The Adventures of Pinocchio

by Carlo Collodi, Geoffrey Brock (Translator), Umberto Eco (Introduction)

Though one of the best-known books in the world, Pinocchio at the same time remains unknown—linked in many minds to the Walt Disney movie that bears little relation to Carlo Collodi’s splendid original. That story is of course, about a puppet who, after many trails, succeeds in becoming a "real boy." Yet it is hardly a sentimental or morally improving tale. To the contrary, Pinocchio is one of the great subversives of the written page, a madcap genius hurtled along at the pleasure and mercy of his desires, a renegade who in many ways resembles his near contemporary Huck Finn.

Pinocchio the novel, no less than Pinocchio the character, is one of the great inventions of modern literature. A sublime anomaly, the book merges that traditions of the picaresque, of street theater, and of folk and fairy tales into a work that is at once adventure, satire, and a powerful enchantment that anticipates surrealism and magical realism. Throng with memorable character and composed the the fluid but inevitable logic of a dream, Pinocchio is an endlessly fascinating work that is essential equipment for life.

In this new translation by Geoffrey Brock, the prizewinning translator of Cesare Pavese, Pinocchio finally has an English rendering worthy of the inspired original. This edition features an introduction by Umberto Eco and an afterward by Rebecca West.

Genres: Classics, Fiction, Fantasy, Childrens, Italian Literature, Italy, Adventure

190 pages, Paperback

First published January 1, 1883

About the author

Carlo Lorenzini, better known by the pen name Carlo Collodi, was an Italian children's writer known for the world-renowned fairy tale novel, The Adventures of Pinocchio.

Reviews

[Nayra.Hassan · Rating 4 out of 5]

هو صبي كسول كذوب..متعالى احمق ..عاق شقي..يريد ان يحظى بمزايا الانسانية..دون متاعبها..و لآ مسؤوليتها..لكن..لا :بينوكيو ليس مجرد عروسة خشبية..بل هو نموذج نصطدم به مرارا في حياتنا اليومية
هو من يقابل كرمك اليومي بالجحود..و المحبة بالامبالاة..و الاهتمام بالاستهتار..ها هو جيبيتو صانع اللعب و مانح السعادة للاطفال..يتوق "لابن" فيصنع عروسة خشبية..و يتمنى لو كان صبيا' و بالفعل يتحول لصبي خشبي متكلم متحرك..لكن لن يستحق إنسانيته الا بعد فعل الخير 🎄

مجرد قصة قصيرة صدرت عام 1881 لتحقق نجاحا ساحقا..و صار المؤلف مطاردا ليقدم مغامرات جديدة لبينوكيو..لتتحول لقصص منفصلة متصلة..لبطل خيالى من نوع خاص جدا..لا يبحث عن الكنز و لا سيد الخواتم..و لا الأميرة..بل بطولته تتلخص في جهاد النفس لكي لا يكذب..

تتحول إلى القصة التربوية المفضلة للأسر على مستوى العالم..تترجم ال 50لغة و تصبح الاكثر مبيعا لمائة عام
امتلك انا عروسة ماريونيت حقيقية لبينوكيو اعلقها في مكان عالي و بارز بمنزلي ..لاتذكر دائما
ان ما بُني على غش فهو وهم من قش💥

[leynes · Rating 1 out of 5]

I know I shouldn’t feel so strongly about a children’s book character from two centuries ago but PINOCCHIO IS LITERALLY ABOUT TO CATCH THESE HANDS. I was prepared for a tale full of nostalgia and heart-warming moments, instead I got this clusterfuck of a children’s tale. I totally forgot that Pinocchio was such a stupid ass hoe (or maybe his portrayal in the Disney movie is just much more favorable…), and thus I was more annoyed than anything whilst reading about him making the same mistakes over and over again.

Like, for real, Pinocchio was such a selfish and dumb little fucker, his father Gepetto truly deserved better. I am aware of the fact that Pinocchio (the book, that is) was meant as a tale of morale and reform for children to learn from. You can literally see the accusatory finger of Collodi pointing at children and warning them of the perils of disobedience and hedonism. Nicki Minaj and Cardi B (who are both pushing the message to their young audience to stay the fuck in school) are modern day Collodis, just saying. ;)

Nonetheless, Pinocchio and his unfaltering ways were a pain in the ass to read about: He literally gets Gepetto into prison, then sells Gepetto’s only coat to attend a fucking puppet show (talk about questionable life choices), he believes two strangers who tell him of a Field of Miracles where you can bury your gold and overnight it will multiply (guess what happens, Pinocchio buries his last gold only to find it gone the next day… who would’ve thought?) and then he just continues to disrespect every elderly person who wants to give him a piece of advice.

Pinocchio deserved every bad thing that came for him. Even though I was somewhat surprised by the brutality of this children’s tale, I was rooting for Pinocchio to die throughout. And let me tell you, there was plenty of opportunity for that: at the beginning he sleeps on the stove and burns off his feet, unluckily, Gepetto makes him new ones. Damn it. Later, the Cat and the Fox hang him in a tree. Unfortunately, the Fairy rescues him. Ugh. Then Pinocchio has the audacity to refuse the medication she got for him and gets a mortal fever—which he, you guessed it, again survives. Why tho? Wanna teach kids to take their fucking medicine without complaining? Let the Burattino die, you don’t get a message more clearer than that. ;) He is caught in a weasel trap, he is kneaded into dough by a weird fisherman, he is turned into a donkey and literally swallowed by a whale (Jonah is quaking in his seat)—and he gets out of all of these traps unscathed. I was so mad. (Still am, not gonna lie.)

I know this review hasn’t been super serious but I justify my low rating, above all, by the fact that I wouldn’t read this story to any children. The tone is way too preachy (don’t lie, stay in school, be nice to your parents, work hard, bla bla bla), Pinocchio way too annoying, there’s too much senseless violence in the story and in the end, the final message that is pushed (when Pinocchio after being reformed turns into a proper boy) just pisses me off. In my humble opinion, he should’ve stayed a Burattino (as the world of Pinocchio is inhabited by speaking animals, fairies and other magical stuff), he didn’t need to become human to get the point across, but maybe that’s just me. Children literally shouldn’t have to change who they are (what makes them unique), they should change their actions if they're disrespectful but that’s it.

[Justin Tate · Rating 5 out of 5]

Outside of religious texts, The Adventures of Pinocchio is the most translated book in the world. It's now printed in over 300 languages and continues to be one of the best-selling books ever published. Surprised? I was. I guess I assumed Disney's movie had long-ago made the book irrelevant. Clearly it hasn't.

And for good reason. Carlo Collodi's original 1883 text reads as sparkling and fresh as anything published today. His moral lessons are abundantly clear and emphasized and re-emphasized through a variety of zany situations. Some of which are well-represented by the iconic cartoon, but numerous others can only be found from the source. Collodi had an extremely clear vision for what Pinocchio was meant to represent and his metaphors always work. The way he showcases Pinocchio's inability to become a "real boy" until gaining education, common sense, and compassion is stark and startling. The transformation into a donkey, for example, is significantly more effective--and disturbing--in the book than in the movie. And let's be honest, it's creepy enough in the movie.

There's also something beautiful about Pinocchio's constant backsliding. He knows why bad things happen to him, he understands where he goes wrong, and yet he keeps making the same mistakes time and time again. This sentiment might be why the book resonates so well across cultures and with audiences young and old. It's frustrating to see him struggle with basic decision-making, and yet we can't help but relate. The story may be meant for children, but it's adult readers who will likely be moved to tears when the dim-witted marionette finally comes of age.

If you're looking to add a classic into your reading mix, Pinocchio is not one to be missed.

[Orsodimondo · Rating 1 out of 5]

TESTA-DI-LEGNO


Tom Hanks è il prossimo, e speriamo ultimo, Geppetto, per la regia di Robert Zemeckis.

Forse dovrei cominciare dicendo che io con le favole, con la favola in genere, vado poco d’accordo. Dal mio punto di vista si tratta di metafore esasperate, simbolismo e moralismo a go go. Not my cup of tea.
Quella che le batte tutte – se di favola davvero si tratta – quella che ho sempre detestato da piccolo e da grande, da bambino e da adulto, è quella nostra nazionale, il maledetto Pinocchio.

Forse perché è di legno, a cominciare dalla testa. Le teste di legno non sono il massimo della simpatia.
Forse perché era bugiardo e le bugie sono prima di tutto faticose. Da dire, da sostenere, da accettare. Solo che lui – ecco un esempio di moralismo – per le bugie viene punito, e poi ricompensato quando smette di dirle. Invece una ‘sana’ bugia al momento giusto può salvare un matrimonio, un rapporto, forse perfino una guerra. Insopportabile quelli (e quelle) che si vantano di non avere peli sulla lingua, quando invece sarebbe tanto auspicabile c’avessero una foresta.


Pinocchio e Geppetto visti da Matteo Garrone.

Forse perché era un burattino.
Forse perché si muove molto nel circo, e io col circo ho lo stesso rapporto che con le favole (negli anni – tanti – in cui ho frequentato quelle stanze con il lettino non ho mai trovato né tempo né voglia per sviscerare questa mia idiosincrasia per le favole e il circo: c’era sempre qualcosa di più importante da affrontare).
Forse perché è circondato da personaggi insopportabili. A cominciare dal padre Geppetto che si “crea” un figlio di legno.

Ho evitato la serie di Comencini (figuriamoci poi se avrei mai retto Manfredi/Geppetto), ho visto il film di Benigni, modesto e cinematograficamente bruttino come tutti i suoi, ma l’ho visto solo per accompagnare mio figlio che aveva l’età giusta per vederlo. Amo molto il cinema di Matteo Garrone, ma il suo Pinocchio l’ho evitato a piè pari.


Pinocchio e l’insopportabile Fata Turchina visti da Roberto Benigni.

Di recente ho scoperto che qualcun altro condivide la mia antipatia per il burattino e il romanzo. Per esempio lo scrittore Aurelio Picca che all’argomento ha addirittura dedicato un intero libretto intitolato per l’appunto Contro Pinocchio nel quale lo definisce insopportabile, furbino e falso, edulcorato, consolatorio, scemo, egoista, cattivo, violento, ingannatore. Ed è chiaro, almeno per me, che gli attributi includono il suo creatore.
Anche se Picca sembra prendersela soprattutto col finale riscritto per soddisfare i lettori delusi dal primo nel quale il burattino moriva impiccato: e così, salvato e redento, trasformato in bravo bambino per vendere di più. Ma è un terreno sul quale lo seguo a disagio perché del doppio finale nulla sapevo, io ho letto solo quello “classico”, la versione più nota.
Picca demolisce l’opinione che si tratti di un romanzo di formazione: Pinocchio rimane un “cuore di legno” anche diventato bambino in carne e ossa. Per lui, Geppetto è un onanista, e quando si accompagna a Mastro Ciliegia gli viene da pensare a Pacciani e Vanni, i compagni di merenda mostro-di-Firenze.

Ho regalato la mia copia del Pinocchio a Pepe Carvalho, lui ovviamente l’ha usata per accendere il fuoco nel caminetto, e poi mi ha preparato un suo piatto d’interiora che ancora mi lecco i baffi.


Pinocchio e Geppetto secondo Luigi Comencini.

[Danger · Rating 4 out of 5]

I don’t have kids. I read this for pleasure as a 32-year-old man. And, surprisingly, I definitely enjoyed it. As I made my way through the book, though, I kept trying to picture what a kid would think. It’s very weird. VERY weird, and kind of dark too. I’m not very familiar with the Disney version of this story, but I’m sure Pinocchio doesn’t murder that singing cricket with a hammer like he does on page 13. And things like the growing of his nose when he lies are not major plot points in the book at all. In fact, it only happens twice and both times it is addressed for only slightly more than a paragraph.

Basically, the story is about an insolent little marionette who - through folly, disobedience, and naivety - is subjected to a constant slew of misfortunes, each one more ridiculous and over-the-top than the last. And although the overarching moral to this tale (that being GO TO SCHOOL YOU DUMB LITTLE DONKEYS!) is rather reductive and simplistic, the story is odd enough and the imagination of the author is unruled and unbound enough that the well-worn lesson is not a hindrance.

Here’s a personal note: I love books translated from other languages into English. Sentence structure and word choice are often juxtaposed and arranged in ways that you normally don’t get to see when reading things originally written in English. Part of this is undoubtedly due to the translator as they struggle to preserve the story in its original form, and part of it is due to the fact that often there is often not an analogous term for certain words or phrases. It creates a certain patchwork of language that, for whatever reason, tickles me. Almost as if the charm lies in its sloppiness, or imperfection. I actually downloaded two different translations of this to my Kindle and read the first chapter of each before deciding on which translator’s voice I preferred.

In the end, I can’t really say if your kids will like this. All I can say is I did. And I’m kind of like a giant kid.

[Dream.M · Rating 4 out of 5]

بچه‌ی فامیل اومده بود خونه مون و خواستم براش داستان تعریف کنم تا بشینه و وسایل اتاقم نفس بکشن ، گفتم چی تعریف کنم برات؟ فرمود : پینوکیو
خواستیم داستان گفتنمون فان‌تر بشه، گفتم اسم شخصیتها رو عوض کنیم . انتخاب با شما (بچه فامیل)
فرمود به جای پدر ژپتو بگو کیان ایرانی( مختار داره مجدد پخش میشه؟) به جای پینوکیو بگو اصغر و به پری آبی هم بگیم پری زرد فسفری پوش.
هرجا میرسیدیم به اصغر، این بچه از اعماق وجود میخندید و غش میکرد. انقدر کیف کردیم و بهش خوش گذشت که تا عصر سه بار همون قصه رو براش گفتم . آخرش هم با لگد از خونه رفت بیرون .
نکته اخلاقی: به بچه ها رو ندید مگه اینکه برای نگهداری ازشون بهتون پول بدن .

[Rick Riordan · Rating 5 out of 5]

This was a challenge and a treat — reading the original story of Pinocchio in Italian! It’s been a long time since I saw the Disney movie, but it was obvious to me that Disney, er, Disney-fied the story quite a bit. The original tale is a lot darker and a lot funnier. I loved the fight with Gepetto and the woodcutter at the beginning, where they are tearing off each other’s wigs. Pinocchio is indeed a rascal, a scamp, and all the other things they call him. I think I would have throw him in the fire a long time ago. I was also shocked to laughter when we meet Grillo-Parlante, the Talking Cricket who becomes Jiminy Cricket in the movie, and Pinocchio immediately gets tired of his advice, throws a hammer at the cricket, and smashes him flat against the wall, killing the poor insect instantly. I must say, I had the same urge when Jiminy Cricket started to sing in the movie. Talking animals, ridiculous incidents and escapes — I loved it! Would have been an easy read in English, but even in Italian it didn’t take me very long. Well worth checking out.

[Valeriu Gherghel · Rating 4 out of 5]

Eu am copilărit cu Buratino sau Cheița de aur, care e o rescriere a povestirii lui Collodi. Așadar, am crezut multă vreme că inventatorul păpușii de lemn vorbitoare e Alexei Tolstoi. Mă înșelam amarnic. Cîțiva ani mai tîrziu, am dat peste Pinocchio într-un raft al bibliotecii de la Palat*. Am citit cartea și mi-am spus că seamănă cam mult cu povestirea rusească. Oare Collodi nu s-a inspirat din Tolstoi?

Exemplarul meu din Buratino - bogat ilustrat ce-i drept - nu avea prefață și n-aveam de unde să știu că lucrurile stăteau exact pe dos: Alexei Tolstoi îl „adaptase” pe Collodi (1826 - 1890), care, săracul, era oale și ulcele cînd a fost rescris de prozatorul rus. Alexei Nikolaevici Tolstoi (1883 - 1945) era rudă de foarte departe cu marele Lev Tolstoi...

Nu-mi amintesc ce am înțeles din Buratino și, apoi, din Pinocchio. Probabil, am reținut ideea că un copil nu se cuvine să-și trateze părinții cu dispreț. Pinocchio e cam irascibil, îl ironizează cam des pe meșterul Geppetto, e mereu cu nasul pe sus, și din pricina asta are cîteva aventuri nefericite. Mult mai tîrziu am dat peste o discuție amuzantă, cu accente polemice, între exegeți. Oare ce trebuie să rețină un cititor tînăr din povestea lui Collodi? Că nu e bine să minți, fiindcă îți crește nasul (aspect subliniat îndeosebi de filmul produs de Walt Disney în 1940)? Sau că nu e recomandabil să fugi de școală?

Răspunsul e unul singur, dar nu mai am energia să-l divulg. Recomand eseul lui Alberto Manguel intitulat How Pinocchio Learned to Read.

* Palatul ăsta e în Iași.

[بثينة العيسى · Rating 4 out of 5]

المجد للمخيّلة العظيمة التي خلقت لنا بينوكيو.

[Salwa Marwan · Rating 3 out of 5]

كلاسيكيه خفيفة أوي لكنها ممتعه في نفس الوقت
عن دميه عايزه تبقى ولد حقيقي

المزايا:
1- فكره متميزه
2- على الرغم من انها موجهة للأطفال إلا أنها مناسبه لكل الأعمار
3- ممتعه

العيوب:
1- الرسايل الموجهة واضحه وأقرب لمواعظ

[David · Rating 4 out of 5]

As is the case with many great and memorable children's tales, Pinocchio is predominated by the threat of violence and death. At one point the incorrigible puppet is actually lynched by a Fox and a Cat who are after his gold coins. The Talking Cricket (the model for Disney's Jiminy Cricket) is killed by Pinocchio, using a mallet to smash him against the wall, as early as chapter four. The Cricket's primary offense? Giving some lame moralistic advice to the anarchic puppet. (The Talking Cricket was a social conservative, apparently.) Later the magical fairy, a strange deus ex machina with blue hair and an even bluer temperament, is introduced as the ghost of a dead child. I could go on and on, but you get the picture here. If you don't behave, children, and do your schoolwork, you'll probably suffer ghastly and various permutations of misery, including but not limited to being eaten by a giant shark. The tension lies in Collodi's celebration of (in Rebecca West's hyperanalytic parlance) 'transgression' set against the book's explicit moralizing and voluble tsk-tsking and pooh-poohing. Although the anonymous narrator states outright that peril and misfortune are the consequences of bad behavior, Collodi makes Pinocchio's adventures oddly exhilarating. One wonders if the story is less proscriptive than it is a subtle lamentation of the freedoms we must surrender to become 'human.'

Collodi's world is troubling, to say the least. We are conditioned to expect the magical in storytelling—so long as there is an internal consistency. Collodi, however, doesn't bother with logic. Why does Pinocchio seem human and vulnerable in some predicaments but resilient and indomitable in others? Why are the fairy's powers arbitrary and situational? Why does Pinocchio turn into a donkey—other than in the service of a metaphor? I'll admit I'm a stickler for details, but the simplicity and surprising humor of Pinocchio distracts me from the fundamental realization that Collodi has created a world without rules that is overly indebted to coincidence and/or providence. In other words, I liked it—despite everything.

[Nayra.Hassan · Rating 4 out of 5]

هو صبي كسول كذوب..متعالى احمق ..عاق شقي..يريد ان يحظى بمزايا الانسانية..دون متاعبها..و لآ مسؤوليتها..لكن..لا :بينوكيو ليس مجرد عروسة خشبية..بل هو نموذج نصطدم به مرارا في حياتنا اليومية
هو من يقابل كرمك اليومي بالجحود..و المحبة بالامبالاة..و الاهتمام بالاستهتار..ها هو جيبيتو صانع اللعب و مانح السعادة للاطفال..يتوق "لابن" فيصنع عروسة خشبية..و يتمنى لو كان صبيا' و بالفعل يتحول لصبي خشبي متكلم متحرك..لكن لن يستحق إنسانيته الا بعد فعل الخير 🎄

مجرد قصة قصيرة صدرت عام 1881 لتحقق نجاحا ساحقا..و صار المؤلف مطاردا ليقدم مغامرات جديدة لبينوكيو..لتتحول لقصص منفصلة متصلة.. لبطل خيالى من نوع خاص جدا..لا يبحث عن الكنز و لا سيد الخواتم..و لا الأميرة..بل بطولته تتلخص في جهاد النفس لكي لا يكذب..

تتحول إلى القصة التربوية المفضلة للأسر على مستوى العالم..تترجم ال 50لغة و تصبح الاكثر مبيعا لمائة عام
امتلك انا عروسة ماريونيت حقيقية لبينوكيو اعلقها في مكان عالي و بارز بمنزلي ..لاتذكر دائما
ان ما بُني على غش فهو وهم من قش💥

[Jon Nakapalau · Rating 5 out of 5]

What a jerk! Everyone who comes into contact with him will be the worse for it! I have to confess...the Disney version is so engrained in my mind that I find it hard to believe it originated from this story... the fate of the Talking Cricket (Jiminy Cricket) is unusually cruel. Still glad I read this - but the little boy in me wants to go back to the Disney version.

[Heba · Rating 3 out of 5]

لقد كان صبي كسولاً.. بليداً وعنيداً ، وكلما تعاهد على انه سيصبح مهذباً مطيعاُ ، لا يصون كلمته ..ولكنه كان يملك قلباً طيباً ، ولكن هذا ليس كافياً ليأمن عواقب تصرفاته الحمقاء والطائشة..
توقفت عند استطالة انفه كما لو كانت عصا مستدق رفيع ممتدة امام ناظريه كلما اصطنع الأكاذيب ، هذا يعني انه دوماُ هنالك ما يقع خارج مجال رؤيته ، لن يتمكن من رؤية الأشياء على حقيقتها، كما ان هناك دوماً مسافة تنأى به بعيداً ووحيداً ، وسيصادم كل ما يواجهه ، وماذا لو تعثرت خطاه ووقع أرضاً ، لابد وستكون سقطة عنيفة موجعة ، لا أكاد احتمل تصور الألم الذي بانتظاره ...
لقد ابدع الكاتب الايطالي " كارلو كولودي" في تصوير عاقبة من يختلق الاكاذيب ليس للصغار فحسب بل للبالغين كذلك ..

[Rosa · Rating 4 out of 5]

پینوکیو، قصه‌ی ی تکه چوبیه که خواب انسان شدن میبینه. اون فقط ی آدمک چوبی توی قصه‌ ای کودکانه نیست، بلکه نماینده ای برای توصیف سفری روانشناختی، از چوب خام تا آدمیت، از دروغ تا خودآگاهیه.
قصه ی پینوکیو کلنجار نویسنده رو با نهاد و ماهیت آدم و آدمیت نشون میده، نه پرداختن به ی تیکه چوب، اون شاید داشته مرهم نامه ای می‌نوشته برای رنج های شخصی خودش، برای خطاهایی که گاهی از سر نابلدی زندگی و نقص های شخصیتی گرفتارش می شیم. انگار کلودی در هزارتوی روح و روانش به دنبال معنا می گشته، دنبال اینکه "آدم بودن" یعنی چی!
پینوکیو از همون اول موجودیه که فقط ظاهر داره، اما تهی از خوده. ی جور تمثیل از انسان بی‌تجربه، کودک یا شاید حتی جامعه‌ای که تازه می‌خواد یاد بگیره مستقل فکر کنه. ژپتو، پدر پیر و بی‌پناه، نماد خالق ساده‌دل و عشق بی‌قید و شرطه، کسی که می‌سازه ولی نمی‌تونه ثمره ی خلقتش رو کنترل کنه، ژپتو جنبه ی معنوی فراتری رو به دوش میکشه، حتی در غیابش که بواسطه ی عشق به مخلوقش رخ میده، بعدی عاطفی تر از عشقی انسانی و زمینی به چشم میخوره و پری موآبی، تصویر خیالی لطیف و جادویی، بازتاب وجدانی غریزیه ، صدای درون پینوکیو که مدام از اعماق خیال و حسرت میاد بیرون. نه کاملا مادره، نه ناجی مطلق، بلکه چیزیه بین این دو. ی تجسم از بلوغ و رهایی، نیروی نرمی که آدم رو از خودخواهی به همدلی می‌رسونه، مث رویایی که آدم رو از گل و چوب بیرون میکشه و یادش ميده که این موجودیت فقط در گرو داشتن پوست و گوشت و ناطق بودن نیست، بلکه فهمیدن رنج دیگری نشونه ای از آدمیت و بلوغه.
دروغ گفتن پینوکیو و دراز شدن دماغش، ی شوخی کودکانه نیست. این لحظه‌ها نماد رشد شناختی‌ن برای بیان نقطه ای که انسان می‌فهمه فاصله‌ی بین "آنچه هست" و "آنچه می‌گوید" چه فاجعه‌ای می‌تونه درست کنه. کولودی می‌گه حقیقت ی قانون اخلاقی خشک نیست، بلکه پلیه برای عبور از حیوان‌گونگی به انسانیت.
آدم‌ها و حیوان‌هایی که سر راه پینوکیو میان، روباه و گربه، عروسک‌گردان، بچه‌های شیطون، الاغ شدنش، همشون نسخه‌هایی از وسوسه، گم‌راهی‌، حیله گری، طمع و تنبلی ن. دنیای بیرون در این کتاب، مثل آینه‌ی درون پینوکیو عمل می‌کنه. هرچی خام‌تره، راحت تر فریب‌ می خوره. هرچی دروغ بیشتری می‌گه، از خودش دورتر می‌شه. سیرکی که پینوکیو در اون گرفتار میشه وسوسه جاودانه‌ی بشره، یادآور لذت حاصل از بی فکری و شادیه در بی تعهدی. اون هر بار از مخمصه های زندگی ش به واسطه ی موجود یا اتفاقی نجات پیدا میکنه تا هر بار وجه دیگه ای از پیچ و خم های زندگی رو تجربه کنه ، درست مث ی زندگی واقعی که هیچوقت بی خطا و پیامدهای دردناکش سپری نمیشه.
اما آخرش چرا پینوکیو آدم می‌شه؟
چون کولودی انسان‌گرایی ش رو با این اثر بیان میکنه. اون به تحول باور داشته، نه مجازات. چون انسانیت هدیه ی پری مهربونش نیست و فقط نتیجه ی اگاهی و دردیه که متحمل شده. پینوکیو تبدیل به انسان نمی‌شه چون بی‌نقص شده، این تغییر اتفاق میفته چون اون درد کشیده، پشیمون شده و فهمیده که عشق ژپتو، وجدان پری و رنج خودش، همه در واقع ی کلاس بزرگی برای انسان شدنش بوده... که آدم شدن یعنی به‌دست آوردن روح، یعنی آگاهی از ناتوانی‌ و قبول خطا.
سیر تحول پینوکیو نشون میده که هربار که درد رو می‌پذیریم و عشق می ورزیم بخشی از روح و شخصیت مون تکامل پیدا میکنه و هربار که دروغ میگیم یا از حقیقت فرار می‌کنیم، بخشی از ما دوباره چوبی میشه اما در این لحظه ها، پری موآبی ی بار دیگه از درونمون زمزمه میکنه که بیدار شو و انسان شو!
نویسنده باور داره که خطا اجتناب ناپذیره اما اگر مارو بیدار کنه میتونه قابل بخشش باشه.
از نظر هنری و روایی، کولودی با ی زبان ظاهرا ساده ولی زیرکانه، قصه‌ای نوشته که از اسطوره، طنز و تراژدی بافته شده. همه‌چیز ظاهرا کودکانه‌ست ولی ی فلسفه‌ی عمیق تو دلشه: "آدم بودن" ی پروژه‌ست، نه ی حالت ثابت، ادم شدن یعنی پذیرش نقص، پذیرش دروغ‌هامون و تلاش برای زلال موندن در دنیایی که مدام ما رو به بازی میگیره . پینوکیو سمبل تمام ماست وقتی تازه می‌خوایم یاد بگیریم حقیقت رو از حیله، مهربونی رو از فرصت طلبی و آزادی رو از بی‌مسئولیتی تشخیص بدیم.
این کتاب میتونه ی جور راهنمای رشد انسانی باشه ، فقط توی قالب قصه‌ای بامزه و گاهی تلخ و بعنوان ی تلنگر به جامعه‌ای که بچه‌هاشو می‌خواد "مطیع" بار بیاره، نه "آگاه".

[Maryam.Bhr · Rating 5 out of 5]

Each book I read offers a new perspective. In this post, I share my thoughts on this book in Persian and English. I hope this will be enjoyable for you :)


هر کتابی که می خوانم دریچه ای به دنیایی جدید است. تو این نوشته دیدگاه و تجربه ام از مطالعه ی این کتاب رو به دو زبان فارسی و انگلیسی با شما به اشتراک می ذارم امیدوارم خوندنش براتون لذتبخش باشه :)

Persian (فارسی)


پینوکیو؛ سفری از قصه‌های محاوره‌ای تا کهن‌الگوهای ایتالیایی | روایتی از کشف دوباره‌ی یک افسانه 🌿

نام پینوکیو برای بسیاری از ما، با خاطره‌ی انیمیشن‌ها و تصویر عروسکی چوبی و بازیگوش گره خورده است—چهره‌ای آشنا، اما سطحی. از کودکی با نام و تصویرش آشنا بودم، اما هرگز به این نیندیشیده بودم که این شخصیت، چنین ریشه‌ی عمیق و اصیلی در فرهنگ ایتالیا داشته باشد. و شاید همین نادیده‌گرفتن، بخشی از جادوی کشف دوباره‌اش بود—این‌که چگونه قصه‌ای بومی، با همه‌ی رنگ و بوی محلی‌اش، توانسته جهانی شود و در دل نسل‌های مختلف، از کودک تا بزرگسال، خانه کند

پینوکیو در آینه‌ی تاریخ: ایتالیا در آستانه‌ی وحدت (۱۸۶۱) و تولد یک ملت 📜

آن‌چه در پسِ ظاهر ساده‌ی پینوکیو پنهان است، تنها یک قصه‌ی کودکانه نیست؛ بلکه پژواکی‌ست از ایتالیا در لحظه‌ای حساس از تاریخش—دورانی که این سرزمین، پس از قرن‌ها پراکندگی، سرانجام در سال ۱۸۶۱ به یک کشور واحد بدل شد. پیش از این تاریخ، ایتالیا بیشتر شبیه پازلی از ایالت‌ها و پادشاهی‌های مستقل بود؛ هرکدام با لهجه، فرهنگ، و حتی قوانین خود. مردم، بیش از آن‌که «ایتالیایی» باشند، توسکانی، ونیزی، ناپلی یا سیسیلی بودند.

جنبش رستاخیز، تلاشی بود برای گردآوردن این تکه‌های پراکنده و ساختن هویتی تازه. اما وحدت سیاسی، بدون وحدت فرهنگی و اخلاقی، معنایی نداشت. دولت تازه‌تأسیس، بیش از هر چیز، به دنبال ساختن شهروند بود: انسان‌هایی باسواد، مسئول، منضبط و آگاه. آموزش، مدرسه، و تربیت اخلاقی، به پروژه‌ای ملی تبدیل شد؛ پروژه‌ای که روشنفکران، نویسندگان و روزنامه‌نگاران نیز در آن نقش داشتند.

کارلو کلودی، نویسنده‌ی پینوکیو، دقیقاً در مرکز همین تحولات می‌زیست. او اهل توسکانی بود؛ منطقه‌ای که همواره کانون فرهنگ، زبان و اصلاحات آموزشی ایتالیا بوده است. کلودی پیش از نوشتن پینوکیو، روزنامه‌نگار سیاسی بود و دغدغه‌ی اصلی‌اش همین «پرورش نسل جدید» بود—نسلی که بتواند ایتالیا را از دل آشفتگی‌های گذشته به آینده‌ای روشن‌تر ببرد.

پینوکیو، در این معنا، تنها یک عروسک چوبی نیست؛ او نماد کودکی‌ست که باید به شهروند تبدیل شود. هر اشتباه، هر فریب، هر تنبیه و هر پاداش، بازتابی‌ست از همان تلاش جمعی برای ساختن انسان‌هایی مسئول و آگاه. مسیر پینوکیو از بی‌قیدی به بلوغ، استعاره‌ای‌ست از مسیر ایتالیا از پراکندگی به وحدت.

اما ریشه‌های ایتالیایی پینوکیو تنها در تاریخ سیاسی خلاصه نمی‌شود. این قصه از دل فرهنگ عامه‌ی ایتالیا نیز برآمده است—به‌ویژه از سنت محبوب و دیرینه‌ی خیمه‌شب‌بازی. در قرن نوزدهم، نمایش‌های عروسکی نخی یکی از رایج‌ترین سرگرمی‌های مردم بودند؛ نمایش‌هایی که در میدان‌ها، کارناوال‌ها و جشن‌های محلی اجرا می‌شدند. این نمایش‌ها، با طنز تند، شخصیت‌های تیپیک، و پیام‌های اخلاقی‌شان، هم سرگرم‌کننده بودند و هم آموزنده.

کلودی، که از کودکی با این نمایش‌ها زندگی کرده بود، پینوکیو را دقیقاً از دل همین سنت بیرون کشید:
عروسکی چوبی، آویخته از نخ‌ها، که می‌خواهد آزاد شود—آزادی از نخ‌ها، آزادی از نادانی، آزادی از بی‌مسئولیتی. این استعاره برای مردم آن دوران کاملاً آشنا بود. حتی حضور مستقیم پینوکیو در یک نمایش عروسکی در متن کتاب، ادای دینی‌ست به همین ریشه‌ی فرهنگی.

در کنار این‌ها، فقر گسترده‌ی ایتالیا در سال‌های پس از وحدت نیز در تار و پود داستان تنیده شده است. ژپتو، با آن کارگاه کوچک و زندگی ساده‌اش، تصویری واقعی از طبقه‌ی کارگر ایتالیا در آن دوران است؛ مردمانی که با کمترین امکانات، اما با بیشترین امید، زندگی می‌کردند. پینوکیو نیز مانند بسیاری از کودکان آن زمان، میان کار، مدرسه، خیابان و وسوسه‌های بی‌پایان سرگردان است.

در مجموع، پینوکیو فرزندِ زمانه‌ی خویش است:
فرزند ایتالیا‌یی که تازه متولد شده، اما هنوز در حال یادگیری راه رفتن است.
فرزند فرهنگی که میان سنت و مدرنیته، میان نمایش‌های خیابانی و پروژه‌های ملی، در نوسان است.
و فرزند مردمی که می‌خواستند از دل فقر و پراکندگی، آینده‌ای روشن‌تر بسازند.

با آنکه با زبان و اسامی ایتالیایی بیگانه نبودم، تا پیش از خواندن این کتاب، هیچ‌گاه به اصل و نسب فرهنگی و تاریخی‌اش دقت نکرده بودم. و شاید همین نادیده‌گرفتن، بخشی از جادوی کشف دوباره‌اش بود—این‌که چگونه قصه‌ای بومی، با همه‌ی رنگ و بوی محلی‌اش، توانسته جهانی شود و در دل نسل‌های مختلف، از کودک تا بزرگسال، خانه کند.

شخصیت‌پردازی و جهان تمثیلی پینوکیو 🌟

شخصیت‌پردازی‌های کتاب، با آن‌که گاه فانتزی و اغراق‌آمیزند، سرشار از ظرافت و معنا هستند. حیواناتی که سخن می‌گویند، هر یک کاراکتر و هویتی مستقل دارند—از روباه و گربه‌ی حیله‌گر گرفته تا جیرجیرک دانا و پری آبی. این شخصیت‌ها، نه صرفاً برای سرگرمی، بلکه به‌مثابه تمثیل‌هایی از وجدان، وسوسه، عشق، و هدایت درونی عمل می‌کنند.

روباه و گربه، با ظاهر فریبنده و وعده‌های دروغین‌شان، نماد نیروهایی هستند که انسان را از مسیر رشد منحرف می‌کنند—وسوسه‌هایی که در لباس دوستی ظاهر می‌شوند اما در نهایت، فرد را از خود واقعی‌اش دور می‌سازند. در مقابل، جیرجیرک دانا صدای وجدان است؛ صدایی که اغلب نادیده گرفته می‌شود اما همواره حضور دارد، حتی در سکوت. پری آبی، با حضور آرام و گاه مرموزش، تجسم عشق بی‌قید و شرط و بخششی است که پینوکیو را بارها از سقوط نجات می‌دهد—او نه تنها مادرانه، بلکه همچون نمادی از امید و امکان دگرگونی عمل می‌کند.

و در مرکز این جهان، پینوکیو ایستاده: عروسکی چوبی که با هر اشتباه، هر فریب، و هر تجربه، گامی به‌سوی انسان شدن برمی‌دارد. او شخصیتی است در حال شدن—نه قهرمانی کامل، بلکه کودکی که در مسیر بلوغ، با ضعف‌ها و اشتباهاتش روبه‌رو می‌شود. دروغ‌هایش، که با دراز شدن بینی‌اش مجازات می‌شوند، تنها نماد دروغ‌گویی نیستند، بلکه نشانه‌ای از فاصله گرفتن از خودِ راستین‌اند. پینوکیو، در این معنا، هر انسانی‌ست که در مسیر شناخت خویش، باید از میان تاریکی‌ها و فریب‌ها عبور کند تا به حقیقت وجودی‌اش برسد.

نگاهی به ترجمه‌های فارسی پینوکیو 🔎

در میان ترجمه‌های فارسی موجود از پینوکیو، تفاوت‌هایی اساسی در لحن، سبک، و حتی وفاداری به متن اصلی دیده می‌شود. بسیاری از ترجمه‌ها، از جمله نسخه‌های صادق چوبک، مصطفی رحماندوست، و علی امیر ریاحی، بیشتر با هدف آشنایی کودکان با داستان انجام شده‌اند. این ترجمه‌ها با زبانی ساده‌تر، روایت‌هایی روان و قابل‌فهم برای مخاطب کم‌سن‌وسال ارائه می‌دهند و برای آشنایی اولیه با کلیت ماجرا مناسب‌اند. به‌ویژه ترجمه‌ی صادق چوبک، که نخستین ترجمه‌ی فارسی این اثر به‌شمار می‌رود، از نظر تاریخی نیز اهمیت دارد، هرچند از زبان واسطه (انگلیسی) انجام شده است.

اما اگر خواننده‌ای بزرگسال هستید و به‌دنبال تجربه‌ای اصیل‌تر و کامل‌تر از این اثر کلاسیک می‌گردید، ترجمه‌ی غلامرضا امامی را پیشنهاد می‌کنم. این نسخه، برخلاف بسیاری از ترجمه‌های دیگر، مستقیماً از زبان ایتالیایی برگردانده شده و به‌دلیل وفاداری‌اش به متن اصلی، حفظ لحن نویسنده، و ارائه‌ی نسخه‌ای کامل از داستان، ارزش ادبی و فرهنگی بیشتری دارد. انتخاب این ترجمه، برای من، نه فقط به‌خاطر دقت زبانی، بلکه به‌خاطر احترامی‌ست که به روح اثر اصلی گذاشته شده است.

پایان‌بندی 👦➡️🪵

در پایانِ این سفر چوبی و خیال‌انگیز، پینوکیو دیگر آن عروسک بازیگوش و نافرمان نیست. او، با زخم‌های تجربه، با اشک‌های پشیمانی، و با دل‌تنگی برای مهربانی، کم‌کم به چیزی شبیه انسان بدل می‌شود—نه فقط به‌خاطر آن‌که دیگر بینی‌اش با دروغ دراز نمی‌شود، بلکه چون آموخته که عشق، صداقت، و فداکاری، بهایی دارند.

این داستان، با همه‌ی سادگی‌اش، آینه‌ای‌ست از رشد درونی ما. هر بار که پینوکیو فریب می‌خورد، ما به یاد می‌آوریم که راه حقیقت همیشه هموار نیست. هر بار که پری آبی بازمی‌گردد، امیدی در دل‌مان زنده می‌شود. و هر بار که پینوکیو تصمیم می‌گیرد درست رفتار کند، ما هم شاید کمی بیشتر به خودِ بهترمان نزدیک شویم.

پینو��یو قصه‌ی کودک شدن نیست؛ قصه‌ی انسان شدن است. و شاید راز ماندگاری‌اش همین باشد: این‌که در دل هر خواننده، چه کودک و چه بزرگسال، جایی برای پینوکیویی هست که هنوز در راه است.


English (انگلیسی)

Pinocchio: A Journey from Colloquial Tales to Italian Archetypes | A Story of Rediscovering a Legend 🌿

For many of us, the name Pinocchio is tied to memories of animated films and the image of a mischievous wooden puppet — familiar, yet superficial. I had known his name and face since childhood, but I had never considered how deeply rooted this character is in Italian culture. And perhaps that very oversight was part of the magic of rediscovering him — realizing how a local tale, with all its regional color and flavor, managed to become universal and find a home in the hearts of generations, from children to adults.


Pinocchio in the Mirror of History: Italy on the Brink of Unification (1861) and the Birth of a Nation 📜

What lies beneath Pinocchio’s simple surface is not merely a children’s story; it is an echo of Italy at a pivotal moment in its history — a time when the peninsula, after centuries of fragmentation, finally became a unified country in 1861. Before this date, Italy resembled a puzzle of independent states and kingdoms, each with its own dialect, culture, and even laws. People were more Tuscan, Venetian, Neapolitan, or Sicilian than they were “Italian.”

The Risorgimento movement sought to gather these scattered pieces and forge a new identity. But political unity meant little without cultural and moral unity. The newly formed state was, above all, focused on creating citizens: literate, responsible, disciplined, and aware. Education, schooling, and moral upbringing became national projects — projects in which intellectuals, writers, and journalists played a crucial role.

Carlo Collodi, the author of Pinocchio, lived at the very heart of these transformations. He was from Tuscany — a region long considered the cradle of the Italian language, culture, and educational reform. Before writing Pinocchio, Collodi was a political journalist, and his main concern was precisely the “education of the new generation” — a generation that could lead Italy from the chaos of its past into a brighter future.

In this sense, Pinocchio is not just a wooden puppet; he is the symbol of a child who must become a citizen. Every mistake, every deception, every punishment, and reward reflects the collective effort to shape responsible and conscious human beings. Pinocchio’s journey from carelessness to maturity mirrors Italy’s journey from fragmentation to unity.

But the Italian roots of Pinocchio are not limited to political history. The story also emerges from Italy’s rich popular culture — especially the beloved and long-standing tradition of puppet theater. In the nineteenth century, string-puppet shows were among the most common forms of entertainment, performed in town squares, carnivals, and local festivals. With their sharp humor, stock characters, and moral messages, these shows were both amusing and instructive.

Collodi, who grew up with these performances, drew Pinocchio directly from this tradition:
a wooden puppet, suspended by strings, yearning to break free — free from the strings, free from ignorance, free from irresponsibility. This metaphor was instantly recognizable to people of that era. Even Pinocchio’s literal appearance in a puppet show within the book is a tribute to these cultural roots.

Alongside all this, the widespread poverty of post-unification Italy is woven into the fabric of the story. Geppetto, with his tiny workshop and modest life, is a realistic portrait of Italy’s working class — people who lived with the bare minimum but carried immense hope. Pinocchio, like many children of that time, wanders between work, school, the streets, and endless temptations.

In sum, Pinocchio is a child of his timeeeeee:
- a child of an Italy newly born yet still learning to walk,
- a child of a culture oscillating between tradition and modernity, between street performances and national projects,
- and a child of a people striving to build a brighter future out of poverty and fragmentation.

Although I was familiar with Italian names and language, I had never paid attention to the cultural and historical lineage of this story before reading the book. And perhaps that very neglect was part of the magic of rediscovering it — seeing how a local tale, with all its regional color, managed to become universal and settle into the hearts of readers of all ages.

Characterization and the Allegorical World of Pinocchio 🌟

The characters in the book, though sometimes fantastical or exaggerated, are full of subtlety and meaning. The talking animals each possess distinct personalities — from the cunning Fox and Cat to the wise Cricket and the Blue Fairy. These figures are not merely for entertainment; they function as allegories of conscience, temptation, love, and inner guidance.

The Fox and the Cat, with their deceptive charm and false promises, symbolize forces that divert a person from the path of growth — temptations that disguise themselves as friendship but ultimately lead one away from their true self. In contrast, the wise Cricket is the voice of conscience — often ignored, yet always present, even in silence. The Blue Fairy, with her calm and sometimes mysterious presence, embodies unconditional love and forgiveness, rescuing Pinocchio from downfall time and again. She acts not only as a maternal figure but also as a symbol of hope and the possibility of transformation.

At the center of this world stands Pinocchio himself: a wooden puppet who, with every mistake, deception, and experience, takes a step toward becoming human. He is a character in the process of becoming — not a flawless hero, but a child confronting his weaknesses and errors on the path to maturity. His lies, punished by the growth of his nose, are not merely symbols of dishonesty; they represent a distancing from one’s true self. In this sense, Pinocchio is every human being who must pass through darkness and deception to reach the truth of their own existence.

A Look at Persian Translations of Pinocchio 🔎

Among the available Persian translations of Pinocchio, there are significant differences in tone, style, and even fidelity to the original text. Many translations — including those by Sadegh Chubak, Mostafa Rahmandoust, and Ali Amir Riahi — were produced primarily to introduce children to the story. These versions use simpler language and offer smooth, accessible narratives suitable for young readers. Chubak’s translation, in particular, holds historical importance as the first Persian version, though it was translated from English rather than Italian.

But if you are an adult reader seeking a more authentic and complete experience of this classic, I recommend Gholamreza Emami’s translation. Unlike many others, this version is translated directly from Italian and is valued for its fidelity to the original text, its preservation of the author’s tone, and its completeness. For me, choosing this translation was not only about linguistic accuracy but also about the respect it shows for the spirit of the original work.


Ending 👦➡️🪵

By the end of this wooden, dreamlike journey, Pinocchio is no longer the mischievous, disobedient puppet he once was. Through the wounds of experience, the tears of regret, and the longing for kindness, he gradually becomes something closer to human — not simply because his nose no longer grows when he lies, but because he has learned that love, honesty, and sacrifice come at a cost.

This story, in all its simplicity, is a mirror of our inner growth. Each time Pinocchio is deceived, we are reminded that the path to truth is rarely smooth. Each time the Blue Fairy returns, a spark of hope is rekindled within us. And each time Pinocchio chooses to act rightly, we too may feel a little closer to our better selves.

Pinocchio is not a story about becoming a child; it is a story about becoming human.
And perhaps that is the secret of its endurance: that within every reader — child or adult — there is a Pinocchio still on the way.

[Ken · Rating 4 out of 5]

Is this YA? Children's literature? God only knows. If it can be seen one way by children and another by adults, it's... God only knows.

So let's dispense with labels, boxes, and kindling why don't we. I read this book's 160 pages in no-time (myspeak for "two days"). It was simplistically compelling. Or compellingly simple. Wood. Boy. Dummy. No, make that puppet. One who out-lazies Tom Sawyer, even. The rural Italian word for him, then, is "scamp." Or "rascal," if you will.

The best part about reading Pinocchio for the first time is unlearning Disney. Not that I can recall watching the Disney movie. I cannot recall watching many Disney movies at all. But I surely HAVE seen clips from it. As clips, Disney fare is unavoidable.

Imagine my delight, then, when the cricket appears early in this book without the name of "Jiminy." Imagine my further delight, then, when said talking cricket (called, ingeniously enough, "Talking Cricket") chastises young (unseasoned?) Pinocchio only to have the upstart puppet nail him on the wall with a mallet.

Crunch.

And the cricket's last words are "cree-cree-cree" before it unpeals from the wall and dies.

Fear not, however. Most every critter that dies in this book is born again. The Buddhists would be proud. As they would about Pinocchio's samsara-like travails, wherein he constantly tries and fails to be good, tries and fails to be obedient, tries and fails to be industrious and loyal and kind. Puppets will be puppets, after all.

Another enjoyable aspect to this wonderfully-art-worked text from nyrb is its sly, tongue-in-wooden cheek moments. When the rogue boys are attacking Pinocchio with their hated schoolbooks, one of them hurls a text written by some Collodi fellow. (Wink.) Collodi (pen name) even takes a shot at a group that gets away with murder in this country but is more distrusted in others (and certainly in the past): doctors.

"[The doctor] felt Pinocchio's pulse, then he felt his nose, then he felt his little toe, and when he had finished feeling all these things very carefully, he solemnly pronounced these words: 'It is my opinion that the puppet is quite dead. But if by some strange chance he is not dead, then that would be a sure sign that he is still alive.'"

Doctors. They're never wrong. Said doctor (a crow, in Collodi's tale) follows up with even better:

"'When a dead person cries, it's a sign that he's on the mend.'" As they say in hockey: "Sco-o-o-o-ore!!!"

OK, so a fun and easy read. One that sets the record straight -- the book has succeeded all these years because of its violence and dark undertones. And it's talking animals. And its admirable little scamp of a rogue chunk of wood. If he barks up another tree and turns all treacly-good at the end, oh well. The same happened to Tolstoy, and no one held it against him any....

[Axl Oswaldo · Rating 4 out of 5]

“What shall I call him?” he said to himself. “I think I’ll call him PINOCCHIO. This name will make his fortune.

The Adventures of Pinocchio was a compelling reading that brought me back to my childhood, since I used to be a huge fan of the classic Disney movie when I was a little kid. Besides, my father gave me an abridged edition of Pinocchio (I was probably 6) as a gift, and I remember how I loved spending time reading it every now and then. This edition belongs to me so far, and it is still in my bookcase.

Now, reading this book as a young adult, it has been a beautiful, fun and quite remarkable experience. Pinocchio’s behavior and personality sometimes reminded me of that child who we used to be way back when. Perhaps I am wrong if I say everyone’s behavior was exactly the same as Pinocchio’s one – actually, I hope so; however, the fact that a book evokes memories of your childhood, for instance, when you just wanted to have fun and nothing else cared, to go outside and spend hours playing with your friends, and the like, actually means that that book is worth giving a try as soon as you can.

I'm sure everyone knows what The Adventures of Pinocchio is about: it's basically the story of an animated marionette, made by a carpenter named Geppetto, and how he (Pinocchio) ends up having exciting adventures and visiting so many places. That's it, simple but not plain.
Every chapter of the novel is really short and precise (5 or 6 pages per chapter on average), which makes the story easy to read, and furthermore, you certainly want to know the events that are going to take place in the next chapters. The narrative, as I said before, is concise and straightforward, yet really entertaining and enjoyable.

There is a particular sense of humor which reminded me of another book I've read recently: Candide, or Optimism. In fact, not only the sense of humor, but the way both books are written as well as their similar structure were some elements in common as well.
Maybe I am wrong about my last statement, but the fact that both Candide and Pinocchio are protagonists who were going through a series of events throughout their own novel, and whose lives ended up being different from what they used to be at the beginning, made me think about how similar their stories are. (By the way, how is this genre called in English? Bildungsroman, isn't it?)

In short, The Adventures of Pinocchio is a story about a marionette (or a child) who has to learn how to change his mind and attitudes in order to become a responsible and sensible person. Obviously, I'd wholeheartedly recommend reading this book.

[Brad · Rating 4 out of 5]

I have been slowly reading a stack of children's classics to my twins (thus far to combat the poor movie adaptations that are out there), but I have been less than impressed.

I found Peter Pan (both the character and the story) insufferable; Charlie and the Chocolate Factory offended me ideologically; and The Lion the Witch and the Wardrobe was too heavy handed. So I had little hope for Carlo Collodi's Pinnochio.

Even though I had been slightly disabused of my belief that Pinnochio would be overly moralistic by The Old Trouts' brilliant stage adaptation (they're a Canadian puppet theatre company based out of Calgary), and despite the fact that Disney's Classic adaptation maintains most of the creepier elements from Collodi's classic, I approached Pinnochio with serious doubt and attitude.

I almost dared it to be good.

And shock of shocks it actually was. Yes there's a talking cricket, but his name isn't Jiminy and he doesn't sit on Pinnochio's shoulder and act as his conscience. Yes there is a thread of moralism running through the book, and yes some of the things Collodi teaches, such as his focus on one's duty to obey one's parents, run contrary to what I believe, the book actually steers clear of preachiness and simply lets a fun story unfold in a fun way with a couple of decent lessons cropping up here and there.

Playland (known as Pleasure Island in Disney parlance) is almost as creepy as Walt's uber-spooky version, particularly the slimy man who rounds up the kiddies and turns them into donkeys. Monstro is a gigantic, mile long Shark-with-no-name, rather than a massive whale. The blue haired fairy is a huge character, far more important than the talking cricket, and she can change shape into a goat at will. And if these elements weren't enough fun there are times when Pinnochio is collared and tied to a dog house to watch hens, hanged from a tree to die in the forest, nearly used as kindling, has his donkey flesh eaten away by nasty little fish, and is even thrown in prison by a Judge who happens to be a talking Ape.

E. Harden's translation seems superb and is eminently readable (although my friend Manny might no better how accurate a translation it is), and even though the book comes in at a pretty steep 200+ pages (impressive for a kids' book) it never tires its reader or his listeners. My kids wanted more every time we stopped for the night, and if Collodi leaves the kids wanting more that has to be a good thing.

Our next stop is Alice in Wonderland, but I may hunt down some more Collodi. He deserves to be read.

[Mehrdad · Rating 4 out of 5]

ذکر بردار کردن پینوکیو

دو هفتهٔ پیش، مهمون قسمت دوم برنامهٔ اکنون، ایرج طهماسب بود که
شخصاً خیلی بهش ارادت دارم. پیشنهاد خوندن این کتاب نوستالژی ( برای من، چون شونصد مدل ازش کارتون دیدم و جزء اولین کتاب داستان‌هایی بود که خودم تنهایی از پس خوندنش براومدم. )

آقای طهماسب اونجا روی ترجمهٔ صادق چوبک تأکید کرد که انگاری یه حالت ایرانی به این کتاب داده بود و الآن بعد خوندنش، حرفشو بهتر متوجه می‌شم. یه قسمتایی از کتاب که به همین موضوع مربوطه رو میارم.

یادم میاد موقع بچگی از بس نشستم جلو تلویزیون گراندیک! قدیمی خونه‌مون و شبکه‌ها رو بالا و پایین می‌کردم برای کارتون که چشمام ضعیف شد و عینکی شدم. ( البته از تأثیر پیس ۲۰۰۶ و کانتر هم نمی‌تونم غافل بشم که در کنار کارتون‌ها، عامل به فاااا یعنی به فنا رفتن چشمام بودن. )

انقد این پینوکیو و جودی ابوت و کوزت و آنه‌شرلی و حنا و رامکال و خانوادهٔ دکتر ارنست رو دوست داشتم ( تلویزیونم دیر به دیر می‌ذاشت اینارو ) که مامانم یه روز رفت سی‌دی همه‌شونو برام خرید.
اونم از بس نگاه کردم و جلو و عقب کردم که هم سی‌دی سوخت و هم دستگاه و هم جگر من!

کلیت داستانو که همه‌مون می‌دونیم چیه ولی مثل هر اثر اقتباسی دیگه‌ای، بین کتاب و اون اقتباس کلی تفاوته، مخصوصاً پینوکیو.

اون زمان من اندازهٔ کافی از داداش سیا می‌ترسیدم ( هنوزم که هنوزه سر اون مسخره‌م می‌کنن. فامیلای قدیمی‌مون میان خونه‌مون، با خنده می‌گن: مهرداد هنوز از داداش سیا می‌ترسی؟؟؟؟ خب مرگ!!! رو آب بخندی. منم باید با یه من ریش و سبیل، هر هر بخندم و بگم نه دیگه بزرگ شدیم و فلان. ) بعد فکر کن می‌دیدم که گربه‌نره و روباه مکار، پینوکیو رو دار زدن! یا بهش چاقو زدن! معلومه هرشب می‌رفتم لب دریا دیگه...
پس خوب کاری کردن که اینارو نشونمون ندادن. همینجوری الآن دارن خاطرات بچگیمونو تباه می‌کنن. ( چی بود یه زمانی می‌گفتن که عموی سوباسا، چیز مامانش بوده!!! من نمی‌خوام اینو قبول کنم.)

در نهایت که بهتون توصیه می‌کنم خوندنش رو برای یکی دو ساعت وقفه و استراحت ذهنی بین کاراتون.
من که بین کلاسای مجازی شاد خوندمش و خیلی بهم چسبید. ( دم این برف و هوای سرد و اینترنت ضعیف و شاد به‌دردنخور، گرم که دو روز تعطیلمون کرد و مهلت خوندن این کتاب و خاطره‌بازی باهاش رو برام مهیا کرد. )

از شخصیت مورد علاقه‌ام اگه بخوام بگم، فقط می‌تونم از گربه‌نرهٔ عزیز اسم ببرم که از عنفوان کودکی تا الان، مجذوب کاریزما و پدرسوختگی‌اش بودم و هستم. تو کارتون، فقط معطل بودم که این حرف بزنه. آخ که چقدر حال می‌کردم.

اون جملاتی که گفتم صادق چوبک، خاص ترجمه کرده:
پینوکیو به خرچنگ نیک‌سرشت گفت: هر که می‌گوید پنیر، تو دیگر برو کنجی بمیر.

بچهٔ دیگری به پینوکیو گفت: حرفت را پس بگیر و الا همچو می‌زنیمت که کیف کنی.
پینوکیو با تمسخر گفت: می‌زنی؟ جفتک به طاق طویله! ( یه‌چیزی تو مایه‌های همون که تو مشهد یکی گنده میاد که فلانت می‌کنم و فلان، مام بهش می‌گیم: همْ تووووو ؟!!!!!! )

اینم بگم که این نسخه‌ای که من خوندم، مال سال ۵۱ بود و از اون چاپ قدیمیا که با لب و دهن بازی می‌کنه.

[Manybooks · Rating 3 out of 5]

Now I do realise that with regard to Carlo Collodi's 1883 novel Pinocchio there is indeed (and like with many 19th century novels for children) more than a bit of moralising, so-called teaching moments and messages present and featured throughout. However, and at least in my humble opinion, much of the latter actually seems to rest rather on the surface so to speak, and yes indeed, if one actually delves a bit deeper and thoroughly reads between the proverbial lines of Pinocchio, alongside of the moral dictates admonishing children to listen to their parents, to stay in school, to not tell lies etc. lest terrible punishments happen, there are also more than enough criticisms of both society in general and precisely of those parental attitudes which on the surface of Pinocchio do seem oh so "cut-and-dry" and unassailable. For while Pinocchio is most definitely mischievous and "full of the Devil" so to speak, I for one have also never really found his pranks all that inherently viciously nasty, and yes, quite a number of the punishments meted out against Pinocchio for simply wanting to enjoy his "childhood" have therefore always felt so extreme and exaggerated to and for me that I for one at least as an adult reader now consider much of Pinocchio to be rather parodistic and satiric in nature (at least down below so to speak) and as such, the trials and tribulations Pinocchio must endure are also in my opinion often so over-done that they are also and yes more like a condemnation and chastisement of society, of the fact that society seems to consider children as objects and as such not only totally under the control of grown-ups, of family, teachers and so on and so on but also as basically regarded and approached as exploitable resources (for in Pinocchio, it becomes rather obvious that his "father" Gepetto, and unlike in the Disney movie of the same name, is first and foremost carving his little puppet boy in order for it/him to work for and do his bidding, to be a tool to be made use of for monetary gain and not really because Gepetto is lonely and desires company, that he actually wants a son for emotional reasons).

And therefore, while I do very much recognise the late 19th century morality tale aspects and that they are most definitely always present and accounted for in Pinocchio, for one, they truly are a sign of the times, of the 19th century, and for two, as I hope to have shown above, there is most certainly and especially considerably more to Carlo Collodi's children's classic than that, that with Pinocchio, there are multiple layers of intent and thematics and yes, while if one only peruses the novel simply and without reading all too deeply and intensely, the educational, the message-heavy admonishments and criticisms do abound, below this there also rests and equally flows what I can and will only call a critical appraisal and dissection of the same (and really, for me, the by Collodi always and continuously presented arguments in Pinocchio regarding the power and importance schooling and education, these are not just the dictates of society, of family, but are actually and yes in fact also a way that the young can, if they consider the latter as something inherently positive and important for their own personal development and self growth, an important and necessary tool and a resource to advance themselves and even perhaps end up having power and influence over and above society and the generally quite restricting moral mandates imposed by it, in the form of family members, teachers and other similar authority figures).

And finally, if you are going to be reading Carlo Collodi's Pinocchio in the Penguin Classics edition (which I do very much recommend), I would strongly suggest that you do NOT read Jack Zipes' excellent and informative introduction until AFTER you have actually finished perusing the novel itself, so as to avoid possible spoilers (and really, I personally do wish that Penguin Classics and other such series of classic literature would consider not having the analyses of the featured novels etc. appear as introductions, but as afterwords, for almost all of the introductions I have read to date in the Penguin Classics books series ALWAYS tend to contain quite a large number of content spoilers and indeed, they also can very easily influence how one then decides to read and approach what follows, which I definitely do find potentially problematic in and of itself, as especially and in particular one's first perusal of a given piece of literature should in my opinion be free of and from the musings of others, at least as much as possible).

[Davide · Rating 4 out of 5]

[in fondo: aggiunta 30 novembre 2017]

Storia (della lettura) di un burattino

Forse ci fu una prima lettura diretta, nella notte dei tempi, chi lo sa; di sicuro ci fu il bombardamento delle revisioni dell’immagine e del mito (anche il film di Disney? No, non mi sembra ma proprio non ricordo). Ma ho detto storia, non preistoria; e allora la prima lettura è quella a quindici anni, al liceo.
Dovete sapere, miei piccoli lettori, che chi qui scrive ha avuto la fortuna di incontrare non pochi insegnanti molto capaci. Come questa maestra dai capelli turchini (o forse il ricordo si sta un po’ confondendo?) che a quindicenni diceva di leggere Pinocchio. E noi tutti giù a ridere sul libro per bambini. Poi, voglio vedervi ad essere all’altezza, nel capire bene.

E adesso rileggo, per motivi miei, e scopro alcune cose:
1) che mi ricordo molto di più del previsto, considerato che si tratta di una rilettura a trent’anni di distanza, quindi la forza delle invenzioni è certo efficace;
2) che è scritto benissimo (nei primi capitoli si prova proprio anche questo tipo di godimento);
3) che si sente che è uscito prima a puntate (e dopo un po’ le continue ricapitolazioni, per quanto movimentate dalla divertente frenesia di Pinocchio, rompono);
4) che la morale pesante è davvero fastidiosa (bisogna fare il bene – che poi vuol dire sacrificarsi e obbedire ciecamente – per crasso utilitarismo, perché altrimenti finisci con la pancia vuota, non perché ci sia magari qualcosa in sé di divertente e di positivo nei libri, ad esempio…);
5) ma che se la leggiamo come elemento autobiografico questa morale diventa interessante (Collodi conduceva una “vita disordinata”, era un “accanito quanto sfortunato” giocatore, si “abbandonava al bere” ma era anche un bravo patriota che aveva combattuto a Curtatone e Montanara, e poi segretario alla Prefettura. E forse allora diventò alla fine anche lui "un ragazzo come tutti gli altri" ma certo non un padrefamiglia con tutte le caratteristiche richieste...);
6) ma se Pinocchio finisce nel ventre di un grosso pescecane (e Giona finiva in un grosso pesce), perché tutti si ricordano: “balena!”??
7) – Portatemi almeno qualche cosa da mangiare, perché mi sento rifinito. – Subito! – disse la Lumaca. Difatti dopo tre ore e mezzo, Pinocchio la vide tornare con un vassoio d’argento in capo. (Difatti! :-)).

[30 novembre 2017]
Vista ieri sera la reinvenzione teatrale di Antonio Latella: molto consigliata.
Ambientato in una segheria, sotto una nevicata di trucioli (quindi già di per sé con effetto ipnotico, quell'attrazione della neve che cade e non smetteresti mai di guardarla); costumi e scenografia azzeccati. Il testo di partenza è in gran parte seguito e ripreso ma fin da subito reinterpretato è la fata turchina che innesca la vita “magica” del pezzo di legno; ma per un egoistico e crudele bisogno di maternità.
Gli attori bravi: a parte Christian La Rosa, un Pinocchio che deve scoprire e reinventare il linguaggio quasi per ogni parola, e Fabio Pasquini, un grillo parlante con efficace costume con lunghissime antenne, tutti gli altri fanno almeno tre o quattro personaggi. Massimiliano Speziani è Geppetto, Mangiafuoco, il giudice scimmione, il pescatore verde e il padrone del circo; Anna Coppola la fata, ma anche Maestro Ciliegia, la donnina, il tonno, ecc.
La scelta principale è di una netta divisione in due parti: la prima, oltre che apprezzabile e coinvolgente, è anche divertente, allegra; si ride pure. Ottimo l’incontro con le marionette (Arlecchino, Pulcinella e Colombina). E Speziani ha anche un’improvviso straordinario momento di dichiarazione poetica teatrale in difesa del momento, dell’adesso del teatro, del corpo attoriale, del rapporto con il pubblico e dello spazio scenico, contro l’attore che pensa solo ad entrare nella pelle del personaggio (“ma che schifo! Che prurito… tutti che si grattano la pelle… quante psoriasi…”) e che si preoccupa solo delle parole da dire: “andiamo a braccio, non andiamo a memoria!”
La seconda parte è molto più cupa e disperata; Latella coglie benissimo il lato “gotico” del Pinocchio di Collodi: la bambina morta alla finestra, l’impiccagione… La difficoltà di articolare ogni parola da parte del burattino, che all’inizio era un balbettio che portava alla scoperta e all'invenzione anche divertita del linguaggio, diventa ora l’impossibilità fisica di dire la parola “mamma”, teoricamente la prima parola pronunciata da qualsiasi bambino; fino alla conclusione con il mancato ricongiungimento col padre: si chiude con la morte di Geppetto, nel ventre della pesce (ma lo spazio scenico è sempre lo stesso, non si esce dalla "segheria"), dopo un dialogo tutto di estraniazione e di separazione invece che di ritrovamento e unione; e quindi non c’è nessun ritorno a casa e nessuna trasformazione in bambino. Insomma, sì, convincente.

[افلا · Rating 5 out of 5]

داشتم ریویوی مریم روی پینوکیو را می‌خواندم، و همزمان چند چیز کنار هم قرار گرفت و باعث شد برای این کتاب یادداشتی بنویسم، کتابی که اصلا یادم نیست چه زمانی آن را خوانده‌ام، اما بعید می‌دانم حتی یک صحنه‌اش از خاطرم رفته باشد.

پسر یکی از همکارانم را دیده‌ام. پسری آتش‌پاره، با صدایی که مانند بازیگران تئاتر بلند است، حتی وقتی عادی حرف می‌زند. چشمان درشت انیمه‌ای‌اش از چندمتری می‌درخشند، حتی در روز، و آنقدر کوچک است که مدام بین جملاتش می‌گوید «بعد، بعد، بعد». مثل جوکر نولان، هر بار بخواهد ماجرایی را تعریف کند روش جدیدی اتخاذ می‌کند، و آنقدر بامزه است که از هر کجا بخواهد رد شود باید یک آغوش به یک نفر بدهد.
آنها رابطهٔ شگفت‌انگیزی دارند. مادر و پسر. همانطور که خودش به درستی می‌گوید، آنها بیشتر مثل خواهروبرادرند. با هم کل‌کل می‌کنند، سر به سر هم می‌گذارند، شوخی می‌کنند، دست می‌اندازند، اذیت می‌کنند و مهر می‌دهند.
چند روز قبل مادرش با من از یکی از نگرانی‌هایش می‌گفت: که او مرد نشود. می‌گفت به طرز آزاردهنده‌ای به چیزهای دخترانه علاقه دارد، و خصوصا به رنگ صورتی. در اکثر چیزهایی که دخترانه/پسرانه دارند، انتخابش دخترانه است، و مشخص نیست با این وضع در آینده چه شمایلی داشته باشد.
به او گفتم از طرفی، جهان و سرنوشت مطابق منطق ما آدم‌ها پیش نمی‌رود، و هر چه بگویم اگر الف آنگاه ب، آینده ممکن هر چیز دیگری جز آنچه «ب» می‌پنداشتیم سر راهمان قرار دهد،
و از طرف دیگر، چه اشکالی دارد؟ او که انگار تازه با این سؤال من از پیش‌بینی‌هایش مطمئن شده بود، دستپاچه گفت: یعنی چی؟ اگه لباس زنانه بپوشه چی؟
گفتم هم من و هم تو و خیلی‌های دیگر، از والدینمان ضربه زیاد خورده‌ایم، و اگر بخواهیم راه آنها را ادامه بدهیم، حق شکایت نداریم، اما برعکس، حق نداریم راه آنها را ادامه دهیم! والدین خوب کسانی هستند که استعداد درونی فرزند خود را کشف و شکوفا کنند، نه‌اینکه برایش قالبی تهیه کنند و سعی کنند در آن بگنجانندش. به جای این نگرانی‌ها، بهش زبان یاد بده، ببین در چه استعداد دارد، و آنچه برای شکفتن این استعداد نیاز است را برایش فراهم کن.
گفت اگر آنطور که فکر می‌کنم بشود، نمی‌تواند از پس خودش بربیاید. گفتم تو زنی، تو نمی‌توانی؟ گفت برخورد جامعه با یک زن فرق دارد با مردی زنانه، گفتم به من نگاه کن! تو مدتی ست مرا می‌شناسی، و شاید چنین نظری نداشته باشی، اما باور کن ۹۹٪ کسانی که مرا در خیابان می‌بینند فکر می‌کنند من نمی‌توانم گلیم خودم را از آب بیرون بکشم. آنها در من هیچ نشانه‌ای از مردانگی نمی‌بینند، من بسیاربسیار لاغرم، موهای نسبتا بلندی دارم، گوشواره دارم، لباس اوورسایز می‌پوشم، و همیشهٔ خدا هندسفری توی گوشم است و تا کسی نیاید بزند روی دوشم یا بای‌بای کند من متوجهش نمی‌شوم. اگر به آنها بگویی همین جوان کارمند شیفت شب است، و حالا چهارسال‌واندی است پشتیبانی‌تلفنی کار می‌کند، از خانواده‌اش مستقل است، مادر ندارد، سینگل است، و بااین‌حال همیشه بشاش و خوشرو است، چند دقیقه زمان می‌برد تا هضم کنند. اما می‌بینی؟ من بدون هیچ نشانه‌ای از مردانگی، دارم گلیم خودم را از آب بیرون می‌کشم، نه؟



وقتی کودک بودم و پینوکیو را می‌خواندم، و رسیدم به آنجا که وارد سرزمین خوشی‌ها می‌شوند (ریدم، یادم نیست دقیقا اسم آنجا چه بود)، خیلی سرخورده شدم که نتیجه‌اش آنقدر افتضاح بود. برای یک بار هم که شده در زندگی‌ام احساس کرده بودم مدینهٔ‌فاضله ممکن است، و همان یک بار هم ریده شد توی حالم. از نویسنده ناراحت شدم. الان هم که درک می‌کنم برای پیشبرد درام ناخوشی لازم است و اگر شر وجود نداشت هیچ داستانی وجود نداشت، باز هم نتوانسته‌ام نویسنده را ببخشم. شاید این اثر از یک جهت منحصربه‌فرد باشد: اثری که هم فرم پررنگی دارد، هم محتوایی پررنگ، و از محتوایش متنفرم، و عاشق فرمش هستم. معمولا چنین نیست، معمولا یا اثری را دوست دارم یا نه، یا فرمش می‌چربد یا محتوایش، و یکی بار دیگری را به دوش می‌کشد، اما اینجا نه.
فمنیست‌های نسل سه دریدا را می‌ستودند، چون اعتقاد داشتند در نوشته‌هایش به چیزی ورای جنسیت رسیده. نویسنده‌ای مثل پروست مرد بود اما (همانطور که وولف هم اشاره می‌کند) قوهٔ زنانهٔ پررنگ‌تری داشت، در مقابل، سه حالت دیگر را هم می‌توان متصور شد:
مردی مردانه
زنی مردانه
و زنی زنانه
البته آنطور که لکان در تصحیحاتش بر عقدهٔ اودیپ می‌گوید، فرق زنان با مردان این است که مرد یا زنانه است یا مردانه، اما زن می‌تواند با تقریب نزدیکی هر دو باشد، پس حالت بعدی می‌شود زنی مردانه/زنانه.
من خودم خیلی دریدا نخوانده‌ام، بنابرین نمی‌توانم باز کنم که چرا دیدار فراتر از جنسیت است، اما نفس وجود چنین پدیده‌ای به این یادداشت کمک می‌کند، مثل سینمای اروپا و ایران که می‌گویند ژانر ندارد و در یک ابرژانر فعالیت می‌کند (برعکس هالیوود که از کل به جزء می‌رود و نه‌تنها انباشته از ژانر است، بلکه کلی ساب‌ژانر هم دارد).
پینوکیو در دوران عروسکی‌اش، فراتر از جنسیت است، شاید به یک دلیل ساده: او ظاهرا اندام جنسی ندارد، و اینکه سفری اودیسه‌وار او را به داشتن کیر رهنمون کند، چیزی جز خروج کودک از آزادی آنارشیستی‌اش و به پیوستن به نظام پدرسالارنه نیست. پدر آن بالای جامعه با ترکه ایستاده و همه را به راه راست هدایت می‌کند، از پینوکیو گرفته تا پسر همکار من.



- از پدرژپتو تا دکتر فرانکنشتاین
یا چرا مردبودن من مانع از این است که زایمان را تجربه کنم؟
چندلر در فکر کنم همان اپیزود اول فرندز، می‌گوید:
I wish I was lesbian.
و فکر می‌کنم بر اساس قاعدهٔ دیالکتیک، این محصول دیگری‌سازی حداکثری جنسیت زن و مرد است. این دو آنقدر به تفاوت اصرار می‌ورزند که در یک آن خود بدل به دیگری می‌شوند. مسیر جالبی برای شناخت است، آنقدر دور شو تا دور بزنی برگردی و برسی به همان‌جایی که ازش دور می‌شدی. مرد در یک لحظه می‌تواند چیزی را تصور کند که همواره فکر می‌کرد هیچ ایده‌ای ازش ندارد.
پدرژپتو به نظرم بیشتر ذیل آرکیتایپ مادر است تا پدر. بحثم خیلی مهربان‌بودن و اهمیت‌دادن و اینها نیست فقط، او با ساختن عروسکی که راه می‌رود و حرف می‌زند، به نحو استعاری عمل زایمان را انجام می‌دهد، اما همانطور که مردان زنانه داریم، پدران مادرانه را هم می‌توانیم تصور کنیم، و پدرژپتو مصداق همین امر است، که البته مخلوق یک مرد است: نویسندهٔ رمان: کارلو کولودی.
مری شلی نیز دست به تجربه‌ای مشابه می‌زند. دکتر فرانکنشتاین او مردی ست که با وصل‌کردن تکه‌های اجساد چند مرده و وصل‌کردن الکتریسیته به آنها، و خلق موجودی که علائم حیاتی دارد، باز هم در زمرهٔ پدری مادرانه درمی‌آید که به نحو استعاری عمل زایش را تجربه کرده. گاهی به حقارت مردان به چشم ترحم می‌نگرم. فکر می‌کنم اینکه مردان در بسیاری هنرها بنیان‌گذار بودند، نه از روی برتری آنان به زنان، که برای سرپوش‌گذاشتن بر این حقارت بود که: من نمی‌توانم مثل تو موجودی زنده خلق کنم.
اما این تراژدی بلواری یک‌طرفه است، زن نه‌تنها می‌تواند زایمان را تجربه کند، می‌تواند هنر هم خلق کند، و در نهایت مرد از او عقب می‌ماند.

[Flo · Rating 4 out of 5]

I guess people who pretend that the book is so different than the original Disney adaptation have big noses.

[K.D. Absolutely · Rating 3 out of 5]

Pinocchio's Ten Life Enriching Lessons for Grownups:

I normally read children's books during Christmastime. Not only to catch up with my Reading Challenge (I am behind by 10 books as of this writing), but also, most of children's books have life lessons that can be good reminders for the coming year. New Year always means new beginning, new hope. Do you remember when you were still in school and after reading a story in class, the teacher asked you what was the lessons you learned from it? So, in this year's series of children's books, I will try to list the ten lessons I was reminded while reading a certain book.

1) Experience is the best teacher. The best way to learn is to experience mistakes. It is costly and painful but the learning becomes unforgettable. Many companies allow, if not encourage, their employees to commit mistakes because to prepare them for higher positions later in their career. As parents, we should also always remember that we cannot forever shield our children from harm. At some point, they should experience pain to prepare them to fend for themselves not only when they become adults but more importantly, when we are gone.

2) Boys will be boys but they should still listen to their fathers. No parents mean any harm to their children. Boys are mischievous by nature and at some stage while growing up, children "challenge" the authority of their parents. As a parent, just be patient on this stage. Be firm with discipline and don't get emotions come in the way of instilling discipline. That stage, sometimes a make-or-break in good parenting, will pass but be careful.

3) Children are basically self-centered but they love their parents. Pinocchio defies his father, Geppetto but whenever he is facing a hard or difficult situation: hunger, pain, etc., he always cries out for his father and remembers the many sacrifices that his father has done for him.

4) Don't be gullible. Trusting attitude is now becoming scarce in this world because of too much deceit and treachery. However, we still need to trust if we are to develop meaning and lasting relationships with other people. But don't give everything right away. Hold back some and give in little by little until the person earns your full trust. In other words, don't be too trusting.

5) Tell the truth. Surprisingly, I only thought of this at this point. (I type whatever comes in my mind; I don't write drafts for my reviews). Prior to reading this classic book by this Italian author, Carlo Collodi, I thought that this was all about telling lies and regretting it because every time Pinocchio tells a lie, his nose grows longer. However, in this book (complete and unabridged), his nose grows longer when he is stressed and telling a lie makes him nervous and panicky. If I did not read this book, that impression from the movies would not have been corrected.

6) If you have a medical condition, have a second or even a third opinion. There is a scene in the book when Pinocchio is laying and seems dead so the three doctors, the Crow, the Olw and the Talking Cricket comes. The Crow and the Olw both said that Pinocchio is dead. The Talking Cricket, knowing Pinocchio very well, knows how to make him wake up from "death."

7) Don't give in to peer-pressure. We all want to fit in especially when we are new to a certain environment. There is nothing wrong with that. But to do something against our own set of values? Think twice. In the book, Pinocchio has resolved to himself to be a good boy and he goes back to school and studies diligently. However, the boys there want him to go to the sea and spend the day away from school to despise the teacher. Being a Marionette, Pinocchio feels left out as real kids make fun of him so he gives in thinking that he will earn the respect of the boys. Wrong move.

8) Help others. Pinocchio is gullible because deep inside he has this yearning to help others. His heart is soft to those who ask for help. I think this is the most endearing traits that I saw in him consistently in the book. Well, aside from deeply loving his "father" Geppetto and his "mother," the Fairy.

9) Orphans can have real love from their guardians too. If your parent or parents die at your very your age, that does not mean that you will be forever deprived of the love of a mother or father. The love of another person, your guardian for example, can be enough for you to feel secured and transfer that "parental" love to your own kids. Love begets love even if you have different blood types.

10) Parent's love is always unconditional. Erich Fromm's once said that the love of a mother to her child is unconditional while that of a father is conditional. He said that a father feels love towards his child only if the child does something that makes him happy or if the child perhaps looks or talks like him. In this book, Geppetto gives his only jacket and endures the cold weather so Pinocchio can buy his A-B-C book that is needed to go to school. When Pinocchio is missing, he goes all around Europe (Collodi is an Italian) to look for him. He is even caught inside the mouth of a whale in his pursuit to find his missing wooden son. I do not believe you, Mr. Fromm. I would do the same to my daughter if she gets lost in this world despite that she neither looks like me nor acts and talks like me.

Another very nice classic read. My heart went up and down while reading the adventures of this wooden boy, Pinocchio. I love him when he cries out for Geppetto especially when he is in jail. If I could only go to that jail and rescue him. Crazy reader (me). But who cares? It's Christmas!

[mollusskka · Rating 3 out of 5]

Seriously, I never thought the real story of Pinocchio would be somewhat cruel and violent like this. I don’t think it is appropriate for children when it’s known as a classic story for children. It’s similar with The Wonderful Wizard of Oz which adapted differently for the movie. So, what’s wrong with these classic authors for children literature? Was their lives full of nightmare their imagination became dark and twisted? And why Mastro Geppetto was described as a grumpy and vicious old man here? I thought he was compassionate especially to children because he didn’t have one. This is what hurt me the most.

While I enjoyed the plot of The Wonderful Wizard of Oz, the adventures of Pinocchio fell kinda confusing for me. There was a storyteller in the beginning of the story. I bet he’s Mr. Collodi himself. To me, a storyteller never really prepares the plot, so this is why this story became unreasonable, disorganized and "messy" at some point. There was no consistency. At least it has moral values spread everywhere and they are very specific. Easy to understand for children. I like the bigger picture of this classic story, but i was disappointed with how the story went. That’s all. And although I gave an unsatisfying review for this popular classic book, I still love Pinocchio as how I remember it from my childhood mind.

Review bahasa Indonesia bisa dibaca di blogku: https://mollusskka.wordpress.com/2017...

[Nandakishore Mridula · Rating 1 out of 5]

It is always a dicey affair to criticise a popular book: and when it is an acknowledged classic for children, it is even more dangerous. So I agonised a lot over my impressions of Pinocchio: Is it only a matter of personal taste? Am I missing something? Should I rethink my rating based on learned opinions spanning more than a century? In the end, I decided to go with my original evaluation.

This is one of those stories you read and love in comics format or abridged versions before you come into contact with the original. What usually happens is that, those adaptations modify and trim the original tale to suit the sensibilities of the current generation. I also read Pinocchio as a comic book and loved it; however, on reading the original, I find that many of the "creepier" elements had been edited out of that version.

I do not love moral fables for children. The type of story where, for example, the disobedient little lamb is gobbled up by the big, bad wolf, crying with his last breath: "Oh! If I had only listened to my mother!" is terrifying to kids (I speak from personal experience). They are equivalent to the posters of hell which some people were fond of hanging in their drawing rooms during my childhood. In the nineteenth century, when Collodi wrote his story, one can easily understand that this must have been an accepted method of keeping children in line: by frightening them out of their wits. I do not think the modern world will look kindly on that method.

It is not that creepiness by itself is bad. Many fairy tales are frightening, with their suggestions of cannibalism, patricide, incest, torture etc. The difference between the fairy tale and the moral fable is that the fairy tale is a live entity, growing, shrinking and changing shape while travelling from mouth to mouth; the messages are subliminal, interacting with the child's subconscious. The moral fable on the other hand, is "purposeful" - there is a message ("if you do this, then this will happen!") which the author wants to drum into the child's head, usually by using fear as a tool. It is the narrative equivalent of the schoolmaster's swishing cane.

Collodi's story, taken by itself, has many wonderful elements of dark fantasy (the huge Dogfish which swallows ships whole, the snake with a tail which smokes like a chimney, the little white man who converts boys to donkeys and sells them...) and could have made a wonderful fairy tale. However, the moralising on almost every page of what happens to bad boys who do not obey their parents, do not study and tell lies takes all the fun out of it: the voice of the narrator, coming out through various parental figures, becomes sickening. What crowned the whole thing for me was the death of poor Candlewick, Pinocchio's friend, after short life of back-breaking labour as a donkey. Yuck!. I was happy when the story ended.

I would recommend reading it to children with the morality edited out: but why bother? There are better books out there. Or let them read it as a comic book, or watch the Disney movie.

[Taghreed Jamal El Deen · Rating 4 out of 5]

بدأت في قراءتها البارحة، وأتممت الربع الأخير منها اليوم، وقد كنت مبتهجة أشد الابتهاج في رفقتي معها؛ إذ أنني ممن ترقص قلوبهم فرحاً ونشوة لحظة يسمعون العبارة الشهيرة جالبة المسرات " كان يا ما كان "، وهذا ما كان..

اجتُذبت وغبت بكلّيتي في عالم الخيال رفقة صديقي الصغير المشاغب ذو القلب الطيب بينوكيو، وابتسمت أعذب ما يكون الابتسام من براءته وحبه النقي لأبيه الذي لم يمنعه من إيلامه بالوقوع في المشاكل.. وبقيت على هذا الحال من الانسجام السعيد حتى أن بقي لي عدة صفحات، أبى عندها عالم الواقع إلا أن يستعيدني إليه بقسوة حين حدث أمر ما سرق مني بريق تلك الساعات المباركة وأضاع كل كلمات البهجة التي ملأت نفسي بها وتهيأت لنثرها في المراجعة..

وكأن الكون يقول لي : سأحرص دوماً على إفشال كل مخططاتك للهرب نحو دنيا الأحلام الجميلة.
وأنا لا سلاح لي في مواجهته إلا الكتب، والسخرية.

[Fátima Linhares · Rating 4 out of 5]

"Vou estudar, vou trabalhar, vou fazer tudo aquilo que me disser, porque, efetivamente, já cansei da vida de marionete, e quero me tornar um menino, custe o que custar. Você prometeu, não é verdade?"
"Prometi, e agora depende de você."

As aventuras de Pinóquio começaram a ser publicadas em 1881, em capítulos, num jornal e, mais de um século passado, quase toda a gente conhece a história do menino de madeira que queria ser um menino de carne e osso.

Eu só me lembrava vagamente do filme da Disney, do grilo falante e do nariz que cresce quando o Pinóquio mente, por isso foi interessante ler a obra de Carlo Collodi e ver que não é só isso.

Pinóquio é um menino preguiçoso, que não quer estudar e não sabe distinguir as boas das más companhias. Isso leva-o a meter- se em vários apertos, que depois levam ao arrependimento, mas por pouco tempo. Não pode ver uma má decisão que quer logo tomá-la. Um dia, ganha juízo e percebe que não está a agir bem. Será que ainda vai a tempo?

Uma nota mil para esta edição brasileira que é só fantástica, com ilustrações, fonte de texto e cor a imitar o antigo e fita marcadora. Um primor.

[Raya راية · Rating 5 out of 5]

منذ الصغر ونحن نشاهد المسلسل الكرتوني "ماجد لعبة خشبية"

"ماجد.. دائماً متواجد
ماجد.. لعبة خشبية
ماجد .. موهبة ربانية
أعطاني الله صوتاً ولسان.. أسمع وأرى.. أصحو وأنام
أحب الله.. وأحب الكون
وأريد أن اصبح يوماً إنسان!"

وفيلم ديزني أيضاً باسم "بينوكيو"

وبالتأكيد لم نعرف في ذلك السن الصغير بأن هذه الأعمال مأخوذة عن رواية "بينوكيو: قصة دمية متحركة" لكارلو كولودي.
بينوكيو، الدمية الخشبية الشقيّة جداً والتي تجلب المتاعب وتحب خوض المغامرات دائماً، ورغم كل شقائها وتمرّدها على أبيها وعلى الحورية، فهي تملك قلباً طيباً وتحلم بأن تتحوّل إلى إنسان.

بالنسبة لي، أحب بين كل فترة وأخرى أن اقرأ أعمالاً كهذه، تعود بي إلى أيام الطفولة البريئة وتجمح بخيالي وبفكري وبنفسي بعيداً عن تعقيدات الحياة ومصاعبها.

استمتعت جداً مع بينوكيو ومغامراته التي لا تنتهي.

"بينوكيو يمكن أن يُعاش كما نرغب. ككابوس، حلم، عاصفة، بطيخة، الحياة، الموت، كلها ملائمة لأنه أسطورة... بينوكيو هو شخصية ساحرة، مذهلة، مليئة بالنشاط، بالحيوية، بالخيال، بالمتعة، بالشاعرية وبالشناعة أيضاً. إنها تحتوي كل حياة الكائنات الحية، إيماءات كل أرواح العالم، كل البهجة التي يمكن أن نعيشها، لهذا السبب رواية بينوكيو عمل عظيم لا ينتمي لأي زمن. العذاب، المأساة، الحيوات، أسلاك الحديد، قطع الخشب... إنها تحتوي على الحياة نفسها التي تحيط بها."
-روبرتو بينيني

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