The Highwayman [Paperback]

Noyes's famous poem about a beautiful woman who dies (with her breast "shattered . . . drenched with her own red blood") to save her lover, who is, in turn, shot down "like a dog on the highway," is not for the faint-hearted--and surely not for four-to-eight-year-olds, as this edition recommends. But Waldman's watercolors, both abstract and realistic, capture the haunting, tragic spirit of the text. His broad palette glows, and his frequent use of shadow and silhouette is magnificent. The illustrations of the poem's horrific ending are not graphic: the artist wisely lets the power of Noyes's words dominate here, as they should. For older readers, this unusual--and triumphant--treatment provides a striking introduction to an epic work. Ages 4-8.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

Grade 3 Up-- Noyes' familiar ballad of love, betrayal, and death is given vivid iteration in Waldman's watercolor paintings. Unlike versions by Charles Mikolaycak (Lothrop, 1983) and Charles Keeping (Oxford, 1987), these illustrations are richly colored with green and lavender moors and cloud-filled skies of blue and black. Despite this use of color, the effect is stylized and design supercedes realism. The dynamic shapes of hills and clouds are contained within fine black lines; and trees, leaves, and birds are shown in silhouette. The pages are tightly bordered at the bottom and sides but flow freely from the top to form wind-blown trees and racing clouds. The framing is occasionally broken for dramatic effect: Bess' hair cascades outside one margin; a musket handle breaks through another; and, in the moment of Bess' death, the moors change to a crimson that spills from the frame like drops of blood. One of the more successful aspects of the style is the deliberate abstraction of most of the characters. While the portrayal of the highwayman on his rearing horse is outrageously romantic, he is primarily seen in silhouette, his face only hinted at. Tim the ostler is barely noticed--his white face is the blank space on which is printed the text of his discovery of Bess' love. The soldiers are mere shapes and shadows. The only exception to this treatment is Bess, an idealized beauty in full color. This seems an unfortunate choice since the realism breaks the mood and weakens the tension felt throughout the rest of the book. The strong sense of atmosphere and dramatic use of design reinforce the melodrama of the story, and these illustrations will attract readers to Noyes' perennial favorite. --Eleanor K. MacDonald, Beverly Hills Public Library
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.