Bridge to terabithia jess and leslie relationship quotes

Bridge to Terabithia ( film) - Wikipedia

bridge to terabithia jess and leslie relationship quotes

For Bridge to Terabithia by Katherine Paterson we provide a free source for literary In their magic kingdom of Terebithia in the woods, Leslie helps Jess to. ''Bridge to Terabithia'' by Katherine Paterson is filled with memorable quotes that Leslie, Jess's next door neighbor, is trying her best to befriend Jess, and he. Explanation of the famous quotes in Bridge to Terabithia, including all of Chapter 2, before we ever meet Leslie, when we're just getting to know Jess. Jess's.

With that in mind, they "tried to do the absolute minimum, which would be required to put it into a movie version". Weta was already working on animating the creatures while the film was being shot, and Weta crew members were on-set for all the scenes that involved special effects during the filming.

Weta visual effects supervisor Matt Aitken explained that process involved in interpreting the creatures was "split into two steps". The second step was to figure out animation or motion styles that best suited these creatures. Paterson is the novel 's author's son, and his name was featured on its dedication page. The story was based on his real-life best friend, Lisa Hillwho was struck by lightning and killed when they were both eight years old.

Paterson had difficulty marketing the screenplay, mostly because of Leslie's death; "if you can believe this, I did meet with some companies that asked if I could just 'hurt' Leslie a little bit—put her in a light coma and then bring her out". They resent the fact that Jesse would build a bridge into the secret kingdom which he and Leslie had shared.

The thought of May Belle following in the footsteps of Leslie is bad enough, but the hint that the thumbsucking Joyce Ann may come as well is totally abhorrent to these readers. How could I allow Jesse to build a bridge for the unworthy? Their sense of what is fitting and right and just is offended.

I hear my young critics out and do not try to argue with them, for I know as well as they do that May Belle is not Leslie, nor will she ever be. But perhaps some day they will understand Jesse's bridge as an act of grace which he built, not because of who May Belle was but because of who he himself had become crossing the gully into Terabithia. I allowed him to build the bridge because I dare to believe with the prophet Hosea that the very valley where evil and despair defeat us can become a gate of hope—if there is a bridge.

In closing, I want to explain the Japanese word on the dedication page of Bridge to Terabithia. The word is banzai, which some of you will remember from old war movies.

I am very annoyed when writers throw in Italian and German phrases that I can't understand, but suddenly as I wrote the dedication to this book, banzai seemed to be the only word I knew that was appropriate. The two characters which make the word up say, "all years," but the word itself combines the meanings of our English word Hooray with the ancient salute to royalty, "Live forever! It is the word I wanted to say through Bridge to Terabithia.

It is a word that I think Leslie Burke would have liked. It is my salute to all of you whose lives are bridges for the young. Donelson claim that "Paterson's novel set impossibly high standards that no other such book about the death of a friend has equalled …" Certainly, it has been one of the most honored children's books about death published in the last two decades.

Not surprisingly, Bridge to Terabithia now occupies a prominent position on a number of bibliographies about death. Masha Kabakow Rudman's Children's Literature: An Issues Approach discusses the novel as an example of one of many books whose "characters do not respond heroically or admirably to death" It is a useful book, she implies, because it depicts child who "passes through all of the stages of mourning …" In her chapter on realistic fiction in Literature and the ChildBernice Cullinan devotes most of a section called "On Death" to Bridge to Terabithia.

She discusses three fifth-grade girls who feel that the novel "showed them that one could, and should get over the death of a friend and that Jess was a good model of how they might react if they were in similar circumstances" Paterson, however, is bothered by the inclusion of Bridge to Terabithia on "death lists. The first time I was told that Bridge to Terabithia was "on our death list," I was a bit shaken up.

There follows, you see, the feeling that if a child has a problem, a book that deals with that problem can be given to the child and the problem will be cured. As Jill Paton Walsh points out, only children's books are used this way.

No one has given out more copies of Ramona the Brave to first graders in distress than I have. Spying Heart 31 Paterson goes on to address what she sees as shallowness in "problem novels" for children, arguing that the best a writer can do is to "share with children works of the imagination-those sounds deepest in the human heart, often couched in symbol and metaphor.

In other words, books like Bridge to Terabithia should not be used as a cure for or fast solution to the problems children face. It is only when literature stimulates readers to look within themselves and search their hearts for their own solutions to problems that it is effective. A close reading of Bridge to Terabithia reveals that these same ideas are present in the novel itself. This book, which is so often featured on "death lists," can be read as an argument against attempting to solve children's problems through literature.

According to the novel, stories, whether written or oral, are no substitute for real experience; no amount of literary exposure to death, for example, can prepare Jess for Leslie Burke's death.

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When such works help readers "listen to the sounds of their own hearts," however, they are valuable indeed. At the same time, through its allusions to other death stories, Bridge to Terabithia shows how its own treatment of the subject is distinctive, suggesting a movement towards a new kind of death literature.

Many discussions of Bridge to Terabithia have rightfully focused on Leslie Burke's death and its impact on Jess Aarons. It is, after all, at the heart of the book, which grew out of real events involving Paterson's son and one of his friends. In her "Newbery Award Acceptance," Paterson describes how her son's best friend was struck by lightning, launching her child into "all the classical stages of grief, inventing a few the experts have yet to catalogue" Encouraged by Ann Durrell, an editor at Dutton, she decided to write the story, but not without feeling that she could not do it, that she was too close to it.

Somewhere along the way, however, the novel expanded beyond a simple account of Leslie's death and Jess's reaction to it.

Bridge to Terabithia - Movie Quotes - Rotten Tomatoes

Indeed, as Paterson explains in an essay, "The Aim of the Writer Who Writes for Children," the book is not even really about death, but friendship. She goes on to argue that while "all mortal friendships come to a close, death is not always the most painful ending" Even so, death permeates the novel and, upon close analysis, Leslie's death is only one of many within the novel—the books and stories Jess and Leslie share are also concerned with death.

In fact, Jess and Leslie can be seen as subjects of a type of bibliotherapy before either of them has to cope with death; their own list of death books and stories would seem to be preparing them for what eventually happens to Leslie. These works also suggest a variety of attitudes towards death. The children read and hear stories in which death is an obsession, death comes as a result of revenge, death is caused by suicide, and death is chosen to save others or to further a social, political, or religious cause.

The stories they encounter do not, however, treat purposeless, accidental death, the kind that comes when least expected. It is through his friendship with Leslie that Jess becomes acquainted with these death stories as they are creating Terabithia. Since Jess is deprived of some of the imaginative sources Leslie has to draw on, she lends him "all of her books about Narnia, so he would know how things went in a magic kingdom—how the animals and the trees must be protected and how a ruler must behave" While the two children do not discuss it directly, C.

Lewis's The Chronicles of Narnia, the very series which helps them create their magical kingdom, frequently portrays death. In the first book in the series, The Lion, the Witch, and the Wardrobethe great lion, Aslan, sacrifices himself in order to save Edmund, who has come under the spell of the White Witch.

In the final book, The Last Battleseveral children are killed in a railway accident, thus sending them to Narnia for the last time. In these books, death is often both noble and temporary. For example, the grief the children feel when Aslan is sacrificed is dispelled when he returns from the dead. The children learn that there is power deeper than that of the White Witch and that she did not know that "Death itself would start working backwards" In The Last Battle, Aslan explains to the dead children that death is the start of a holiday; the reader is then told that while "they all lived happily ever after," their deaths are "only the beginning of the story" That death can be noble, even wonderful, is reiterated when Leslie accompanies Jess to church on Easter Sunday.

There, apparently for the first time, Leslie is introduced to the story of the crucifixion of Jesus. For her, it is "better than a movie. To Jess and May Belle, the story is scary and frightening, but for Leslie, it is beautiful, despite the fact that no one has ever forced her to believe it.

In these stories, as well as those detailing the lives of Lincoln and Socrates, death is put in a larger context. Anthea Bell has questioned the reality of the novel's Easter episode—could a child as literate as Leslie really never have heard the full Easter story or made a connection between Jesus and Aslan? Bell goes on to say that this chapter of the novel "does not really relate much to the book either before or after the scene" While it may indeed seem surprising that the precocious Leslie is unfamiliar with certain stories in the Bible, her response to this book is important because it points out that Jess has been affected differently by the same story.

It is clear that readers have an important role in the effect literature has on them.

Bridge to Terabithia

They may not, for example, respond to a story about death in the same way. Of course, these are not the only sorts of death stories that Leslie and Jess share. Jess, of course, has never heard of Herman Melville or of Captain Ahab's obsession with the great white whale. Leslie, however, matter-of-factly tells him "a wonderful story about a whale and a crazy sea captain who was bent on killing it.

Like The Last Battle, this novel ends with the death of nearly every major character. As is the case with Leslie Burke, they all drown. Death has become an obsession for Captain Ahab who is willing to destroy himself and everyone around him to kill the whale. While engaged in his final struggle with the whale, he cries out: Towards thee I roll, thou all-destroying but unconquering whale; to the last I grapple with thee; from hell's heart I stab at thee; for hate's sake I spit my last breath at thee.

Sink all coffins and all hearses to one common pool! Instead of saving those around him, his death destroys them. It is while Jess and Leslie are planning their own revenge against Janice Avery that yet another death story captures their attention.

When Jess responds that she can't kill a king, Leslie mentions "regicide" and then tells him about Hamlet. As she speaks, Jess mentally draws a picture of a "shadowy castle with the tortured prince pacing the parapets" Once again, he hears a story full of death, including the murder of a monarch because of a desire for revenge. At the end of the play, the stage is strewn with the corpses of Hamlet, Gertrude, Claudius, and Laertes. Several other characters have met their deaths earlier, including Ophelia, Polonius, Rosencrantz, Guildenstern, and Hamlet's father.

Like King Learwhich Paterson suggests should not be prescribed to solve the problems of the aging, Hamlet is no cure for those dealing with death.

Indeed, the deaths in the play have little in common with Leslie's. While Ophelia, Hamlet's intended, drowns in a river, too, her death is the result of madness. Leslie, on the other hand, is quite sane, a good swimmer, and, as someone who loves to go down into the water, a very unlikely candidate for drowning. Although many characters die in The Chronicles of Narnia, Moby Dick, and Hamlet, these tales do not provide Jess with much insight into death—he savors them as stories which he would like to draw or as inspiration for Terabithia; but after Leslie's death, they cannot wipe away his grief.

They are not, however, his only chance to become vicariously acquainted with death. When his classmates write about their favorite hobbies, Jess, through Leslie's essay on scuba divingfeels what it is like to drown. Myers reads it aloud, Jess feels drawn into the water—what he hears causes him to choke and sweat, giving him the sensation of drowning. During his visit to the Smithsonian with Miss Edmunds, Jess is affected by yet another death story, dramatized by a diorama of "Indians disguised in buffalo skins scaring a herd of buffalo into stampeding over a cliff to their death with more Indians waiting below to butcher and skin them.

Both Leslie's essay and the buffalo diorama have a strong emotional impact on Jess, fascinating him, giving him a sense of the violence of death.

bridge to terabithia jess and leslie relationship quotes

In the end, however, like the other death stories, they do not console him after Leslie's death. When the rope across the river breaks and Leslie falls into the water and drowns, her death is as unreal as an earlier image Jess has had of her "flattened straight out like the coyote on Road Runner," easily repaired and able to fight again another day Jess's first response to Leslie's death is that his family has told him a lie.

Even when he and his parents visit the Burke family, Jess finds the grief of Leslie's grandmother incomprehensible—it is "as if the lady who talked about Polident on TV had suddenly burst into tears. It didn't fit" At this point, one final story does have a sort of "therapeutic" effect on Jess. It differs sharply from Leslie's novels and the essay she has written because it validates his own experience and does not try to erase his feelings.

Ironically, it is Mrs. Myers, the teacher he and Leslie have openly despised, who begins to make him feel better. She tells him, however, that she did not want to forget.

Jess is surprised by the image of a loving, caring Mrs. Myers, but recognizes that she "had helped him already by understanding that he would never forget Leslie" It is important to Jess that Mrs. Myers does not diminish the importance of his experience or make him deny that it has affected him. Even though Jess has been fascinated by earlier encounters with death stories, they cannot alter what has happened to Leslie, nor can they provide the "portable solutions, preferably paperback" that Paterson cautions against Spying Heart Paterson carefully refrains from turning Jess's own story into a prepackaged set of solutions that would try to cure the problems of yet another grieving child.

Yet, as Rudman has suggested, Jess does pass through typical stages of mourning such as anger, denial, and acceptance. Paterson, however, respects his personal response to Leslie's death, making it clear that Jess's grief is genuine and should not be lightly dismissed. While Paterson suggests that the stories of Aslan and Jesus, Captain Ahab and Hamlet are powerful, even beautiful, her own book treats death differently.

Leslie's death is never glorified. Unlike the works the children have read, Bridge to Terabithia does not imply that her death is noble, nor is it anyone's fault. Leslie has not been urged to stampede off a cliff nor has she brought about her own death by a desire for revenge. Her death is immediate, unalterable, and accidental. Paterson has created a book which, like Mrs. Myers' story, does not ask the reader to dismiss the pain of death or to forget about it.

Instead, she asks her readers to "go within themselves to listen to the sounds of their own hearts" Spying Heart While Paterson questions the validity of bibliotherapy, she also feels that books can provide readers with strength, sustenance, and hope.

Certainly, the books Leslie shares with Jess accomplish this. But they provide no quick cure—reading needs to be a cooperative effort between the writer and the reader. In Gates of Excellence, Paterson maintains, "I have no more right to tell my readers how to respond to what I have written than they have to tell me how to write it" In another essay, she writes that it is "only when the deepest sound going forth from my heart meets the deepest sound coming forth from yours—it is only in this encounter that the true music begins" Spying Heart Paterson has written the kind of book Jess would have appreciated reading, though it is clear that it would not have provided him with pat solutions or wiped away his grief.

In the end, Jess must resolve his feelings through his own actions, building a bridge into Terabithia, sharing with May Belle what he has learned from Leslie. Ultimately, the stories Jess has heard, as well as his friendship with Leslie, help him to "push back the walls of his mind and … see beyond to the shining world—huge and terrible and beautiful and very fragile"but it is up to him to stand up to his fears and create his own story.

Works Cited Bell, Anthea. Literature and the Child. The Lion, the Witch, and the Wardrobe. Nilsen, Alleen Pace, and Kenneth L.

Literature for Today's Young Adults. On Reading and Writing Books for Children. The protagonists are younger than Paterson's previous heroes and heroines, and in some sense their situations are somewhat less desperate. Jessie Aarons faces some of the same difficulties faced by Muna and Jiro. He especially faces the need to accept himself. But whereas Muna searches for a family, Jessie must find a place for himself in a family where he does not appear to fit in.

It is a complex and painful search. Bridge to Terabithia won Paterson the Newbery Award. In her acceptance speech she focused on the notion of bridges, which are central to the book. In fact, she argued that the book might itself be a bridge "that will take children from where they are to where they might be" "Newbery Medal Acceptance Speech," The bridge metaphor functions on several levels in this speech. The novel is a bridge over the chasm of death that Paterson felt.

Bridge to Terabithia Quotes

It is a way to overcome the chasms established by "time and culture and desperate human nature. This reference to hope and crossings would, of course, be familiar to readers of her earlier novels. Bridge to Terabithia does focus on the notion of crossings. Jess Aarons is the most visible "crosser," though not the only one. In each case the crossing involves a movement from the most mundane, expected, humdrum way of the world into a realm of grace and high courtesy and imagination.

It is a crossing made by Jess and Leslie. It is a crossing promised to May Belle and perhaps to Joyce Ann. And it is a crossing offered to those who at first seem to be the least likely crossers: Jess's father and his teacher, Mrs.

If these crossings define the growth of individual characters, they also define the growth of the family structures of those characters, especially as Jess's family comes to new awarenesses about their son's needs and their own willingness to show love.

The novel opens with a moment of hope for Jess: His mother and older sisters do not find this to be even moderately interesting, though his two younger sisters do. As his father is away most of the time, Jess is responsible for many of the chores, which he does alone. In fact, he does almost everything alone. At school, he is to be disappointed: Leslie Burke, a girl whose family has just moved into the house next door, is faster.

In fact, she makes it clear that in many ways she does not know her place. She plays with the boys, she wears grubby clothes, she admits that she has no television, and she virtually insists on being his friend.

When Jess hears one of Leslie's papers read aloud, he recognizes in her the creativity and imagination that he feels but cannot express to his family. He also recognizes his growing friendship, as he tries to help her to do what he does: Together, at first to escape from the world of their classroom, they create the kingdom of Terabithia, a land of high imagination.

One can only enter by swinging across a dry creekbed. As their friendship grows, Jess must face the questioning of his classmates and family. But Leslie has opened up the world of the imagination for him, and he is not the same insecure boy he once was. At Christmas he gives her a dog, Prince Terrian, and they rejoice in their imaginative world, in the sense that they can withdraw from the ugliness of the world around them, that they can understand life in a very different way.

The bickering of Jess's older sisters, the disappointed cynicism of his father, and the stifling classroom can be put aside. There is one teacher who can do for Jess something of what Leslie does: When, on a rainy Saturday, she offers to take Jess to an art exhibit, he agrees gladly.

When he returns, however, he finds his family waiting: Leslie has drowned in the swollen creek while trying to cross the gully into Terabithia. Stricken, Jess runs away. His father follows, and in a moment of unexpected grace and newfound love, he picks Jess up and carries him back to the pickup and their home.

He cannot yet find the right words to connect with Jess, but he has found the right actions. His family cannot seem to understand his reaction, though they are gentle to him.

He endures the funeral, the sympathies of his teacher, and the departure of Leslie's family. Even Prince Terrien will be gone. But Jess has grown, and he has taken on the imaginative capacities of Leslie.

Raven Hair, Ivory Skin: There's the music teacher Miss Edmunds who is described as having long swishy black hair and blue, blue eyes. Lord, she was gorgeous. The real-life inspiration for Leslie was Katherine Paterson's son's childhood friend, Lisa Hill who was killed by a lightning strike while climbing some rocks on a beach.

The author originally intended to finish off Leslie the same way but ultimately changed it to a drowning because her editor felt it would be more believable. Probably right, but ironic. After Jess acts out in school by not doing his work, the teacher talks to him about grieving the loss of a loved one when it appears he's about to be punished. A similar thing happens in the book, only instead of punching a kid, Jesse didn't stand for the national anthem.

Jesse doesn't invite Leslie to the museum and she dies as a result. Jesse is understandably broken up over it. Unwitting Instigator of Doom: Edmunds invites Jesse to come to the art museum with her, and Jesse doesn't invite Leslie, sealing her fate. Jesse knows this and regrets it. Jesse's relationship with his father. The Aarons' reactions once Jesse comes home from the museum. The movie contains examples of the following tropes Adaptation Distillation: In the film, the setting is changed to the present day, so there's less focus on Jesse wanting to be an artist, which was the main conflict between him and his father in the book.

It also doesn't make a big deal about Leslie being a Tomboy. Jesse's father is Jesse Sr. The aforementioned aloof big sisters are brunettes, at least in the version. Alternative Foreign Theme Song: The Cast Show Off: One of the reasons for casting Zooey Deschanel as the music teacher is that she can actually sing.

Invoked that the teacher doesn't even chew out Jesse for punching Scott Hoager when the latter jokes that with Leslie dead, Jesse is the fastest kid in school.

Bridge to Terabithia : Top Ten Quotes | Novelguide

There was a scene in the film where the camera focuses on Jesse's arm becoming robotic and Jesse punching a Squoager. Near the last half of the film, Jesse confronts the Squoager's real life counterpart and punches him. Complete with the camera focusing on the arm, as if Jesse was pretending that it would become robotic. There's also lots of shots of the water rising and the rope close to breaking.

Leslie's essay is entitled "Self-contained Underwater Breathing Apparatus", depicts her fictional life as a scuba-diver, and the last few lines talk about how wonderful life is because of how short it is. All foreshadowing her untimely death, as if she knew the whole time. Gary Fulcher, who in the film is split into two characters - himself and Scott Hoager.

The latter seems to take the primary antagonistic role in the film. Exaggerated in the film where the two bullies continue to taunt Jess after Leslie's death.

The character she plays is one of her few roles not of this type. She comes off that way to Jesse, though, compared with the other adults in his life, hence his infatuation with her. When Gary crossed the line mocked a grieving Jess about Leslie's death, the latter gave a well-deserved punch that sent the bully flying into the classroom wall. Never Trust a Trailer: Quite possibly one of the most baffling cases in modern movie history.

bridge to terabithia jess and leslie relationship quotes

The trailer for the film made it seem like a Narnia-esque fantasy movie where Terabithia was real. Apparently, the filmmakers were none too pleased with the way the movie was marketed, either. Especially since the key screenwriter was David Paterson, the son of the original author and on whom Jesse is based.

This also led to confusion with fans who hadn't read the book, as they watched the movie waiting for Terabithia to "become real" only to realize it doesn't.