Cover image for Peter Pan
Title:
Peter Pan
Author:
Barrie, J. M. (James Matthew), 1860-1937.
Publication Information:
New York : Knopf : Distributed by Random House, 1992.

©1911
Physical Description:
234 pages : illustrations ; 21 cm.
Summary:
The adventures of the three Darling children in Never-Never Land with Peter Pan, the boy who would not grow up.
Language:
English
Reading Level:
330 Lexile.
Added Author:
ISBN:
9780679417927
Format :
Book

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Summary

Summary

Peter, Wendy, Captain Hook, the lost boys, and Tinker Bell have filled the hearts of children ever since Barrie's play first opened in London in 1904 and became an immediate sensation. Now this funny, haunting modern myth is presented with Bedford's wonderful illustrations, which first appeared in the author's own day, have long been out of print, and have never been equaled.


Author Notes

James Matthew Barrie, the creator of Peter Pan, was born on May 9, 1860, in Kirriemuir, Angus, Scotland. His idyllic boyhood was shattered by his brother's death when Barrie was six. His own grief and that of his mother influenced the rest of his life. Through his work, he sought to recapture the carefree joy of his first six years.

Barrie came to London as a freelance writer in 1885. His early fiction, Auld Licht Idylls (1888) and A Window in Thrums (1889), were inspired by his youth in Kirriemuir. After publishing a biography of his mother Margaret Ogilvy and the autobiographical novel Sentimental Tommy, about a boy living in a dream world (1896), he concentrated on writing plays.

The Admirable Crichton (1902), the story of a butler who becomes king of a desert island, helped to establish Barrie's reputation as a playwright. Meanwhile, he began to relive his childhood by telling the first Peter Pan stories to the sons of his friend, Sylvia Llewellyn Davies. The play Peter Pan was first performed in 1904 and published as a novel seven years later. Its imaginative drama, featuring the eternal boy's triumph over the grownup Captain Hook, idealizes childhood and underscores adults' inability to regain it. These resonant themes made it a classic of world literature.

Barrie's later work shows his increasingly cynical view of adulthood, particularly in Dear Brutus (1917). Often considered his finest play, it concerns nine men and women whose caprices destroy a miraculous opportunity to relive their lives.

Barrie married the former Mary Ansell in 1894. They divorced in 1909, never having any children. Barrie died in London on June 19, 1937.

(Bowker Author Biography)


Reviews 3

Booklist Review

Gr. 4-6. Peter Pan's back in the spotlight with the recent Michael Hague edition of the Barrie story (Booklist 84:700 D 15 87) and now this newly illustrated version by Ormerod. Unlike the lush, fairy-tale graphics that Hague supplies, these pictures are stylized art nouveau illustrations. The colorplates are eye-catching, inventive pieces, although many of the black-and-white sketches are spare offerings with little child appeal. Libraries may want Hague's book as their first choice, but those desiring several editions will find this an attractive alternative. IC. [OCLC]


Publisher's Weekly Review

A number of classic children's books return in milestone and reissued editions for a new generation. J.M. Barrie's enchanting Peter Pan: 100th Anniversary Edition features a large trim for reading aloud and rich, detailed illustrations by Michael Hague (which he originally published in 1987). Peter Pan's flyaway red hair and tattered garment of "skeleton leaves and the juices that ooze out of trees" capture the free spirit of the boy who refused to grow up. (c) Copyright PWxyz, LLC. All rights reserved


School Library Journal Review

Gr 4-8-This series entry presents Barrie's original text, minus a brief section in the first chapter in which Mr. and Mrs. Darling discuss whether they can afford to keep their three offspring. This omission is curious, since many of the author's asides to readers, which could keep students of psychology busy for years, remain. Nevertheless, the story of a boy who doesn't want to grow up and the three children who experience and abandon Neverland has achieved nearly archetypal status, so fresh editions of this 1911 story deserve attention. In this handsome volume, Edens has compiled artwork by more than 16 known illustrators (acknowledged at the conclusion). There are additional unattributed works, as well as art from playbills and posters-all spanning the years from 1904 to 1934. The presentation encompasses the willowy sprites of Arthur Rackham; the Kewpie-doll portraits of Wendy and the lost boys by Roy Best; the black-and-white realistic drawings of original illustrator, F. D. Bedford; and the romanticized watercolors full of fabric and embracing figures by Alice Woodward. Children who are used to suspending their disbelief amid an ever-changing string of virtual images and adults interested in early editions will enjoy the variety. Yet, despite the carefully considered design, there will be children who find the lack of a consistent look for the main characters disconcerting. Give those readers the edition with Scott Gustafson's striking oil paintings (Viking, 1991).-Wendy Lukehart, Dauphin County Library, Harrisburg, PA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

From Amy Billone's Introduction to Peter Pan Unlike characters in most other children's literature, Peter Pan has achieved mythological status. Even though many people have not read Barrie's novel or play, Peter Pan is now as well known as Cinderella or Sleeping Beauty. Why is Peter Pan such a memorable drama? The story may be so compelling partly because of its attentiveness to reversibility. Childhood and adulthood, birth and death, boys and girls, dreams and waking life all persistently change places in the story. But they change places in such a way that they reinforce rather than dismantle the oppositions that confuse and distress us. Children do become adults; birth leads to death; boys and girls cannot effortlessly change roles; dreams remain distinct from waking life. Time moves ferociously forward. Even though Peter Pan is the story of a boy who never grows older, the narrative proves that everyone else must age. The first sentence of the novel tells us so: "All children, except one, grow up." While the legend tempts us with achingly desirable unions, it is about the difficulty (if not the impossibility) of fusing disparate worlds: life and death, dreams and reality, masculinity and femininity, childhood and adulthood. Through lively comedy, Peter Pan brilliantly masks the underlying sadness that threatens to pull the story apart. The heartbreaking undercurrents in Peter Pan become evident when we consider the mirroring between fantasy and reality that took place in J. M. Barrie's life. Like Peter Pan, Barrie remained a ghostly outsider. He wanted children of his own but instead found himself staring in at the Llewelyn Davies family, with whom he shared no blood relationship. Peter Pan convinces the Darling children to fly away with him in an attempt to take them from their parents and make them his; Barrie inadvertently achieved the same result with the Davies boys. In 1907 Arthur Llewelyn Davies, their father, died of cancer of the jaw. In 1909 James and Mary Barrie were divorced because of her affair with Gilbert Cannan. And in 1910 Sylvia Llewelyn Davies died of cancer. Barrie was left with five boys--age seven to seventeen--all of whom were now orphans left to his care. What was J. M. Barrie's relationship with the Davies brothers? There are certainly passages in some of Barrie's novels that read, a century after their publication, as suspiciously attentive to the attractiveness of little boys. Barrie's involvement with the Davies boys was unusually close--more intense, perhaps, than typical relationships between parents and their natural offspring. However, Nicholas Llewelyn Davies swore to Barrie's biographer Andrew Birkin that Barrie never showed one hint of homosexuality or pedophilia toward him or his brothers. Critics have for the most part concluded that Barrie was entirely sexless. Nevertheless, he loved the Davies brothers obsessively. We might even go so far as to say that he was in love with at least two of them, George and Michael. As Barrie himself wrote in Margaret Ogilvy , "The fierce joy of loving too much, it is a terrible thing" (p. 206). Years later, Barrie wrote to George Llewelyn Davies, then twenty-one years old and fighting in World War I: I do seem to be sadder today than ever, and more and more wishing you were a girl of 21 instead of a boy, so that I could say the things to you that are now always in my heart. For four years I have been waiting for you to become 21 & a little more, so that we could get closer & closer to each other, without any words needed (quoted in Birkin, p. 228). Shortly after receiving Barrie's letter, George was killed in Flanders. This event was probably the most traumatic experience Barrie had endured since his brotherrrrrrrrrrrrrr's death. But the worst was still to come. On May 19, 1921, Michael Llewelyn Davies, the fourth of the boys, was drowned while swimming in Oxford with his best friend, Rupert Buxton, who also drowned. Like George, Michael died when he was twenty-one. Rumors circulated that the deaths of Michael and his friend Rupert were intentional, the result of a mutual suicide pact. Barrie never recovered from Michael's death. His secretary, Lady Cynthia Asquith, wrote that he looked like a man in a nightmare. He became suicidal and grew quite ill with grief. "All the world is different to me now. Michael was pretty much my world" (letter to Elizabeth Lucas, December 1921; quoted in Birkin, p. 295). He explained in his notebook that he dreamed Michael came back to him, not knowing he had drowned, and that Barrie kept this knowledge from him. The two lived together for another year quite ordinarily though strangely close to each other. Little by little Michael realized what was going to happen to him. Even though Barrie tried to prevent him from swimming, both knew what was sure to happen. Barrie accompanied Michael to the dangerous pool, holding his hand, and when they reached the deadly place, Michael said "good-bye" to Barrie and went into the water and sank. Barrie interrupts his account of the dream with new insight into the import of Peter Pan : "It is as if, long after writing P. Pan, its true meaning came back to me, desperate attempt to grow up but can't." Although Barrie lived for another sixteen years, he was never able to write successfully after Michael died. The author passed away before the final scene of this tragedy, for Peter Llewelyn Davies, too, eventually took his own life; in 1960 he jumped beneath an underground train in London. Excerpted from Peter Pan by J. M. Barrie All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.