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It was eighty years ago, on the publication of The House at Pooh Corner, when Christopher Robin said good-bye to Winnie-the-Pooh and his friends in the Hundred Acre Wood. Now they are all back in new adventures, for the first time approved by the Trustees of the Pooh Properties. This is a companion volume that truly captures the style of A. A. Milne-a worthy sequel to The House at Pooh Corner and Winnie-the-Pooh.
Listen to award-winning narrator Jim Dale reading the Exposition to Return to the Hundred Acre Wood. Also available from Penguin Audio.
- Sales Rank: #229553 in Books
- Brand: Benedictus, David/ Burgess, Mark (ILT)
- Published on: 2009-10-05
- Released on: 2009-10-05
- Original language: English
- Number of items: 1
- Dimensions: 8.56" h x .84" w x 5.88" l, 1.16 pounds
- Binding: Hardcover
- 216 pages
Amazon.com Review
It was eighty years ago, on the publication of The House at Pooh Corner, when Christopher Robin said good-bye to Winnie-the-Pooh and his friends in the Hundred Acre Wood. Now they are all back in new adventures, for the first time approved by the Trustees of the Pooh Properties. This is a companion volume that truly captures the style of A. A. Milne-a worthy sequel to The House at Pooh Corner and Winnie-the-Pooh.
About the Author
David Benedictus produced the audio adaptations of Winnie-the-Pooh, starring Dame Judi Dench. He lives in London, England.
Mark Burgess has previously illustrated Winnie-the-Pooh and other classic children’s characters, including Paddington Bear. He lives in London, England.
Take a Look Inside Return to the Hundred Acre Wood
(Click on images to enlarge)
From Publishers Weekly
Christopher Robin returns from boarding school (80 years later) in this authorized but largely forgettable third volume of stories about Pooh, Piglet and the denizens of Milne's famous forest. Missing is the charm of the first book, mediated by an adult narrator creating a tableau for his child's imaginative play with a coterie of stuffed friends. Like the first books, there are 10 stories, but they are aged up to reflect Christopher's new interests—the play here involves a spelling bee, cricket, the creation of a school, the use of a thesaurus, atlas, dictionary, etc. A new character, Lottie the Otter, joins Rabbit and Owl to make a trio of the sanctimonious. Even saintly Kanga—Kanga!—loses her patience with Roo. There are a few inspired moments, including Rabbit's ill-conceived plan to lure his Friends and Relations to participate in a census using carrots and shortbread. (Rabbit also gets the best line: “Happy may be all very well, Eeyore, but it doesn't butter any parsnips.â€) Burgess's illustrations are serviceable and resemble the originals, but, again, topping Shepard's originals proves a tough act to follow. All ages. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal
Grade 1–4—Eighty years after the publication of the original "Winnie the Pooh" stories, this authorized sequel returns readers to the familiar characters and locales. Christopher Robin, on holiday from school, rejoins Pooh, timid Piglet, bouncy Tigger, patient Kanga, and his other friends for a summer full of adventure. In 10 stories, the friends put on a spelling bee, conduct a census, search for disappearing bees, start a school, and host a harvest festival. During a drought, they also meet a new resident of the forest, Lottie, an otter who is both forgetful and obsessed with etiquette. Another chapter, which describes a cricket match, may be more challenging for American readers. Fans of Pooh will recognize many elements: Pooh's hums, the animals' creative spelling, Piglet's fear of Heffalumps, and the maps on the endpapers. What's different is Christopher Robin; a year older, he seems less innocent, more in the role of an older sibling than a playmate. In addition, most members of the large cast of characters appear in each chapter, which feels a bit overwhelming. The writing is warm and humorous, though it doesn't quite match the charm and whimsy of the originals. Burgess's watercolor illustrations, on the other hand, are quite reminiscent of Shepard's. Pooh purists may find fault, but the book will likely be popular with many young readers and their parents.—Jackie Partch, Multnomah County Library, Portland, OR
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Most helpful customer reviews
102 of 115 people found the following review helpful.
The Magic is Gone
By The Palliator
One would think that an official Winnie-the-Pooh sequel, approved by the A.A. Milne estate, would be a respectful and authentic, if light, sequel to the original Winnie-the-Pooh books.
They would be wrong.
The first chapter is strong, with Christopher Robin returning to the Hundred Acre Wood in the summer break between sessions of boarding school. But Christopher Robin is not the same, and therein lies a major problem of the book. The charm of the earlier Pooh books was that they were so innocent, each chapter an escapist outing into a world that had no ties to the real one. But many of the stories in the book (including a Spelling Bee that is ultimately cancelled and an attempt to start a school)feel like overly mature invasions from outside of the Hundred Acre Wood that ruin the integrity of the book.
Speaking of an invader, a new chararcter, Lottie the Otter, is introduced. She is fine as a character (if overly predictable- haughty but forgetful), but she is not a really well-planned addition to the story, and the end result comes across as what she is- an addition to the Hundred Acre Wood by someone who certainly didn't write the first two books.
(The next paragraph describes the ending of the story, so skip to the next paragraph if you want to save it for yourself.)
In the end, Christopher Robin leaves at the end of the summer to go back to school. This could be a powerful ending where Christopher Robin says he will try to come back but isn't sure, but ends up in a "Mary Poppins" type situation, where the story ends by Pooh composing a poem wondering if Christopher Robin will come back.
The wording of the story is only slightly like the original story, and the poems fall flat. Little in the stories is really original, and a story about a drought feels hackneyed on arrival due to the fact it is invented purely to make Lottie the Otter have something to do.
To be fair, the story does have some inspired moments. (The first chapter is authentic, and Lottie does have a few funny quotes). But in the end, the book feels like an authorized sequel by A.A. Milne's estate, and not really like a book by A.A. Milne.
The witty wordplay and childlike innocence of the original stories aren't present, or not in sufficient amounts to warrant buying the story. Christopher Robin and his friends were better off as at the end of the second Pooh book, "The House at Pooh Corner".
0 of 0 people found the following review helpful.
Pooh is loved 90 years later!
By Terri Miller
Love this little book
53 of 63 people found the following review helpful.
NOT WORTH EVEN ONE STAR
By Mark Malamud
I would have loved to love this book. Though I've always been content with the ending Milne gave us eighty years ago, I was curious to see how someone might try to pick up the story.
I'll be brief.
Return to the Hundred Acre Wood by David Benedictus is DREADFUL. Not only does it fail to capture the original spirit, but it tries to update the "maturity" of the narrative -- throwing in adolescent identifiers, like Royal Doulton and Bournemouth and Edinburgh Castle and "household management" and "thesaurus" -- as if to suggest the stories are being told to (or created by?) an older Christopher Robin. It doesn't work. Nor does each chapter's laundry list of character action, as if each animal in the forest were a prima donna movie star, counting lines and demanding a larger part in the story. Do nearly all the characters need to be in nearly all the stories? No. Do they need to speak so much? No. No, no, no. And as for Pooh's "hums" -- well, for anyone who ever loved H. Fraser-Simson's musical interpretations of Milne's poetry, I can only warn you that there is absolutely no lyrical magic to be found between the covers of this tome.
OK, now I can tell I'm just getting grouchy, and I said I'd be brief. So here it is: the sad truth is that this book is *incredibly* boring. Milne's short and sweet has been turned into long and wearisome. I found my eyes drooping as I turned each page.
AVOID.
(The illustrations by Mark Burgess aren't bad.)
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