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Descriptions du produit

Présentation de l'éditeur

The Little Prince describes his journey from planet to planet, each tiny world populated by a single adult. It's a wonderfully inventive sequence, which evokes not only the great fairy tales but also such monuments of postmodern whimsy. The author pokes similar fun at a businessman, a geographer, and a lamplighter, all of whom signify some futile aspect of adult existence. --Ce texte fait référence à l'édition Broché .

Biographie de l'auteur

Anthony Burgess is the author of many works, including The Long Day Wanes, The Wanting Seed, The Doctor Is Sick, Nothing Like the Sun, Honey for the Bears, and Re Joyce.



For decades, Louis Jourdan has enchanted moviegoers with his beguiling Gallic charm. Among the movies he has starred in are such perennial favorites as Gigi and The Count of Monte Cristo.

--Ce texte fait référence à une édition épuisée ou non disponible de ce titre.


Détails sur le produit

  • CD-Rom
  • Editeur : PocketAudio; Édition : Abridged (1 novembre 2003)
  • Langue : Anglais
  • ISBN-10: 2895170711
  • ISBN-13: 978-2895170716
  • Dimensions du produit: 12,4 x 1,1 x 14,3 cm
  • Moyenne des commentaires client : 2.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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En savoir plus sur l'auteur

Antoine de Saint-Exupéry est né à lyon, le 29 juin 1900. Il passe ses vacances d'été au château de Saint Maurice-de-Remens (Ain), qu'il évoquera dans toute son œuvre. Le baptême de l'air qu'il reçoit fin juillet 1912 sur l'aérodrome d'Ambérieu-en-Bugey décidera de sa vocation de pilote. Il fait ses études au collège Sainte-Croix au Mans, puis en Suisse, et enfin à Paris où il échoue au concours d'entrée de Navale et de Centrale : il décide alors de suivre les cours de l'École des Beaux-Arts.En 1921, il fait son service militaire à Strasbourg, dans l'armée de l'air. Il apprend à piloter, et dès lors, sa carrière est tracée. Au sortir de l'armée, en 1923, il fait différents métiers. Il publie en 1926 son premier récit, dont l'action se situe dans le monde de l'aviation. La même année, Antoine de Saint-Exupéry entre comme pilote chez Latécoère, société d'aviation qui assure le transport du courrier de Toulouse à Dakar. Puis il est nommé chef d'escale de Cap Juby, dans le sud marocain, C'est à cette époque qu'il écrit Courrier Sud (1929).En compagnie de Mermoz et Guillaumet, il part pour Buenos Aires comme directeur de la compagnie Aeroposta Argentina. À son retour à Paris en 1931, il publie « Vol de nuit » (prix Femina 1931), dont le succès est considérable. En liquidation judiciaire, la société qui l'emploie doit fermer. Attaché à Air Franc en 1935, Antoine de Saint-Exupéry essaie de battre le record Paris-Saigon : son avion s'écrase dans le désert. En 1938, il tente de relier New York à la Terre de Feu : blessé au cours de sa tentative, il passe une longue convalescence à New York. Il publie alors « Terre des hommes », grand prix du roman de l'Académie française et National Book Award aux Etats-Unis (1939).Pendant la Seconde Guerre Mondiale, il est pilote de reconnaissance au groupe 2/33 (1939-1940), puis se fixe à New York. Il tire de son expérience de guerre « Pilote de guerre » (1942) et publie « Lettre à un otage », puis « Le Petit Prince » (1943), son grand succès. Il gagne alors l'Afrique du Nord et réintègre le groupe 2/33 malgré de nombreuses blessures et l'interdiction de voler. Cependant, Saint-Exupéry insiste pour obtenir des missions : le 31 juillet 1944, il s'envole de Borgo, en Corse. Il ne reviendra jamais.

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1 internautes sur 1 ont trouvé ce commentaire utile  Par Sandrine sur 13 janvier 2013
Format: CD-Rom Achat vérifié
J'ai acheté ce CD car j'avais le livre en anglais afin d'améliorer ma prononciation. Le narrateur du CD ne suit pas l'ordre chronologique du livre et les différentes traductions. De plus, le narrateur ne cite pas les chapitres.
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Amazon.com: 93 commentaires
48 internautes sur 54 ont trouvé ce commentaire utile 
BN Publishing: Improving no-one's life! 8 février 2011
Par Freya - Publié sur Amazon.com
Format: Broché Achat vérifié
I have absolutely adored the Little Prince since I was a little girl. I thought I'd buy a basic back-up copy to give to a friend as cost-friendly as I could and it was a huge mistake!
This BN Publishing version of The Little Prince is HORRIBLE!!! DO NOT BUY IT FOR ANYONE, especially if they have never heard the real story before! I own several copies of this book and this is the most AWFUL translation from the original French that I've ever read. The pictures are black and white and awful quality and it completely misses the point and beauty of the original story in EVERY WAY!! It's DREADFUL!!!!
27 internautes sur 30 ont trouvé ce commentaire utile 
A Crime of a Translation 31 mars 2009
Par Sally J. Nottage - Publié sur Amazon.com
Format: Broché Achat vérifié
Lost in Translation feedback best describes insight into what has happened with this new translation. This book IS for both children and adults. This new translation treats both as if they are either uneducated or have no comprehension for the writen word. By cutting out and using only the most basic words, this new translation has lost the meaning, depth and beauty that Woods was able to capture. I was insulted and insulted for the future young readers, that this translator took it upon himself to attempt to make something better and instead resulting in a version that could make people put the book down rather than wanting to read on.

I purchased this new version as a gift not realizing the translation was updated. Several times I re-read the first page and kept putting the book down. I thought that somewhere along the years I must have changed as I just felt something "lacking". The book did not come to life as I had remembered.

I then got out my book given to me as a gift by a babysitter over 40 years ago. I wanted to compare new and old as something just nagged at me that my memory could not be that off, even if I hadn't looked at this little book in so long a time. Surprise - I re-read the opening chapter over and over in disbelief at what and how the words had been changed.

My second thought was how could a publisher allow this translation to ever have been published.

Anyone reading The Little Prince with this new translation for the first time should absolutely read the edition translated by Woods.

I almost wanted to cry after I realized that I was unable to purchase a "new" book translated by Woods.

Horrified, I went to all the used book locations in town and purchased all (leaving one for the next person who found themselves in the same situation) of the Woods translations for future gifts.

That this new translator took it upon himself to think he could better what had already stood the test of time, well, I'd best stop but you can see that this book means a great deal to me.
18 internautes sur 20 ont trouvé ce commentaire utile 
Open the box 23 octobre 2011
Par Marie-Jo Fortis - Publié sur Amazon.com
Format: Broché
Let me start by saying that this is one of my favorite books. I read it before at least twice, once when a young girl --or an adolescent, another time in my twenties, and possibly a decade later. Lately, I was asked to place chapter 26 in its context. The occasion was a sad but moving one. That chapter had been read during a funeral, and now we were a group of women celebrating the interrupted life of a sixteen year old young man.

Because I was given that task --a lovely one at that-- I went on to find my old edition of Le Petit Prince and read it once more. It was a masterpiece before; it is a masterpiece now. After all these years, it has remained wrinkle free. Vivid. Vibrant. Witty. Filled with wisdom.

What struck me this time was the structure --the box motif. First, when the narrator humorously declares that he had to give up a career as a brilliant artist because the adults couldn't tell that he had drawn a boa swallowing an elephant. Instead, they saw a hat. Incidentally, a hat boxes a head. They refused to see beneath the surface, or were too lazy to try. So here we have a creator who renounces creating, simply because his audience lacks imagination. Although, in exchange, he becomes an aviator, thus getting closer to the stars. Amusing in appearance. Tragic in content. The boa is the box. The elephant is the content.

If you take these two animals for what they stand for, you can say that intelligence (for which the elephant is known) is being constricted. Absurdly suffocated.

Isn't that the essence of the whole story?

It's all in these first pages. All the satire and the spirituality. The rest is poetic elaboration. But what poetic elaboration!

Let's meet le petit prince who asks the narrator, whose plane breaks down in the desert, to draw him a sheep. Although the plane accident is based on a real Saint Exupéry's experience, the desert itself is a marvelous metaphysical metaphor for the white page / canvas / creativity / possibility.) When the narrator humors him, none of the sheep drawn by the aviator pleases the little prince. One looks sick, one looks old. Eager to repair his plane and starting to lack patience, the aviator sketches a crate and tells the little prince that his sheep is inside. That's exactly what I was looking for, says the young boy. The imagination of the child completes the work of the artist. In the world of childhood, creator and creation are one. There is a sense of unity that adulthood eventually breaks apart. Classifies. Categorizes. Boxes in.

For Saint Exupéry's motif of box has a double entendre. The first entendre is liberating. Open the box with your imagination, and you will see infinite possibilities. The little prince knows that. The other entendre is more familiar to us. A box implies something limited, locked, conventional. To oppose this notion comes the expression, "Thinking outside the box." So when our petit prince visits the Conceited Man, or the King, or the Businessman, or the Drunkard, each lives in his own sphere, basically unaware of his surroundings and victim of the isolation he has himself created. In other words, instead of giving and expanding his spirit toward the universe, each one of these men builds a box around himself. No wonder le petit prince thinks these are strange creatures and tries to get away from them as fast as he can. Only the lamplighter starts to get it when he seeks the contemplation of sunrises happening every minute on his planet. But only after listening to his oneiric visitor.

The desert, of course, is the opposite of a box. And if basically devoid of humans, it is not devoid of animals. The most important lesson le petit prince learns there comes from a fox in what is perhaps the most moving chapter of the book. The fox, who holds the wisdom of the heart, sends him back to his planet and to his rose.

But we're not over with the box theme just yet. There is the little prince's body now, abandoned by the prince's soul with the help of a snake bite, so that he can reach his planet more quickly. There is the box drawn by the narrator that contains the sheep that the prince takes with him to live on his planet with his rose. There are the intrinsic motives of life and death, that Saint Exupéry un-boxes. Not with answers, but with more questions. For ultimately, if Le Petit Prince mocks, satirizes, poeticizes, it is not a work that gives affirmations, but a work that wonders. It is a work that explores. The work of a writer / aviator.

A work where innocence and wisdom go hand in hand.

A work that opens our head --which should never --ever-- be a box.

P.S. I read Le Petit Prince in its original language (which is also my native tongue). But I have been told, and also read that the English translation to rely upon is the one by Katherine Woods. A reviewer here called Allie Jones makes a very good case of this. So I would urge any new reader of The Little Prince who is not familiar with the French language to follow Allie Jones' advice and obtain a copy of Katherine Woods' version of Saint Exupéry's masterpiece. It is unfortunate that Ms Woods' work is out of print, but used copies of her (more accurate) vision of The Little Prince are available.
13 internautes sur 15 ont trouvé ce commentaire utile 
Likely the Most Beautiful Book Ever Written 24 mars 2004
Par Gavin Pherson - Publié sur Amazon.com
Format: Belle reliure
This is, almost without a doubt, one of the finest books I have ever read. I am an avid reader, I eat through a lot of poetry and big thick novels as well as "children's" stories like this one, comic books, etc. There is something to be said for the brevity of this book. There are thousands of other books that punch around in the dark for hundreds of pages, never equaling the sheer mass and grandure of this bold-fonted, tactfully-illustrated novella. It clocks in at just over 90 pages, and manages to sum of some of the most important life wisdom that has ever been put into print. Exupery's other efforts fall dramatically short of this work, but one can hardly let that disassemble his status as a man of not only literary, but of honest human brilliance. For me, this book is what it is to be a man; to be a person. I don't have any real heros from a perspective beyond reverence for artistic skill in the art & letters world, except perhaps The Little Prince.
I remember my 6th grade teacher calling me stupid for reading this book in class. That it was a children's book, and what happened to me reading all those NOVELS I was reading before. I don't expect everyone to understand this book. I think it is truly an individual experience, and as a result, some will find it uncomfortable. Still I urge anyone to read this book, of really any age. I urge you to read it five years later. And again, and again. You will watch yourself grow.
This is probably the most stunningly beautiful thing I have ever read. Its beauty is immense and often overpowering. It's like standing at the foot of the reddest sunset, a giant glowing ball towering thousands of feet above you as you crane your neck to see how far it goes. Yes, despite how much I hate a metaphor involving a sunset, it's that good.
I've read the new translation, and it's lacking. It's been dumbed-down. My personal copy is from Harcourt Brace & Company, copywrite 1943 and again in 1971. This, trust me, is the one you want. It will most likely be in hardcover, with a library binding, possibly. It is available used, and will cost you half of what the new and inferior paperback will. Trust me, it IS an important destinction. Otherwise I wouldn't mention it.
Anyway, thanks for reading. Enjoy.
8 internautes sur 9 ont trouvé ce commentaire utile 
a review of five translations 19 août 2014
Par John Lederman - Publié sur Amazon.com
Format: Broché
The Little Prince Nov./14

A review of five translations

In 2000, the Richard Howard translation of The Little Prince was released to supercede the original of Katherine Woods from 1943. When a publisher comes to one to translate such a classic how does one ever turn them down and say the last translation was good enough! I guess one doesn't. Money and ego prevail.

But `good enough' is the debating point. Is it good enough? Howard writes in his preface "...it must be acknowledged that all translations date." Do they? Would one clean up and modernise the language of A.A. Milne in Winnie-the-Pooh? or of Kenneth Grahame in the Wind In The Willows? Of course not. Then Howard modernises Katherine Woods' rendition, "cry" with his "weep" during the departure from the fox. And he thinks this is more `modern?' What self-contradictory nonsense translators can write to justify themselves and their publishers.

I grew up on Katherine Woods' translation and prefer it over the Howard, but I must admit, when I look at my French copy, the Woods too has some elisions in translation. During the farewell from the fox, she translates: "It is the time you have wasted for your rose that makes your rose so important." Howard translates: "It's the time you spent on your rose that makes your rose so important." The French actually states: "C'est le temps que tu as perdu pour ta rose qui fait ta rose si importante." Literally this translates far more meaningfully and philosophically than either of the Woods or the Howard as "It is the time which you have lost for your rose which makes your rose so important." So that leaves me thinking both translations have their flaws. I am not sure why both of them would dilute the original like they have, for it has surely been diluted from what St. Exupery wrote and intended, but the Woods translation is very close to St. Exupery's text and meaning and brings a layer to think about beyond merely "spent" time.

From 2011 another translation is on the scene, by Ros and Chloe Schwarz, and it needs comment too. First of all, the illustrations: it is anything but sensitively rendered as its publicity blurb asserts. The colors have been filled in like old cellular film animation, and are just flat, losing St. Exupery's delicate drawing and watercolour washes. The hunter, as another example, has had circles drawn completely around his eyes now making him look like a goth caricature. The drawing of the fox in his lair has completely lost all the grass that was so delicately drawn by St. Exupery. The beautiful sense of all his drawings, that they flowed, without borders, right off the page, conveying their own meaningful addition to this borderless story, has been lost on many many of the drawings by the illustrator putting boxes around drawings that don't originally have any. The boa constrictor for instance. The sheep, for instance. Here the baobab trees and the weeding of Asteroid B-612 are now set against the dark background of space, not the daylight of the originals. The tiger no longer looks fearsome; it looks like a cute questioning pussycat, its line-work tampered with as it has been on most of the drawings. This illustration tampering is unforgiveable and reason alone not to buy this book.

The Schwarz translation has a third perspective on the French, but still, for example, loses the quote mentioned above from the fox. "Perdu pour" is translated here as "spent on" again. St. Exupery chose "perdu pour" for a reason; he did not write "passé," or any other verb. "Perdu pour" brings many other things, more layers of meaning, to mind. Then these translators do other things. They do things so blatantly wrong like alter his word "mouton" into "little lamb." If St. Exupery had meant little lamb he would have written "petit agneau" but he didn't. The little prince is not so dumb to not know little lambs grow up into bigger sheep. Also, in the geographer chapter, St. Exupery explains "ephemeral" as "menace de disparition prochaine," "a menace which disappears soon." The Schwarzs translate that phrase as "likely to die very soon." Clearly they completely don't get St. Exupery's thought and subtlety and at the same time possess the unbelievable arrogance to write words that St. Exupery did not.

They clearly don't have the soul of poets or philosophers ideally necessary, nor even the workman-like craft to simply translate what is there. Their approach to translation, like Howard's is unforgivable, and is another reason this book too should absolutely just sit on the rubbish heap until someone re-does it properly. The book itself is charming: tiny, hardcover, with gilt page edges and a ribbon marker. Full marks for being sturdy and beautifully portable, but otherwise... do yourself a favour and stay away from it too.

I recently found another translation of which I was unaware, from Alan Wakeman, 1995 (hardcover), illustrated from St. Exupery by Michael Foreman. Michael Foreman is one of my favourite illustrators and I have many of his books. Works in beautiful watercolours. I wondered. When it arrived I knew I was in for something special. Wakeman (he says in the preface), started translating in 1979, not under contract, but simply because he was not satisfied with the Katherine Woods' translation. He worked in his favourite retreat by the sea, overlooking the Golfe de Giens, which turned out, from the beginning discovery in 1993 of St. Exupery's sunken plane, to overlook the crash site in the sea where St. Exupery was lost. It took another decade or so to absolutely confirm that this is where St. Exupery went down, but Wakeman was apparently eerily in touch with something from St. Exupery through their labours of love.

Wakeman's translation is pretty accurate. He still translates "perdu pour" as "spent on," but okay. He translates "ephemere" as "doomed to disappear soon." Nice, and with a layer of fate the Schwarz's miss, but which Woods captures, albeit a bit more clumsily with "in danger of speedy disappearance." Wakeman has his quirks though. He translates "blé", the colour of the little prince's hair, as "corn." Technically correct, but an odd choice usually considered much more a secondary meaning to the more common one of "wheat." While a kernel of corn may be the colour of the little prince's hair, the kernels are not seen under the corn husks in a field of corn. The tassels, while colour correct, are overwhelmed in a corn field, especially from a fox's point of view, by all the green and are not really seen either. Wakeman seems to have never spent any time by a corn field to know that, unlike the fox who lives there, so Wakeman does not get that his quirky translation allusion is a stretch in reminding one of the little prince's hair colour. I find it rather a clash, or at the very least a break in the lovely flow St. Exupery spent so much time and talent composing, and work editing to create in his original work.

Foreman's illustrations are what is special about this Wakeman translation. All of the St. Exupery ones used, which is most of them, have been taken and re-worked. The line work and watercolour is far more skilful than St. Exupery, but extraordinarily faithful, and retains that childlike naiveté. It really takes a second look to realize it is not actually St. Exupery's line work with better color. All drawings have been given color, which brings a satisfaction absent from some, even in the original publication, where for example, I have been sorely tempted to pull out my own paint box for the little prince watching the sunset. This drawing is clearly a watercolour originally, but has only ever been published in black and white. (Why?) Here all the drawings are now shown in colour.

But where Foreman has really excelled is in introducing 8 beautiful full page or double page paintings of the little prince and the pilot: comforting the little prince when he was sad, walking with the little prince in his arms when exhausted to find water, sharing his drawings with the little prince, running with his revolver to kill the snake if he could... whole new enhancements to the story, bringing more forward the relationship that it was, not just story-telling about the little prince. For it is not just the story of a special individual, but also one of a special relationship, and the special place in our lives of special relationships and what makes them special.

The Woods translation is still head and shoulders above the new ones, except for the Wakeman. Both are far more evocative of what was intended. The Foreman illustrations with the Wakeman translation I think makes it even better. The Woods translation hardcover is now a collectors item and can often be very expensive and harder to find in the U.S. Easier in Britain (and isn't that a whole other very interesting essay on the lovely differences it indicates). The Woods edition appears to be available economically as a paperback (white cover, usually pre-2000 publishing date), but with no color illustrations.

The Howard translation, both hardcover and softcover (blue cover), both with color illustrations (and some black and white), is easily available at a quite reasonable price. The Schwarz translation is available in England and Canada easily, but hard to locate and has very poor notes on amazon.com. The Wakeman/Foreman collaboration (hardcover) can still be found used, in good shape, economical, for now, but also as a very expensive collectors item. (There are, I think, copyright issues until 2044; another interesting essay). I cannot vouch for the paperback version, publications of which often get cheap and sometimes are done with black and white illustrations only, like the Katherine Woods paperback and the Testot-Ferry translation (see below and see my review of Michael Foreman's Arthur High King Of Britain for more.).

My recommendation is buy the best available, the Wakeman/Foreman hardcover edition, or the Woods hardcover, (or both; each have their merits and shortcomings), and if your French is alright, get a French version too. It is worth working through Le Petit Prince. You will learn more about life and language and different cultures in doing so than in many larger weightier, more adult tomes and our children will too from this timeless story with so many layers and such depth in its simplicity.

The ratings:
Le Petit Prince: 5 stars
English translations to date:
Wakeman/Foreman: 4.5 stars
Woods: 4.25 stars
Howard: 1 star
Schwarz: 1 star
Testot-Ferry: 1 star

P.S. I have also discovered there is enough of the Irene Testot-Ferry translation (Wordsworth) on the amazon "read inside" feature to render an opinion on it too. Cumbersome. Archaic, and not in a good way like the Katherine Woods. The Testot-Ferry is awkward, incorrect: e.g. "un peu," "a little," is translated as "more or less." "I flew more or less all over the world." Seems to lack the modesty intended by St. Exupery and the pilot here in the story which "a little" conveys. So she doesn't really get it. (And by the way, Wakeman leaves out "a little" completely. Rather a short-coming).

The Testot-Ferry translation is awkward. She opens a paragraph with: "As a result of which I have been in touch, throughout my life, with all kinds of serious people." for "J'ai ainsi eu, au cours de ma vie, des tas de contacts avec des tas de gens serieux." which more correctly and simply translates as "I have had, through the course of my life, lots of contact, with lots of serious people." Also, all the drawings in this edition are the most abysmal black and white hack reproductions. So avoid this translation despite its bargain basement price. You get what you pay for. There are better (more accurate) translations and more richness and layers of meaning in the Wakeman and the Woods translations, which are missing and awkward in the Testot-Ferry, and which such a classic piece of literature deserves.
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