Freedman, Russell. 2006. THE ADVENTURES OF MARCO POLO. Ill. by Bagram Ibatoulline. New York: Arthur A. Levine Books (Scholastic). ISBN: 0-439-52394-X.
Designed to
look like an illuminated manuscript documenting the travels of Marco Polo, this elegant, slim biography begins at the end of his life and charts the provenance of his book, THE DESCRIPTION OF THE WORLD. From there, Freedman chronicles young Marco accompanied his father and uncle on a journey to the court of the Mongol ruler, Kublai Khan, in what is now northeastern China. Polo became a sort of emissary for Kublai Khan, visiting modern-day Myanmar and Tibet but spending most of his time in eastern China, from what is now Beijing southward along the Grand Canal to the cities of Quinsai (Hangzhou) and Zaiton (Guangzhou). Eventually, Polo, his father and his uncle embarked on one final adventure on their way back to Venice. At home, he was greeted with amazement by his relatives and neighbors and was imprisoned after the Venetians were defeated in a battle. In prison, he met a writer to whom he told his story, which was retold and embellished in manuscripts written in a variety of languages throughout medieval and Renaissance Europe. Pages from these manuscripts accompany this biography, as do original, modern illustrations. The work ends with a final chapter entitled “Did Marco Polo Go to China?” the central question of the biography to which readers receive no definitive answer.CRITICAL ANALYSIS
If Marco Polo and his documented travels “affected the course of history and ended up not merely describing, but actually changing the map of the world” (58), this book does an exceptional job of showing this “shadowy, enigmatic figure” (59) accurately. Beginning with a publisher’s note expressing gratitude to two scholars at Columbia University at its beginning, the book also lists the Chinese, Persian and European sources of its artwork that complement and enhance the text throughout. Additionally, in his Author’s Note at the end of the book, Freedman refers to a number of classic translations of Polo’s book that he presumably used to inform his research. References for the text are about the only missing element here, and it remains to be seen if the Author’s Note is enough of a substitute for them.
Perhaps the most accurate feature of the book is that it does not accept or refute Marco Polo wholeheartedly. Instead, readers get a balanced, nuanced text of what he purportedly saw during his travels as well as skepticism and questions from the author when Polo’s claims become too farfetched. Although it seems at times that Freedman does believe Marco Polo’s story, he tempers any sort of fawning with his use of “Marco tells us,” “Marco reports,” or “His claims that he…” These, along with question structures such as “Was Marco exaggerating…?” show a balance in approach toward the subject, upon which Freedman elaborates in his five-page final chapter, “Did Marco Polo Go to China?” Here, he discusses and attempts to respond to various questions scholars have had over the years about Polo’s claims. Rather than attempting to quell the controversy surrounding Marco Polo, Freedman seems to concern himself with telling readers who his subject was, why he was so important and what others think about his claims.
In terms of organization, the biography begins its first chapter, “Nothing But the Truth,” with a mysterious and almost literary sentence: “As Marco Polo lay dying, friends and relatives gathered anxiously by his bedside and begged him to confess” so that he would have a “clear conscience” (5) when he died. The story then moves incrementally backward for the remainder of the chapter, where readers learn about Marco Polo’s ghostwriter, Rustichello, with whom he shared a prison cell. The second chapter, “The Polo Brothers,” takes readers back to the true beginning of how his father and uncle began the travels that would later include a young and impressionable Marco. It then proceeds chronologically until his death is revisited and he leaves us with his final words: “I have only told the half of what I saw” (53).
This structure allows Freedman to address skeptics and naysayers immediately and to provide readers with room to raise their own questions throughout the biography while Polo’s tales and descriptions are recounted. Had he begun with the second chapter, it would seem to indicate an acceptance of DESCRIPTIONS OF THE WORLD as inherently truthful. Then, at the end of the book, readers would not be prepared for the author’s discussion of each side of the argument. This way, readers can see the both the descriptions and skepticism for themselves and form their own opinions.
The design of this book is appealing on a number of different levels. It is oversized yet thin, allowing it to be held without a burden. Its pages are heavy with an almost parchment-like feel to them, and the fonts for its chapter titles look like they came straight out of an illuminated manuscript from the Renaissance. A dropped capital adorns the first letter of each chapter to further the antiquated feeling. The text font is small but has serifs, and spacing between the lines gives enough space to enjoy the dappled parchment of the pages. Even the page numbers are tastefully done, with an attractive piece of a border design placed next to the page number.
Detailed, mixed-media illustrations appear on the left page of each chapter opening, acting as overviews to the chapters and companions to their titles. Generally bordered with a variety of Islamic and Chinese motifs, these illustrations mimic period artwork with similarities to Islamic miniature paintings or Chinese landscapes. To further the historical veracity of the text and add visual elements to the story, the book includes actual period artwork from European, Islamic (primarily Persian) and Chinese sources, usually one or two pieces per spread. In these, readers are introduced to the same cultures Marco Polo experienced. Two maps with modern political boundaries and 13th-century names show the routes he traveled and also give an idea of how far he went and an appreciation for what he must have seen. (That is, if he actually traveled that route.)
With the attention to detail for all of its visual aspects, as well as its organization and willingness to provide a balanced argument, this book is an accessible work of well-researched history. Freedman provides his audience with a balance of narrative from the original work, historical transitions, and pertinent details to heighten learning about this important historical figure. Its questions about whether Marco Polo did what he claimed to have done are subtle and will not detract readers from late elementary school and up from looking at its art, reading the often lavish descriptions of different times, events and cultures, and enjoying a compelling story.
REVIEW EXCERPT(S)
--The accounts are accompanied by original and archival illustrations and maps; extensive endnotes provide further documentation. (SCHOOL LIBRARY JOURNAL, November 2006)
--With its thick, mottled pages and attractive design, this is a glorious piece of bookmaking; readers will find it a pleasure to explore. (BOOKLIST, October 2006)
--Creamy pages resemble parchment, and attentive design elements include illustrated boards with gilt inlay. Freedman's impeccable research, historical fidelity and flair for engrossing narrative nonfiction combine with handsome bookmaking for a highly recommended biography. (PUBLISHER’S WEEKLY, October 2006)
Review excerpts from Books in Print database.
CONNECTIONS
--Visual arts and social studies classes could use the illustrations by Bagram Ibatoulline, as well as the archival artwork, to explore the relationship between design, culture and history.
--Russell Freedman’s numerous biographies and social histories could be explored for style and historical research by older students assigned to create their own.
--This book could be used as part of a “Great Explorers/Adventurers” unit.
--The “original” book by Marco Polo, the one that caused the fuss in the first place:
THE ADVENTURES OF MARCO POLO, THE GREAT TRAVELER. 2010. (Reprint). ISBN: 978-1141670338
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