HMH Literature in Translation

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Aug 7
theparisreview: My copy of Le Petit Prince looks like it has been through a natural disaster. Or two. The dust jacket is torn at every edge. What’s not torn is frayed. A piece of scotch tape holds together the é and r of Exupéry. The white background can’t really be called white anymore. And inside, little pencil markings lurk throughout the text (I would memorize passages when I was young), alongside evidence of attempted erasure—but you know how those old-school Number Two pencils are; all the erasers seem to do is leave things a little grayer than before. The book, in other words, has been well loved. That’s not surprising. Most favorite children’s books are. But there’s one thing about mine that’s different: With the exception of those pesky eraser marks, the damage wasn’t sustained in childhood. Those are adult wounds. At the Atlantic, a discussion of what grown-ups can learn from kids’ books. Photo Credit Reuters

theparisreview:

My copy of Le Petit Prince looks like it has been through a natural disaster. Or two. The dust jacket is torn at every edge. What’s not torn is frayed. A piece of scotch tape holds together the é and r of Exupéry. The white background can’t really be called white anymore. And inside, little pencil markings lurk throughout the text (I would memorize passages when I was young), alongside evidence of attempted erasure—but you know how those old-school Number Two pencils are; all the erasers seem to do is leave things a little grayer than before. The book, in other words, has been well loved.

That’s not surprising. Most favorite children’s books are. But there’s one thing about mine that’s different: With the exception of those pesky eraser marks, the damage wasn’t sustained in childhood. Those are adult wounds.

At the Atlantic, a discussion of what grown-ups can learn from kids’ books.

Photo Credit Reuters

Reblogged 9 months ago from theparisreview

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Little Prince, France,