![]() ![]() on the downside, who is forced to face the consequence of his negligence, when the life of his younger brother is threatened. – Jacob Reckless, on whom, it must be said, Cornelia has a crush. ![]() Definitely aimed at her original audience who must now have reached double digits and a darned sight easier to film – there’s only one hero in it, for starters – If Inkheart was dark (and were some nasty villains in it), Reckless is darker. AN episodic structure – panning between two worlds – it’s easy to imagine the scenes cutting from one to the next. Use of flashback, discombobulation- scenes in which interconnected detail is missing and the reader must fill in the blanks. While only her name appears on the dust jacket, she freely acknowledged that Wigram contributed about 40% of the ideas … and, I’m surmising, some of the structural framework. She has both hopes and fears for future movie adaptations, which is strange seeing as she collaborated with the film producer Lionel Wigram in the writing of this, the first novel in a new series. It wasn’t true to the darkness in the novel which made the film palatable to a younger audience. ![]() ![]() Hhhm, she said making ambiguous hand gestures. Asked what she thought of the film of Inkheart, Cornelia Funke was tactful. ![]()
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