The methodology for the visualized mapping of the novel is influenced by Italian literary critic Franco Moretti. In Atlas of the European Novel, Moretti ( 1998) develops a method for mapping authorships and genres by plotting toponyms on a map. The maps he creates do not merely show where a narrative is set. Rather, they are “analytical tools that pose new questions, and force you to look for new answers” (Moretti, 1998, p. 4). Moretti explains his method in straightforward terms: “you select a textual feature, find the data, put them on paper—and then you look at the map. In the hope that the visual construct will be more than the sum of its parts: that it will show a shape, a pattern that may add something to the information that went into making it” ( 1998, p. 13). Thus, mapping does not merely involve plotting places on a map, but requires close interaction with and analysis of the text. Romance, art, monasticism and murder in Umbria, 1316. Hoffman has specialised in creating atmospheric historical novels, filled with intrigue... A heartbreaking journey from zoo to travelling circus eventually brings Sally to Chief Koskela. Under Koskela’s tutelage, Sally learns her way around a boat’s engine room. And, though she gets her opportunity to return to the jungle, Sally finds that she has been away too long, and her place is now with the Chief.

The False Rose by Peter Graves, Jakob Wegelius | Waterstones The False Rose by Peter Graves, Jakob Wegelius | Waterstones

Palo, Annbritt, and Manderstedt, Lena. (2018). Bildens status i läsarkommentarer på nätet. Narrativ interaktion i Jakob Wegelius Legenden om Sally Jones och Mördarens apa. Barnboken, 41. Accessed April 18, 2021 from https://doi.org/10.14811/clr.v41i0.336. Poor, seedy and full of suspicious individuals, Alfama is the perfect place for plotting crimes, political conspiracies and deceit. As Moretti ( 1998, p. 35) underscores: “Each genre possesses its own space, then— and each space its own genre”, stressing the importance of literary space and place. Alfama’s dark and scary harbor is necessary for Wegelius’ crime plot, which leads to Alphonse Morro’s disappearance and Koskela’s arrest. However, though Alfama is depicted as dangerous at night, the real danger lies in the richer parts of the city. This is where the bishop—the leader of the royalist terrorists—resides. Meanwhile, the Alfama district becomes Sally Jones’ home and allows her to make friends. It is a place for the powerless, the underdogs—and thus a place for subversion. The novel presents Lisbon both as a form of critical spatial practice—a city environment critiqued and reshaped by means of the characters’ movement through it—and as representational space that encodes values and cultural practices. The sense of the city grows out of the combination of these presentations of space. This stunning non-fiction picture book explores a diverse range of aquatic environments, from coral reefs to mudflats. I began mapping The Murderer’s Ape by marking every toponym in the text. Inspired by the classification of places developed by Piatti et al. ( 2009) in the project A Literary Atlas of Europe, I differentiated between places of action, projected places (that characters remember or dream of) and markers (places that are merely mentioned). Footnote 2 On the basis of the gathered data, I compiled a number of lists comprising the place names, their frequency and the associated geographic coordinates (longitude and latitude). The lists corresponded to the following questions: Where does the action take place? What does the novel’s complete geography look like when every place name mentioned in the text is included? What is the geography of India and Lisbon? What does the characters’ geography look like?Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Anderson, Benedict. (2014). Imagined Communities. Reflections on the Origin and Spread of Nationalism. London: Verso. From an ape getting involved in a murder case to schoolgirl cat burglars and mysteries taking place across the world, there are some brilliant capers out there just waiting to be devoured. Even when he is adopted by the loving Tom, it all goes south. Middle-years books are an excellent place to introduce the idea that life can be quite barbaric; Mulligan piles on the peril. Ultimately, though, this is a thoroughly gripping buddy movie begging to be made, in which the underdogs – canine, human, insectoid and otherwise – school everyone in true grit and loyalty.

The Murderer’s Ape Geography and Power: Mapping The Murderer’s Ape

Posti, Piia. (2017). Resor, äventyr och den andre: Exotism och det främmande i samtida svensk barnlitteratur. In Maria Andersson and Elina Druker (Eds.), Mångkulturell barn- och ungdomslitteratur: Analyser (pp. 181–197). Lund: Studentlitteratur. Sally Jones is an engineer and loyal friend to Captain Koskela. She’s also an ape –and though she can’t talk, she’s smarter than a lot of people. I also carried out a frequency analysis using the original Swedish text. For the purpose of the argument in the article, I found the simple maps sufficient. Bradford, Clare. (2007). Unsettling Narratives. Postcolonial Readings of Children’s Literature. Waterloo: Wilfrid Laurier University Press. Travel lies at the heart of the novel. Sally Jones is in transit in Lisbon, she travels to India, and she explores parts of India with the maharaja. As argued, Wegelius establishes two rival senses of space. In her reading of The Legend of Sally Jones, Posti ( 2017, p. 195) asserts that Wegelius rewrites the colonially influenced adventure genre by evoking and undermining it at the same time. My geographic analysis in this article confirms and expands this assertion. In Wegelius’ novel, travel is not connected with conquest; it is instead a source of knowledge linked to the humanistic ideal of Bildung. Footnote 3 The Murderer’s Ape de-emphasizes the idea of nations and national territory as well as cultural boundaries. In her study on settlement narratives in children’s fiction, Bradford ( 2007) finds that place is infused with cultural specificities and liminal places where culture is negotiated. In The Murderer’s Ape, however, space and place are political, but rarely culture-specific; we have the naming of places, fado singing and Signor Fidardo’s Italian temper, but culture is never depicted as a boundary. Neither is language; the novel’s characters always understand each other perfectly—a more fantastic element than even the gorilla narrator.

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This was a really lovely book, full of real human emotions and also a fair amount of humor, beautiful descriptions of various places where the characters went, beautifully written book. I do think that most young teenagers would like to read this exciting adventure story. Lefebvre himself did not go into detail on the distinction between space and place, and it has become a highly contentious topic in critical discussion. For example, Andrew Merrifield ( 1993) conceptualizes the two concepts in the article “Place and Space: a Lefebvrian Reconciliation”.