Gr 1 Up—Although dubbed an "Indian version of the Biblical tale," Wolf's narrative differs little from many available picture books about Noah. Disappointed by greedy, violent people, God vows to wipe out creation and start again. Noah and his wife build an ark, gather animals, and survive the flood that destroys every other living thing. Forty days later, they land on a mountain. After a dove returns with an olive branch, everyone disembarks. God thanks the weary humans by creating a rainbow as a sign of hope. The Indian elements of this version are the format and illustrations. Chitrakar employs a Bengal Patua school painting style. The accordion pages can be read as a traditional book or extended to a panorama more than seven feet long. Some illustrations are striking, particularly the initial image of God as a huge eye with fiery tendrils shooting upward while rivers of tears stream down to converge in waters that flow across all the pages. Noah and Na'mah not only look alike but also resemble the smiling corpses floating in the waves. The two-dimensional paintings have a static quality. Animals board and disembark in orderly lines and journey in tidy compartments. Young readers may be intrigued by the fold-out panorama, but most libraries are probably well supplied with other versions of this story. Older students in art or design might enjoy studying Chitrakar's style. For a version of a Hindu flood tale for young readers consider Roberta Arenson's
Manu and the Talking Fish (Barefoot, 2000).—
Kathy Piehl, Minnesota State University, MankatoAn accordion-style pictorial narration of the Flood unfolds to a nine-foot spread of Noah and his wife Na'mah obediently gathering creatures; the reverse side follows the Ark to its landing. The text is an Indian version of a story common to many cultures, with familiar basics including the paired animals, the forty days, the raven, and the dove. Wolf also hints at contemporary issues: "Without a sense of their real needs, and fed by greed, [humans] began to attack each other and plunder the earth. God was shaken." The well-phrased account is generally straightforward, a fine complement to Chitrakar's striking art in the Bengal Patua style of scroll painting, where decorative, almond-eyed figures crowd an elegantly stylized Ark. An arresting first image -- God's huge, baleful eye -- is the visual source of all that follows: the blues and greens of the water falling from that eye swell and ebb beneath the action, while red, yellow, and earth-toned streaks rise from it like rays of the sun, generating the prevailing tones of the surviving creatures. Fusing these palettes in the concluding rainbow is creative; a crowd scene with peacefully drowning humans is an unusual inclusion. Probably not your first "Noah's Ark"; still, a provocative addition. joanna rudge long
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