"Stonecutter" is an adaptation of a Chinese folktale about a man's dissatisfaction with his life. Weary of being a stonecutter, he becomes many things in his quest for authority, each time finding that greater power lies elsewhere.Rooted in Taoist principles, "Stonecutter" is a story about the nature of power and the value of being that which you are.
Jon J. Muth is an American comic artist. His works include J. M. DeMatteis' graphic novel Moonshadow, Neil Gaiman's The Sandman: The Wake (along with Michael Zulli, Charles Vess), Mike Carey's Lucifer: Nirvana and Swamp Thing: Roots. Muth has gone on to an award-winning career as a children's book writer and illustrator. He received a Gold Medal from the Society of Illustrators for his illustrations in Come On, Rain! by Karen Hesse.
He has also created a version of the Stone soup fable set in China.
A short, insightful, and moralistic tale amplified by those simple and yet powerful illustrations. By the end of the short lyrical story, I have goosebumps all over my skin. A quick stroke of genius both by the author and the illustrator.
This is a very small and beautiful book. The art is nothing short of gorgeous, which is why it gets a four instead of a three.
As for the story, it is very simplistic in nature and has it's own beauty. Really, this is just an allegory, which might irk many readers, but what made it work so well in my eyes is that it isn't simply a "one moral" tale. There are layers to the allegory here. Not many, but it at least does something more than most stories of this nature.
I wouldn't say that it's worth the full price of admission, but if you stumble upon it somewhere, definitely take the few minutes to read this tale.
This book caught my eye because of the beautiful ink drawings. Although I generally like the message/philosophy of the story in this book (and I feel like I've encountered this story before, or a close variant, though I'm not sure where), overall this didn't sit right with me. The ink drawings, nice as they are, don't quite work I think. For one, they are often unrelated to, or at most loosely connected to the words facing them. I also find some of the stylistic choices odd: the stonecutter is drawn in fairly modern clothing, loose and baggy with a baseball cap, but the high official is drawn more in line with ancient styles of dress, and the soldiers (never featured characters, but included in some illustrations) have the sort of uniform that could come from anywhere in the 20th century to the present; I'm sure the design is deliberate, but I didn't really like it. I also don't like that the early stages of the story deal with real legitimate concerns, that the stonecutter does hard work which is damaging to his body, but he only sees a fraction of the profit from it. To me, mere acceptance of ones place isn't a good solution. Trying to simply gain more power as happens in the story might be no good either, but there is certainly middle ground between doing so and simply accepting a bad situation.
Do not judge this book by its size nor condition. This tiny tome has received some wear and tear over time since I purchased it at my first Dragon Con nearly thirty years ago, but that’s usually the sign of a great read. The parable is skillfully and sincerely told with simple and beautiful words and illustrations and touches me on a different level with each reread.
It's quite good and if you're ever bored just take a glance at it. It's written like every other fable passed down from generation to generation. Even reads like one too.
This book is adapted from Chinese folklore about not ever being happy or content with what you have. But the author then goes through a process and tries to help us become contented in life.