Reception
Several early commentators, emphasizing the first part of the book, see it as part of the US self-help and positive thinking culture, epitomised by Norman Vincent Peale and by the New Thought movement. Film critic Roger Ebert wrote that the book was "banal," and that "The Little Engine That Could is, by comparison, a work of some depth and ambition."
The book is listed as one of 50 "timeless spiritual classics" in a book by Tom Butler-Bowdon, who noted that "it is easy now, 35 years on, to overlook the originality of the book's concept, and though some find it rather naïve, in fact it expresses timeless ideas about human potential."
John Clute, for The Encyclopedia of Fantasy (in which capitalized typesetting represents literary themes and categories for that book), wrote: "an ANIMAL FANTASY about a philosophical gull who is profoundly affected by FLYING, but who demands too much of his community and is cast out by it. He becomes an extremely well behaved ACCURSED WANDERER, then dies, and in POST-HUMOUS FANTASY sequences — though he is too wise really to question the fact of death, and too calmly confident to have doubts about his continuing upward mobility — he learns greater wisdom. Back on Earth, he continues to preach and heal and finally returns to HEAVEN, where he belongs."
Read more about this topic: Jonathan Livingston Seagull
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)