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Adele in Sand Land by Claude Ponti
American Street by Ibi Zoboi
Arnold of the Ducks by Mordicai Gerstein
Be Prepared by Vera Brosgol
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The Care and Feeding of a Pet Black Hole by Michelle Cuevas
Chile Death by Susan Wittig Albert
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Orion and the Dark by Emma Yarlett
Oscar Lives Next Door by Bonnie Farmer
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Ruddy Gore by Kerry Greenwood
Secret Coders by Gene Luen Yang and Mike Holmes
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The Spook in the Stacks by Eva Gates
Tenements, Towers & Trash by Julia Wertz
That Book Woman by Heather Henson
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Under His Spell by Marie P. Croall and Hyeondo Park

Miscellaneous
It's Monday! What Are You Reading? (August 06, 2018)
It's Monday! What Are You Reading? (August 13, 2018)
It's Monday! What Are You Reading? (August 20, 2018)
July 2018 Sources
July 2018 Summary

Road Essays
FFFFFF: The far end of the spectrum: orphans who cross the cornfield to utopia
FFFF66: Orphans going off road to reach utopia
FFFF00: The highway to utopia leads to self discovery for orphans
FFCCFF: Orphans through cornfields and time How I classify the road narrative protagonist

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Adele in Sand Land: 08/10/18

Adele in Sand Land

Adele in Sand Land (2017) by Claude Ponti is the English translation by Toon Books of Adele et la pèle (1988). It is a surreal picture book about a young girl going on a strange, otherworldly journey that begins and ends at park.

Although I'm primarily focusing on American and Canadian road narratives for my research, this images I saw from it on the Gathering Books blog, made me feel like it was a good outlier candidate.

One illustration leads into the next through the manipulation and transformation of shapes, similar to M.C. Escher illustrations or Rob Gonsalves's paintings. But the individual scenes, especially as Adele gets further into this alternate world, are very surreal, almost psychedelic. Some reviews compare the art style to the Yellow Submarine.

In terms of a road narrative, ff one wants to argue that Adele is symbolically an orphan because she travels alone and could have been orphaned should she have been stranded, then it's near the far edge of the fantastic, with both an extraordinary protagonist and destination, but a linear path. The most extreme example of a road narrative is The Wonderful Wizard of Oz.

Stepping back and looking at the book for its target audience, elementary school children who read comic books, I would say it will have limited appeal. It will delight children who are into surrealism, into optical illusions, into puns. I suspect the word play aspect of it works best in the original French.

Four stars

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