The Magician's Elephant

The Magician's Elephant

The Magician's Elephant

The Magician's Elephant

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Overview

Kate DiCamillo conjures a haunting fable about trusting the unexpected and making the extraordinary come true.

What if? Why not? Could it be?

When a fortuneteller's tent appears in the market square of the city of Baltese, orphan Peter Augustus Duchene knows the questions that he needs to ask: Does his sister still live? And if so, how can he find her? The fortuneteller's mysterious answer (an elephant! An elephant will lead him there!) sets off a chain of events so remarkable, so impossible, that you will hardly dare to believe it’s true. With atmospheric illustrations by fine artist Yoko Tanaka, here is a dreamlike and captivating tale that could only be narrated by Newbery Medalist Kate DiCamillo. In this timeless fable, she evokes the largest of themes — hope and belonging, desire and compassion — with the lightness of a magician’s touch.

Product Details

ISBN-13: 9780763644109
Publisher: Candlewick Press
Publication date: 09/08/2009
Pages: 208
Sales rank: 154,207
Product dimensions: 5.50(w) x 7.94(h) x 0.78(d)
Lexile: 730L (what's this?)
Age Range: 9 - 12 Years

About the Author

About The Author
Kate DiCamillo is the author of The Tale of Despereaux, which was awarded the Newbery Medal; The Miraculous Journey of Edward Tulane, winner of a Boston Globe-Horn Book Award; Because of Winn-Dixie, a Newbery Honor winner; The Tiger Rising, a National Book Award Finalist; the picture book Great Joy; and six books starring Mercy Watson, including a Theodor Seuss Geisel Honor Book. She lives in Minneapolis.

Yoko Tanaka is a graduate of the Art Center College in Pasadena, California. She is the illustrator of Theodosia and the Serpents of Chaos by R.L. LaFevers, and Sparrow Girl by Sara Pennypacker. Yoko Tanaka lives in Los Angeles and Bangkok.

Hometown:

Minneapolis, Minnesota

Date of Birth:

March 25, 1964

Place of Birth:

Philadelphia, Pennsylvania

Education:

B.A. in English, University of Florida at Gainesville, 1987

Read an Excerpt

At the end of the century before last, in the market square of the city of Baltese, there stood a boy with a hat on his head and a coin in his hand. The boys name was Peter Augustus Duchene, and the coin that he held did not belong to him but was instead the property of his guardian, an old soldier named Vilna Lutz, who had sent the boy to the market for fish and bread.
   That day in the market square, in the midst of the entirely unremarkable and absolutely ordinary stalls of the fishmongers and cloth merchants and bakers and silversmiths, there had appeared, without warning or fanfare, the red tent of a fortuneteller. Attached to the fortuneteller’s tent was a piece of paper, and penned upon the paper in a cramped but unapologetic hand were these words: The most profound and difficult questions that could possibly be posed by the human mind or heart will be answered within for the price of one florit.
   Peter read the small sign once, and then again. The audacity of the words, their dizzying promise, made it difficult, suddenly, for him to breathe. He looked down at the coin, the single florit, in his hand.
 “But I cannot do it, he said to himself. Truly, I cannot, for if I do, Vilna Lutz will ask where the money has gone and I will have to lie, and it is a very dishonorable thing to lie.
   He put the coin in his pocket. He took the soldier’s hat off his head and then put it back on. He stepped away from the sign and came back to it and stood considering, again, the outrageous and wonderful words.
 “But I must know, he said at last. He took the florit from his pocket. I want to know the truth. And so I will do it. But I will not lie about it, and in that way, I will remain at least partly honorable. With these words, Peter stepped into the tent and handed the fortuneteller the coin.
   And she, without even looking at him, said, One florit will buy you one answer and only one. Do you understand?
 “Yes, said Peter.
   He stood in the small patch of light making its sullen way through the open flap of the tent. He let the fortuneteller take his hand. She examined it closely, moving her eyes back and forth and back and forth, as if there were a whole host of very small words inscribed there, an entire book about Peter Augustus Duchene composed atop his palm.
 “Huh, she said at last. She dropped his hand and squinted up at his face. But, of course, you are just a boy.
 “I am ten years old, said Peter. He took the hat from his head and stood as straight and tall as he was able. And I am training to become a soldier, brave and true. But it does not matter how old I am. You took the florit, so now you must give me my answer.
 “A soldier brave and true? said the fortuneteller. She laughed and spat on the ground. Very well, soldier brave and true, if you say it is so, then it is so. Ask me your question.
   Peter felt a small stab of fear. What if, after all this time, he could not bear the truth? What if he did not really want to know?
 “Speak, said the fortuneteller. Ask.
 “My parents, said Peter.
 “That is your question? said the fortune-teller. They are dead.
   Peter’s hands trembled. That is not my question, he said. I know that already. You must tell me something that I do not know. You must tell me of another — you must tell me . . .
   The fortuneteller narrowed her eyes. Ah, she said. Her? Your sister? That is your question? Very well. She lives.
   Peter’s heart seized upon the words. She lives. She lives!
 “No, please, said Peter. He closed his eyes. He concentrated. If she lives, then I must find her, so my question is, how do I make my way there, to where she is?
   He kept his eyes closed; he waited.
 “The elephant, said the fortuneteller.
  What? Peter said. He opened his eyes, certain that he had misunderstood.
 “You must follow the elephant, said the fortuneteller. She will lead you there.
   Peter’s heart, which had risen up high inside of him, now sank slowly back to its normal resting place. He put his hat on his head. You are having fun with me, he said. There are no elephants here.
 “Just as you say, said the fortuneteller. That is surely the truth, at least for now. But perhaps you have not noticed: the truth is forever changing. She winked at him. Wait awhile, she said. You will see.
   Peter stepped out of the tent. The sky was gray and heavy with clouds, but everywhere people talked and laughed. Vendors shouted and children cried and a beggar with a black dog at his side stood in the center of it all and sang a song about the darkness.
   There was not a single elephant in sight.
   Still, Peter’s stubborn heart would not be silenced. It beat out the two simple, impossible words over and over again: She lives, she lives, she lives.
   Could it be?
   No, it could not be, for that would mean that Vilna Lutz had lied to him, and it was not at all an honorable thing for a soldier, a superior officer, to lie. Surely, Vilna Lutz would not lie. Surely he would not.
   Would he?
 “It is winter, sang the beggar. It is dark and cold, and things are not what they seem, and the truth is forever changing.
 “I do not know what the truth is, said Peter, but I do know that I must confess. I must tell Vilna Lutz what I have done. He squared his shoulders, adjusted his hat, and began the long walk back to the Apartments Polonaise.

Interviews

Q & A with Author Kate DiCamillo about her new novel The Magician's Elephant

Q. What is your definition of magic? What has happened in your life that is magical or unexpected?

A. I guess my definition of magic is something very close to the definition the magician gives toward the end of the story: "Magic is always impossible. It begins with the impossible and ends with the impossible and is impossible in between. That is why it is magic." I would add, though, that while magic is impossible from beginning to end, it is also possible. Somehow (who knows how?) the impossible gets turned into the possible. That's magic.
Which leads very nicely into the next part of this question: What has happened in my life that is magical or unexpected? Telling stories seems like magic to me; it seems both impossible and possible in that same way. And what has happened to me and my stories - people reading them, liking them, and me getting to make my living telling them - well, talk about unexpected. Talk about magical.

Q. The Magician's Elephant features an animal character. This is a common theme in your novels. Why an elephant this time?

A. I didn't think, Oh boy, I'm going to put an elephant in a story. I guess it happened this way: The story began for me with the magician and the fact that he wanted to perform real magic, true magic. That magician appeared before me in the lobby of a hotel in New York City. I had, in my satchel, a notebook that I was going to give as a gift to someone. The notebook had an elephant on the cover. And when I went into my bag to get my notebook to write a description of the magician I had just caught sight of,I happened to see that other notebook, the one with a picture of an elephant on the front of it.

Q. Was there a specific place that inspired the setting for the city of Baltese?

A. No, but after I finished writing The Magician's Elephant, I saw a movie that took place in Bruges, and I couldn't concentrate at all on what was happening in the movie
because I was so struck by how much Bruges looked like the city of Baltese, the city I had imagined.

Q. The fortuneteller tells Peter that "truth is forever changing." Why is this an important line in the story, and why did you want to share it with children in general?

A. I think this comes back to the whole idea of the impossible suddenly becoming the possible. We have to remain open to those moments when everything can change. I actually think that children are much better at doing this than adults are because they are much less likely to see things in a black-and-white way. All of us, children and adults, need to remind ourselves that the impossible can become possible. That's one of the great gifts of stories.

Q.What was your predominant feeling while writing this book? Was it faith, or fear? Do you know how your endings will turn out when you start?

A. Oh, I'm always afraid when I'm writing. And I never know how things will turn out. This time around it was particularly terrifying because there were so many different balls up in the air, and I had no idea how I would catch them all. But even though I was terrified, I was also, in a strange and wonderful way, healed by the telling of this story. I got out of my own way and let the story tell me how it would all come together. At the same time, I felt something come together, kind of knit itself, inside of me.

Q. How do you feel about the illustrations? Have you ever met Yoko Tanaka?

A. I think the illustrations are an astonishment, a wonder, a marvel. They literally take my breath away. They are haunting and otherworldly and just exactly right. I have never met Yoko, no. And yet she painted the world I imagined.

Q. Isn't that strange and wonderful?

A. Impossible, but true.

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