The author - whose previous books include “Little,” a historical novel about Madame Tussaud, and a Dickensian-style trilogy for middle grade readers - is a master of the dusty yet droll tone. What keeps this book afloat, as it were, is the voice Carey gives to Geppetto. The book originated in an exhibition Carey staged in 2018 at the Parco di Pinocchio in the Tuscan town of Collodi, and includes reproductions of Geppetto’s drawings, paintings and sculptures.
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He recounts the story of Pinocchio’s creation and truancy he records his own fish-confined madness and despair he continues to make art, painting portraits of lost loves and fashioning filial surrogates - lifeless, alas - out of old hard tack and shards of crockery. The text purports to be Geppetto’s captivity journal, kept on the pages of a captain’s log from the ship, also swallowed whole, in which Geppetto makes his dank home. Faithful to Collodi in outline if not in spirit, “The Swallowed Man” takes place inside the giant fish (not a whale, as in Disney) that swallows Geppetto after he sets off to sea in search of his runaway wooden offspring. Carey’s odd duck of a book is less a proper novel than a riff on the entwined themes of fatherhood and creative spark. Miraculously, Jerry Lewis never got the bug.Īmid this glut, the novelist and playwright Edward Carey has had the inspired idea to cut the marionette loose and focus instead on Geppetto, the lonely old woodcutter who carves Pinocchio from an enchanted block of pine, giving him form and life - which is about as close as men get to immaculate conception, even in fantasy. Francis Ford Coppola fought for years to make his own version.
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Sequels on page and screen have taken the puppet to America, Africa, outer space and the year 3000, while yet more are reported in the works from Guillermo Del Toro and Robert Zemeckis.
Pinocchio story summary tv#
Somehow, though, this mash-up of Mary Shelley and Cotton Mather has resonated for generations: Most everyone knows of Walt Disney’s very freely adapted 1940 film, but there have also been movie, TV and stage Pinocchios from the Czech Republic, Russia, Canada, France and Japan - and so many Italian Pinocchios that Roberto Benigni has managed to star in two. Carlo Collodi’s original 19th-century fairy tale is often funny, but with its rambunctious wooden hero who can’t become “real” until he learns to behave, and who is further shamed by a phallic, lie-detecting nose, the story mixes morality and physiognomy in noxious, silly ways.