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PETER PAN: An Illuminated Edition (Illuminated Editions) Hardcover – Illustrated, November 3, 2020

by J.M. Barrie (Author), Brecht Evens (Illustrator), Maria Tatar (Introduction)
4.6 4.6 out of 5 stars 10 ratings
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The beloved classic fantasy adventure PETER PAN (originally published in 1911 as PETER AND WENDY), has been adapted countless times for film, stage, and spin-offs -- but it's never been seen as depicted by the brushwork of celebrated Belgian cartoonist Brecht Evens. This elaborately illuminated version of Barrie's perennial masterwork takes an inventive approach to world-building, treating Neverland as an imaginative space of infinite possibility to explore. Pirate ships, lost cities, fairy societies, unknowable beasts and magical creatures -- each of which fall, as Barrie wrote, "somewhere between reality and all we've ever dreamed." Featuring an introduction by Maria Tatar. 9x12", 176 pages.
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  1. Print length
    172 pages
  2. Language
    English
  3. Publisher
    Beehive Books
  4. Publication date
    November 3, 2020
  5. Dimensions
    10.6 x 1.5 x 14.7 inches
  6. ISBN-10
    1948886103
  7. ISBN-13
    978-1948886109
  8. See all details
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From the Publisher

PETER PAN: An Illuminated Edition

PETER PAN: An Illuminated Edition

PETER PAN: An Illuminated Edition

The beloved classic fantasy adventure Peter Pan, first published in 1911 as Peter and Wendy, has been adapted countless times for film, stage, and spin-offs -- depicted in such lush brushwork as that of celebrated Belgian cartoonist Brecht Evens.

This elaborately illuminated version of Barrie's perennial masterwork takes an inventive approach to world-building, treating Neverland as an imaginative space of infinite possibility to explore, full of pirate ships, lost cities, fairy societies, unknowable beasts, and magical creatures.

The 9x12” Illuminated Edition arrives housed in an embossed slipcase and features an introduction by Maria Tatar, a specialist in children’s literature and folklore at Harvard University.

Illuminated Editions series

Beehive Books

Beehive Books is a Philadelphia-based boutique press specializing in graphic art, design, and comics. Their line of books currently includes monographs on the artists Harrison Cady and Herbert Crowley, illuminated editions of classic books illustrated by renown graphic artists such as Yuko Shimizu, Bill Sienkiewicz, and Kent Williams, and the experimental broadside LAAB Magazine, created and curated by Ronald Wimberly.

New visions, forgotten treasures, paper worlds.

Beehive Books' Illuminated Editions bring classic literary masterworks back to life through the artwork of today's greatest illustrators & visual storytellers.

Each book is cloth-bound and housed in an elaborately embossed slipcase, and the interiors contain lavish full-page illustrations and numerous spots. These books are designed to be reread and treasured.

The current line includes The Fairy Tales of Oscar Wilde, H.G. Wells' The Island of Dr. Moreau, Dostoevsky's Crime and Punishment, and F. Scott Fitzgerald’s The Great Gatsby. New titles are published on a biennial basis.

Editorial Reviews

About the Author

Belgian cartoonist Brecht Evens was born in 1986 and studied illustration in Ghent, Belgium. Important mentors were his illustration teacher Goele Dewanckel and cartoonist/comedy coach/zen master Randall Casaer. His debut comic book, A Delivery from Outer Space, was released in 2005. The slightly melodramatic Vincent was released in 2006, followed in 2007 by a little nocturnal fantasy called Night Animals. The Wrong Place (2009) started out as a graduation project and was a departure from the more typical comic art of his earlier books. It won the Haarlem Comic Festival's Willy Vandersteen Award for best Dutch-language graphic novel, and an award at the Angouleme International Comics Festival. He followed The Wrong Place up with The Making Of (2012) and Panther (2016), which appeared on many year-end best-of lists.

Excerpt. © Reprinted by permission. All rights reserved.

All children, except one, grow up. They soon know that they will grow up, and the way Wendy knew was this. One day when she was two years old she was playing in a garden, and she plucked another flower and ran with it to her mother. I suppose she must have looked rather delightful, for Mrs. Darling put her hand to her heart and cried, “Oh, why can't you remain like this for ever!” This was all that passed between them on the subject, but henceforth Wendy knew that she must grow up. You always know after you are two. Two is the beginning of the end.

Of course they lived at 14 [their house number on their street], and until Wendy came her mother was the chief one. She was a lovely lady, with a romantic mind and such a sweet mocking mouth. Her romantic mind was like the tiny boxes, one within the other, that come from the puzzling East, however many you discover there is always one more; and her sweet mocking mouth had one kiss on it that Wendy could never get, though there it was, perfectly conspicuous in the right-hand corner.

The way Mr. Darling won her was this: the many gentlemen who had been boys when she was a girl discovered simultaneously that they loved her, and they all ran to her house to propose to her except Mr. Darling, who took a cab and nipped in first, and so he got her. He got all of her, except the innermost box and the kiss. He never knew about the box, and in time he gave up trying for the kiss. Wendy thought Napoleon could have got it, but I can picture him trying, and then going off in a passion, slamming the door.

Mr. Darling used to boast to Wendy that her mother not only loved him but respected him. He was one of those deep ones who know about stocks and shares. Of course no one really knows, but he quite seemed to know, and he often said stocks were up and shares were down in a way that would have made any woman respect him.

Mrs. Darling was married in white, and at first she kept the books perfectly, almost gleefully, as if it were a game, not so much as a Brussels sprout was missing; but by and by whole cauliflowers dropped out, and instead of them there were pictures of babies without faces. She drew them when she should have been totting up. They were Mrs. Darling's guesses.

Wendy came first, then John, then Michael.

For a week or two after Wendy came it was doubtful whether they would be able to keep her, as she was another mouth to feed. Mr. Darling was frightfully proud of her, but he was very honourable, and he sat on the edge of Mrs. Darling's bed, holding her hand and calculating expenses, while she looked at him imploringly. She wanted to risk it, come what might, but that was not his way; his way was with a pencil and a piece of paper, and if she confused him with suggestions he had to begin at the beginning again.

“Now don't interrupt,” he would beg of her.

“I have one pound seventeen here, and two and six at the office; I can cut off my coffee at the office, say ten shillings, making two nine and six, with your eighteen and three makes three nine seven, with five naught naught in my cheque-book makes eight nine seven―who is that moving?―eight nine seven, dot and carry seven―don't speak, my own―and the pound you lent to that man who came to the door―quiet, child―dot and carry child―there, you've done it!―did I say nine nine seven? yes, I said nine nine seven; the question is, can we try it for a year on nine nine seven?”

“Of course we can, George,” she cried. But she was prejudiced in Wendy's favour, and he was really the grander character of the two.

“Remember mumps,” he warned her almost threateningly, and off he went again. “Mumps one pound, that is what I have put down, but I daresay it will be more like thirty shillings―don't speak―measles one five, German measles half a guinea, makes two fifteen six―don't waggle your finger―whooping-cough, say fifteen shillings”―and so on it went, and it added up differently each time; but at last Wendy just got through, with mumps reduced to twelve six, and the two kinds of measles treated as one.

There was the same excitement over John, and Michael had even a narrower squeak; but both were kept, and soon, you might have seen the three of them going in a row to Miss Fulsom's Kindergarten school, accompanied by their nurse.

Product details

  • Publisher ‏ : ‎ Beehive Books; Illustrated edition (November 3, 2020)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 172 pages
  • ISBN-10 ‏ : ‎ 1948886103
  • ISBN-13 ‏ : ‎ 978-1948886109
  • Item Weight ‏ : ‎ 3.8 pounds
  • Dimensions ‏ : ‎ 10.6 x 1.5 x 14.7 inches
  • Customer Reviews:
    4.6 4.6 out of 5 stars 10 ratings

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  1. Maria Tatar

    Maria Tatar

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    Maria Tatar teaches folklore, children's literature, and German cultural studies at Harvard University. She chairs the Program in Folklore and Mythology. She lives in Cambridge, Massachusetts.

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  2. J. M. Barrie

    J. M. Barrie

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    Sir James Matthew Barrie (1860–1937) was a Scottish novelist and playwright, best known as the creator of Peter Pan. He was born and educated in Scotland and then moved to London, where he wrote several successful novels and plays. There he met the Llewelyn Davies boys, who inspired him to write about a baby boy who has fascinating adventures in Kensington Gardens, then to write Peter Pan, or The Boy Who Wouldn't Grow Up, a 1904 West End "fairy play" about an ageless boy and an ordinary girl named Wendy who have adventures in the fantasy setting of Neverland. In 1911, Barrie developed the Peter Pan play into the novel Peter and Wendy.

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  3. Brecht Evens

    Brecht Evens

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Ricardo
2.0 out of 5 stars El precio no se ajusta a la calidad de la impresión de las imágenes
Reviewed in Spain on March 8, 2022
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Por el precio y las fotografías en la web esperaba un libro con más ilustraciones y con mejor calidad de impresión. La mayoría de las páginas contienen solo texto, apenas hay algún dibujo suelto. Las grandes ilustraciones son pocas y, la verdad, en la pantalla del ordenador se ven mejor que en el libro físico. En el papel se ven poco nítidas, borrosas. La encuadernación podrá ser buena, pero el contenido dista mucho de lo que esperaba.
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