Yes indeed, I originally read the first of Astrid Lindgren's Pippi Longstocking novels in German (and as Pippi Langstrumpf). And although I do recall mildly enjoying reading about Pippi Longstocking in 1975 and in fact majorly count Astrid Lindgren as one of my all-time favourite children's authors, period, Pippi Longstocking herself has actually never been one of my most beloved Lindgren characters by any stretch of the imagination (since I have always liked Madicken, Emil, the children of Noisy Village, Lotta and Ronja considerably more than I have ever managed with Pippi Longstocking), and that I only managed the first novel and actually have never felt any reading interest after Pippi Longstocking to consider the sequels, to read Pippi Goes on Board and Pippi in the South Seas. For no, I simply did not enjoy Pippi Lomgstocking as a character and her exploits and behaviour enough for me to want to desire to continue with the series (and also had many other Astrid Lindgren stories to read and on the go that looked oh so much more textually appealing for me as a nine year old).
And now, after finically reading the second Pippi Longstocking novel in 2023 (to leave a review and in English, since I do not at present own Pippi Goes on Board in German, and translated by Florence Lamborn from Astrid Lindgren's original Swedish title of Pippi Långstrump går ombord), I do most certainly very much understand why as a child (in 1975) I did not really feel like continuing on with the Pippi Longstocking stories. For yes, that which makes Pippi Longstocking not into one of my favourite Astrid Lindgren characters is even more pronounced and annoying in Pippi Goes on Board, as honestly and truly, I am finding Pippi's super-human physical strength and unlimited monetary wealth annoying, tedious and that in every single chapter, that in every single episode of Pippi Goes on Board, Pippi Longstocking is shown to somehow save the proverbial day so to speak majorly monotonous and textually dragging (as I have never enjoyed stories where the main protagonist always comes out as number one and never seems to fail in any manner, and Pippi Longstocking is definitely that kind of a character).
And the above scenario has most certainly really not been an all that enjoyable reading experience for and to me, since even more than in the first novel of Pippi Longstocking, Pippi Goes on Board truly shows a Lindgren text that is just too much annoyingly a case of same old, same old (with nothing really novel and and nothing really all that interesting being featured and depicted by Astrid Lindgren and with Pippi Logstocking always succeeding and never even remotely failing). Therefore and really, the main, the primary reason why I actually have ended up still rating Pippi Goes on Board with three and not two stars is that Pippi Longstocking deciding in Pippi Goes on Board to actually (and unlike the book title suggests) not to go on board and leave with her father but to instead stay at her villa because she realises how sad Tommy and Annika are because of her imminent departure, yes, this provides a sweet and also nicely surprising and smiles producing ending for Pippi Goes on Board.
But no, liking the ending, enjoying the final chapter of Pippi Goes on Board is not really sufficient for me to have found (and to consider) Astrid Lindgren's featured text (and story) engaging enough for a rating higher than three stars (and indeed, I also rather think that said three star rating for Pippi Goes on Board is in fact pretty generous on my part). Because aside from my textual boredom regarding Astrid Lindgren's presented episodes and that Pippi Longstocking is just too physically strong, too wealthy and too much of character who never fails, is someone who always wins and is successful (and can thus not ever be a true kindred spirit for me), my adult reading self also majorly finds the scenarios of Pippi Longstocking's father returning and Astrid Lindgren's descriptions of cannibals etc. uncomfortably politically incorrect and stereotypical (even though I do realise that with a publication date of 1946, Pippi Goes on Board is of course also a product of its time).