an eye on.

The article in Others, many children seems to be the first on a low Shelf.




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