Events and characters

Saint-Exupéry next to his downed Simoun (lacking an all-critical radio) after crashing into the Sahara about 3 am during an air race to Saigon, Vietnam. His survival ordeal was about to begin (Egypt, 1935).

In The Little Prince, its narrator, the pilot, talks of being stranded in the desert beside his crashed aircraft. The account clearly drew on Saint-Exupéry's own experience in the Sahara, an ordeal described in detail in his 1939 memoir Wind, Sand and Stars (original French: Terre des hommes).^[9]

On 30 December 1935, at 2.45am, after 19 hours and 44 minutes in the air, Saint-Exupéry, along with his copilot-navigator André Prévot, crashed in the Sahara desert.^[29] They were attempting to break the speed record for a Paris-to-Saigon flight in a then-popular type of air race called a raid, that had a prize of 150,000 francs.^[30] Their plane was a Caudron C-630 Simoun,^{[Note 3]} and the crash site is thought to have been near to the Wadi Natrun valley, close to the Nile Delta.^[31]

Both miraculously survived the crash, only to face rapid dehydration in the intense desert heat.^[32] Their maps were primitive and ambiguous. Lost among the sand dunes with a few grapes, a thermos of coffee, a single orange, and some wine, the pair had only one day's worth of liquid. They both began to see mirages, which were quickly followed by more vivid hallucinations. By the second and third days, they were so dehydrated that they stopped sweating altogether. Finally, on the fourth day, a Bedouin on a camel discovered them and administered a native rehydration treatment, which saved Saint-Exupéry's and Prévot's lives.^[30]

In the novella, the fox, believed to be modelled after the author's intimate New York City friend, Silvia Hamilton Reinhardt, tells the prince that his rose is unique and special, as she is the one he loves.^[33] The novella's iconic phrase, "One sees clearly only with the heart" is believed to have been suggested by Reinhardt.

The fearsome, grasping baobab trees, researchers have contended, were meant to represent Nazism attempting to destroy the planet.^[33] The little prince's reassurance to the pilot that the prince's body is only an empty shell resembles the last words of Antoine's dying younger brother François, who told the author, from his deathbed: "Don't worry. I'm all right. I can't help it. It's my body".^[34]

Rose

The Rose in The Little Prince was likely inspired by Saint-Exupéry's Salvadoran wife, Consuelo (Montreal, 1942)

Many researchers believe that the prince's kindhearted, but petulant and vain, Rose was inspired by Saint-Exupéry's Salvadoran wife Consuelo de Saint-Exupéry,^[33][35] with the small home planet being inspired by El Salvador where he crashed and stayed to recover while being within view of 3 volcanoes, one of which was Ilamatepec, also known as The Santa Ana Volcano.^[36] Despite a tumultuous marriage, Saint-Exupéry kept Consuelo close to his heart and portrayed her as the prince's rose, whom he tenderly protects with a wind screen and places under a glass dome on his tiny planet. Saint-Exupéry's infidelity and the doubts of his marriage are symbolized by the vast field of roses the prince encounters during his visit to Earth.^[9]

This interpretation was described by biographer Paul Webster who stated she was "the muse to whom Saint-Exupéry poured out his soul in copious letters ... Consuelo was the rose in The Little Prince. "I should have judged her by her acts and not by her words", says the prince. "She wrapped herself around me and enlightened me. I should never have fled. I should have guessed at the tenderness behind her poor ruses."^[24]

Prince

Saint-Exupéry probably has drawn inspiration for the prince's character and appearance from his own self as a youth, as during his early years friends and family called him le Roi-Soleil ("the Sun King") because of his golden curly hair. The author had also met a precocious eight-year-old with curly blond hair while he was residing with a family in Quebec City in 1942, Thomas De Koninck, the son of philosopher Charles De Koninck.^[37][38][39] Another possible inspiration for the little prince has been suggested as Land Morrow Lindbergh, the young, golden-haired son of fellow aviator Charles Lindbergh and his wife, Anne Morrow Lindbergh, whom he met during an overnight stay at their Long Island home in 1939.^{[40][41][Note 4]}

Some have seen the prince as a Christ figure, as the child is sin-free and "believes in a life after death", subsequently returning to his personal heaven.^[42] When Life photojournalist John Phillips questioned the author-aviator on his inspiration for the child character, Saint-Exupéry told him that one day he looked down on what he thought was a blank sheet and saw a small childlike figure: "I asked him who he was", he replied. "I'm the Little Prince" was the reply.^[43]

One of Saint-Exupéry's earliest literary references to a small prince is to be found in his second news dispatch from Moscow, dated 14 May 1935. In his writings as a special correspondent for Paris-Soir, the author described traveling from France to the Soviet Union by train. Late at night, during the trip, he ventured from his first-class accommodation into the third-class carriages, where he came upon large groups of Polish families huddled together, returning to their homeland. His commentary not only described a diminutive prince but also touched on several other themes Saint-Exupéry incorporated into various philosophical writings:^[44]

I sat down [facing a sleeping] couple. Between the man and the woman a child had hollowed himself out a place and fallen asleep. He turned in his slumber, and in the dim lamplight I saw his face. What an adorable face! A golden fruit had been born of these two peasants..... This is a musician's face, I told myself. This is the child Mozart. This is a life full of beautiful promise. Little princes in legends are not different from this. Protected, sheltered, cultivated, what could not this child become? When by mutation a new rose is born in a garden, all gardeners rejoice. They isolate the rose, tend it, foster it. But there is no gardener for men. This little Mozart will be shaped like the rest by the common stamping machine.... This little Mozart is condemned.

— A Sense of Life: En Route to the U.S.S.R.

Manuscript

The original 140-page autograph manuscript of The Little Prince, along with various drafts and trial drawings, were acquired from the author's close friend Silvia Hamilton in 1968 by curator Herbert Cahoon of the Pierpont Morgan Library (now The Morgan Library & Museum) in Manhattan, New York City.^[11][59][60] It is the only known surviving handwritten draft of the complete work.^[61] The manuscript's pages include large amounts of the author's prose that was struck-through and therefore not published as part of the first edition. In addition to the manuscript, several watercolour illustrations by the author are also held by the museum. They were not part of the first edition. The institution has marked both the 50th and 70th anniversaries of the novella's publication, along with the centenary celebration of the author's birth, with major exhibitions of Antoine de Saint-Exupéry's literary works.^[33][62] Physically, the manuscript's onion skin media has become brittle and subject to damage. Saint-Exupéry's handwriting is described as being doctor-like, verging on indecipherable.^[63]

The story's keynote aphorism, On ne voit bien qu'avec le cœur. L'essentiel est invisible pour les yeux ("One sees clearly only with the heart. What is essential is invisible to the eye") was reworded and rewritten some 15 times before achieving its final phrasing. Saint-Exupéry also used a Dictaphone recorder to produce oral drafts for his typist.^[22][59] His initial 30,000-word working manuscript was distilled to less than half its original size through laborious editing sessions. Multiple versions of its many pages were created and its prose then polished over several drafts, with the author occasionally telephoning friends at 2:00 a.m. to solicit opinions on his newly written passages.^[22]

Many pages and illustrations were cut from the finished work as he sought to maintain a sense of ambiguity to the story's theme and messages. Included among the deletions in its 17th chapter were references to locales in New York, such as the Rockefeller Center and Long Island. Other deleted pages described the prince's vegetarian diet and the garden on his home asteroid that included beans, radishes, potatoes and tomatoes, but which lacked fruit trees that might have overwhelmed the prince's planetoid. Deleted chapters discussed visits to other asteroids occupied by a retailer brimming with marketing phrases, and an inventor whose creation could produce any object desired at a touch of its controls. Likely the result of the ongoing war in Europe weighing on Saint-Exupéry's shoulders, the author produced a sombre three-page epilogue lamenting "On one star someone has lost a friend, on another someone is ill, on another someone is at war...", with the story's pilot-narrator noting of The Prince: "he sees all that. . . . For him, the night is hopeless. And for me, his friend, the night is also hopeless." The draft epilogue was also omitted from the novella's printing.^[59]

In April 2012 a Parisian auction house announced the discovery of two previously unknown draft manuscript pages that included new text.^[10][64] In the newly discovered material the Prince meets his first Earthling after his arrival. The person he meets is an "ambassador of the human spirit".^[10][64] The ambassador is too busy to talk, saying he is searching for a missing six letter word: "I am looking for a six-letter word that starts with G that means 'gargling' ", he says. Saint-Exupéry's text does not say what the word is, but experts believe it could be "guerre" (or "war"). The novella thus takes a more politicized tack with an anti-war sentiment, as 'to gargle' in French is an informal reference to 'honour', which the author may have viewed as a key factor in military confrontations between nations.^[64][65]

Dedication

Saint-Exupéry met Léon Werth (1878–1955), a writer and art critic, in 1931. Werth soon became Saint-Exupery's closest friend outside of his Aeropostale associates. Werth was an anarchist, a leftist Bolshevik supporter of Jewish descent, twenty-two years older than Saint-Exupéry.

Saint-Exupéry dedicated two books to him, Lettre à un otage (Letter to a Hostage) and Le Petit Prince (The Little Prince), and referred to Werth in three more of his works. At the beginning of the Second World War while writing The Little Prince, Saint-Exupéry lived in his downtown New York City apartment, thinking of his native France and his friends. Werth spent the war unobtrusively in Saint-Amour, his village in the Jura, a mountainous region near Switzerland where he was "alone, cold and hungry", a place that had few polite words for French refugees. Werth appears in the preamble to the novella, where Saint-Exupéry dedicates the book to him:^[66]

To Leon Werth

I ask children to forgive me for dedicating this book to a grown-up. I have a serious excuse: this grown-up is the best friend I have in the world. I have another excuse: this grown-up can understand everything, even books for children. I have a third excuse: he lives in France where he is hungry and cold. He needs to be comforted. If all these excuses are not enough then I want to dedicate this book to the child whom this grown-up once was. All grown-ups were children first. (But few of them remember it.) So I correct my dedication:

To Leon Werth,

When he was a little boy

Saint-Exupéry's aircraft disappeared over the Mediterranean in July 1944. The following month, Werth learned of his friend's disappearance from a radio broadcast. Without having yet heard of The Little Prince, in November, Werth discovered that Saint-Exupéry had published a fable the previous year in the U.S., which he had illustrated himself, and that it was dedicated to him.^[67] At the end of the Second World War, which Antoine de Saint-Exupéry did not live to see, Werth said: "Peace, without Tonio (Saint-Exupéry) isn't entirely peace." Werth did not see the text for which he was so responsible until five months after his friend's death, when Saint-Exupéry's French publisher, Gallimard, sent him a special edition. Werth died in Paris in 1955.

Illustrations

All of the novella's simple but elegant watercolour illustrations, which were integral to the story, were painted by Saint-Exupéry. He had studied architecture as a young adult but nevertheless could not be considered an artist – which he self-mockingly alluded to in the novella's introduction. Several of his illustrations were painted on the wrong side of the delicate onion skin paper that he used, his medium of choice.^[50] As with some of his draft manuscripts, he occasionally gave away preliminary sketches to close friends and colleagues; others were even recovered as crumpled balls from the floors in the cockpits he flew.^{[Note 7]} Two or three original Little Prince drawings were reported in the collections of New York artist, sculptor and experimental filmmaker Joseph Cornell.^[68] One rare original Little Prince watercolour would be mysteriously sold at a second-hand book fair in Japan in 1994, and subsequently authenticated in 2007.^[69][70]

An unrepentant lifelong doodler and sketcher, Saint-Exupéry had for many years sketched little people on his napkins, tablecloths, letters to paramours and friends, lined notebooks and other scraps of paper.^[43][45] Early figures took on a multitude of appearances, engaged in a variety of tasks. Some appeared as doll-like figures, baby puffins, angels with wings, and even a figure similar to that in Robert Crumb's Keep On Truckin' of 1968. In a 1940 letter to a friend, he sketched a character with his own thinning hair, sporting a bow tie, viewed as a boyish alter-ego, and he later gave a similar doodle to Elizabeth Reynal at his New York publisher's office.^[43] Most often the diminutive figure was expressed as "...a slip of a boy with a turned up nose, lots of hair, long baggy pants that were too short for him and with a long scarf that whipped in the wind. Usually the boy had a puzzled expression... [T]his boy Saint-Exupéry came to think of as "the little prince", and he was usually found standing on top of a tiny planet. Most of the time he was alone, sometimes walking up a path. Sometimes there was a single flower on the planet."^[56] His characters were frequently seen chasing butterflies; when asked why they did so, Saint-Exupéry, who thought of the figures as his alter-egos, replied that they were actually pursuing a "realistic ideal".^[45] Saint-Exupéry eventually settled on the image of the young, precocious child with curly blond hair, an image which would become the subject of speculations as to its source. One "most striking" illustration depicted the pilot-narrator asleep beside his stranded plane prior to the prince's arrival. Although images of the narrator were created for the story, none survived Saint-Exupéry's editing process.^[14]

To mark both the 50th and 70th anniversaries of The Little Prince's publication, the Morgan Library and Museum mounted major exhibitions of Saint-Exupéry's draft manuscript, preparatory drawings, and similar materials that it had obtained earlier from a variety of sources. One major source was an intimate friend of his in New York City, Silvia Hamilton (later, Reinhardt), to whom the author gave his working manuscript just prior to returning to Algiers to resume his work as a Free French Air Force pilot.^[33][62][71] Hamilton's black poodle, Mocha, is believed to have been the model for the Little Prince's sheep, with a Raggedy Ann type doll helping as a stand-in for the prince.^[61] Additionally, a pet boxer, Hannibal, that Hamilton gave to him as a gift may have been the model for the story's desert fox and its tiger.^[47] A museum representative stated that the novella's final drawings were lost.^[33]

Seven unpublished drawings for the book were also displayed at the museum's exhibit, including fearsome looking baobab trees ready to destroy the prince's home asteroid, as well as a picture of the story's narrator, the forlorn pilot, sleeping next to his aircraft. That image was likely omitted to avoid giving the story a 'literalness' that would distract its readers, according to one of the Morgan Library's staff.^[33] According to Christine Nelson, curator of literary and historical manuscripts at the Morgan, "[t]he image evokes Saint-Exupéry's own experience of awakening in an isolated, mysterious place. You can almost imagine him wandering without much food and water and conjuring up the character of the Little Prince."^[14] Another reviewer noted that the author "chose the best illustrations... to maintain the ethereal tone he wanted his story to exude. Choosing between ambiguity and literal text and illustrations, Saint-Exupéry chose in every case to obfuscate."^[72] Not a single drawing of the story's narrator–pilot survived the author's editing process; "he was very good at excising what was not essential to his story".^[14]

In 2001 Japanese researcher Yoshitsugu Kunugiyama surmised that the cover illustration Saint-Exupéry painted for Le Petit Prince deliberately depicted a stellar arrangement created to celebrate the author's own centennial of birth. According to Kunugiyama, the cover art chosen from one of Saint-Exupéry's watercolour illustrations contained the planets Saturn and Jupiter, plus the star Aldebaran, arranged as an isosceles triangle, a celestial configuration which occurred in the early 1940s, and which he likely knew would next reoccur in the year 2000.^[73] Saint-Exupéry possessed superior mathematical skills and was a master celestial navigator, a vocation he had studied at Salon-de-Provence with the Armée de l'Air (French Air Force).

Post-publication

Stacy Schiff, one of Saint-Exupéry's principal biographers, wrote of him and his most famous work, "rarely have an author and a character been so intimately bound together as Antoine de Saint-Exupéry and his Little Prince", and remarking of their dual fates, "the two remain tangled together, twin innocents who fell from the sky".^[74] Another noted that the novella's mystique was "enhanced by the parallel between author and subject: imperious innocents whose lives consist of equal parts flight and failed love, who fall to earth, are little impressed with what they find here and ultimately disappear without a trace."^[75]

Only weeks after his novella was first published in April 1943, despite his wife's pleadings and before Saint-Exupéry had received any of its royalties (he never would), the author-aviator joined the Free French Forces. He would remain immensely proud of The Little Prince, and almost always kept a personal copy with him which he often read to others during the war.^[74]

As part of a 32-ship military convoy he voyaged to North Africa where he rejoined his old squadron to fight with the Allies, resuming his work as a reconnaissance pilot despite the best efforts of his friends, colleagues and fellow airmen who could not prevent him from flying.^{[Note 8]} He had previously escaped death by the barest of margins a number of times, but was then lost in action during a July 1944 spy mission from the moonscapes of Corsica to the continent in preparation for the Allied invasion of occupied France, only three weeks before the Liberation of Paris.^{[45][Note 9]}

Reception

Many of the book's initial reviewers were flummoxed by the fable's multi-layered story line and its morals,^[9] perhaps expecting a significantly more conventional story from one of France's leading writers. Its publisher had anticipated such reactions to a work that fell neither exclusively into a children's nor adults' literature classification. The New York Times reviewer wrote shortly before its publication "What makes a good children's book? ... The Little Prince, which is a fascinating fable for grown-ups [is] of conjectural value for boys and girls of 6, 8 and 10. [It] may very well be a book on the order of Gulliver's Travels, something that exists on two levels"; "Can you clutter up a narrative with paradox and irony and still hold the interest of 8 and 10-year olds?" Notwithstanding the story's duality, the review added that major portions of the story would probably still "capture the imagination of any child."^[78] Addressing whether it was written for children or adults, Reynal & Hitchcock promoted it ambiguously, saying that as far as they were concerned "it's the new book by Saint-Exupéry", adding to its dustcover "There are few stories which in some way, in some degree, change the world forever for their readers. This is one."^[59]

Others were not shy in offering their praise. Austin Stevens, also of The New York Times, stated that the story possessed "...large portions of the Saint-Exupéry philosophy and poetic spirit. In a way it's a sort of credo."^[56] P.L. Travers, author of the Mary Poppins series of children books, wrote in a New York Herald Tribune review: "The Little Prince will shine upon children with a sidewise gleam. It will strike them in some place that is not the mind and glow there until the time comes for them to comprehend it."^[59][79]

British journalist Neil Clark, in The American Conservative in 2009, offered an expansive view of Saint-Exupéry's overall work by commenting that it provides a "…bird's eye view of humanity [and] contains some of the most profound observations on the human condition ever written", and that the author's novella "doesn't merely express his contempt for selfishness and materialism [but] shows how life should be lived."^[80]

The book enjoyed modest initial success, residing on The New York Times Best Seller list for only two weeks,^[63] as opposed to his earlier 1939 English translation, Wind, Sand and Stars which remained on the same list for nearly five months.^[43] As a cultural icon, the novella regularly draws new readers and reviewers, selling almost two million copies annually and also spawning numerous adaptations. Modern-day references to The Little Prince include one from The New York Times that describes it as "abstract" and "fabulistic".^[62]

Spanish editions

After being translated by Bonifacio del Carril, The Little Prince was first published in Spanish as El principito in September 1951 by the Argentine publisher Emecé Editores.^[103][104] Other Spanish editions have also been created; in 1956 the Mexican publisher Diana released its first edition of the book, El pequeño príncipe, a Spanish translation by José María Francés.^[8] Another edition of the work was produced in Spain in 1964 and, four years later, in 1968, editions were also produced in Colombia and Cuba, with translation by Luis Fernández in 1961. Chile had its first translation in 1981; Peru in February 1985; Venezuela in 1986, and Uruguay in 1990.^{[103][105][106]} The book is among the few books in the Castilian cant Gacería^[107] (as El pitoche engrullón) or the Madrid slang Cheli^[108] (as El chaval principeras).

Bavarian editions

The Little Prince has an adaptation for the inhabitants of Bavaria, Austria and South Tyrol, covering for a large variety of the Bavarian language. The book was adapted by Johannes Limmer and published in 2019. It is called Da gloane Prinz and contains the original pictures of Saint-Exupéry.^[109]

Chinese editions

The Little Prince is one of the most popular and beloved foreign works of literature in China. It is reported that there are more than 70 Chinese translations of the novella.^[110] According to the official website of the Succession Antoine de Saint-Exupéry-d'Agay, the version translated by Li Jihong, which was published in January 2013, sold over two million copies in less than four years.^[111] Cheng Li-chun published a translation in Taiwan in May 2022.^[112]

Extension of copyrights in France

Due to Saint-Exupéry's wartime death, his estate received the civil code designation Mort pour la France (English: Died for France), which was applied by the French government in 1948. Amongst the law's provisions is an increase of 30 years in the duration of copyright;^[113] thus most of Saint-Exupéry's creative works will not fall out of copyright status in France for an extra 30 years.^[114][75] So the original French text was in copyright almost everywhere in the world until 1 January 2015, remains under copyright in the US until 2039^[115][116] and will remain in copyright in France until 2032.^[117] EU law on copyright, however, fluctuates country by country, despite years of attempts to harmonize it at 70 years. French law allows for a copyright of 70 years from the author's death. Saint-Exupery, because of extraordinary service to his nation, is granted an additional 30 years, meaning, in France, Le Petit Prince does not actually fall out of copyright until the end of 2044.

Museums and exhibits

Places

Playground

Sculpture of the lamplighter in a "story playground" themed after The Little Prince in Holon, Israel

• One of the "story playgrounds" – a series of playgrounds themed after famous children's stories in Holon, Israel – is themed after The Little Prince. It features sculptures and play structures depicting scenes and characters from the book.

Insignia and awards

The fighter jet insignia of the GR I/33, bearing an image of the Little Prince at top

• Prior to its decommissioning in 2010, the GR I/33 (later renamed as the 1/33 Belfort Squadron), one of the French Air Force squadrons Saint-Exupéry flew with, adopted the image of the Little Prince as part of the squadron and tail insignia of its Dassault Mirage fighter jets.^[149] Some of the fastest jets in the world were flown with The Prince gazing over their pilots' shoulders.
• The Little Prince Literary Award for Persian fiction by writers under the age of 15, commemorating the title of Saint-Exupéry's famous work, was created in Iran by the Cheragh-e Motale'eh Literary Foundation. In 2012, some 250 works by young authors were submitted for first stage review according to the society's secretary Maryam Sistani, with the selection of the best three writers from 30 finalists being conducted in Tehran that September.^[150][151]
• Several other Little Prince Awards have also been established in Europe, meant to promote achievement and excellence in a variety of fields such as in assistance to autistic children, child literacy, children's literature (by adults), Puppetry theatre and theatre arts.^{[152][153][154]}

Numismatics and philatelic

• Before France adopted the euro as its currency, Saint-Exupéry and drawings from The Little Prince were on the 50-franc banknote; the artwork was by Swiss designer Roger Pfund.^[74][155] Among the anti-counterfeiting measures on the banknote was micro-printed text from Le Petit Prince, visible with a strong magnifying glass.^[156] Additionally, a 100-franc commemorative coin was also released in 2000, with Saint-Exupéry's image on its obverse, and that of the Little Prince on its reverse.^[157]
• In commemoration of the 50th anniversary of the writer's untimely death, Israel issued a stamp honoring "Saint-Ex" and The Little Prince in 1994.^[158] Philatelic tributes have been printed in at least 24 other countries as of 2011.^[159]

Astronomy

• The B612 Foundation is a private foundation created to track Near-Earth objects that might pose a threat to Earth, and is dedicated to protecting the planet from asteroid strikes, similar to the Tunguska event of 1908. The private foundation was founded by a group of U.S. scientists and astronauts, including Clark Chapman, Piet Hut, Rusty Schweickart and Ed Lu in October 2002. The non-profit organization is named in honour of the prince's home asteroid.^[160]
• An asteroid discovered in 1975, 2578 Saint-Exupéry, was also named after the author of The Little Prince.^[161]
• Another asteroid discovered in 1993 was named 46610 Bésixdouze, which is French for "B six twelve". The asteroid's number, 46610, becomes B612 in hexadecimal notation. B-612 was the name of the prince's home asteroid.
• In 2003 a small asteroid moon, Petit-Prince, discovered earlier in 1998, was named in part after The Little Prince.^[162]

Professional wrestling

French professional wrestler Daniel Dubail was billed as Le Petit Prince.^[163] Pakistani-British professional wrestler Mohammed Allam was billed as The Little Prince.^[164]

The Little Prince Day

Since 2020, June 29 is International Little Prince Day. This date was chosen to commemorate the birth of Antoine de Saint-Exupéry, which occurred on June 29, 1900. The Antoine de Saint-Exupéry Foundation started the initiative striving to promote the humanist values carried by the book published in 1943. Mark Osborne was one of the first personalities to participate in the Little Prince Day 2020.^[165]

Translations

• de Saint-Exupéry, Antoine (2006). The Little Prince: And Letter to a Hostage. Translated by Cuffe, T. V. F.. Penguin. ISBN 978-0-14-118562-0. OCLC 1023214985.
• ——— (6 September 2018). The Little Prince. Translated by Morpurgo, Michael. London: Vintage Children's Classics. ISBN 9781784874179.
• ——— (30 May 2019). The Little Prince. Translated by Norminton, Gregory. Alma Classics. ISBN 978-1-84749-824-3.
• ——— (15 January 2018). The Little Prince. Translated by Testot-Ferry, Irene. Ware, Hertfordshire: Wordsworth. ISBN 978-1-84022-760-4. OCLC 1105536767.
• ——— (1943). The Little Prince. Translated by Woods, Katherine (1st ed.). New York: Reynal & Hitchcock. ISBN 9780152023980. OCLC 898880592. Retrieved 28 July 2020.

Sources

• Beaumont, Peter (1 August 2010). "Antoine de Saint-Exupéry's Little Prince Poised for a Multimedia Return to Earth: The Boy Who Lived on an Asteroid Whose Tale Was Told in a Classic French Novella Is Being Revived on TV, Film And In Print". The Observer. Retrieved 15 October 2011.
• Brown, Hannibal (2004). "The Country Where the Stones Fly". Visions of a Little Prince. Archived from the original (documentary research) on 29 March 2007. Retrieved 16 September 2011.
• Dunning, Jennifer (12 May 1989). "In the Footsteps of Saint-Exupery". The New York Times. Retrieved 14 September 2010.
• Heuré, Gilles (2006). L'insoumis: Léon Werth, 1878–1955. Paris: Éditions Viviane Hamy. ISBN 978-2878582192.
• Saint-Exupéry, Consuelo de (2003). The Tale of the Rose: The Love Story Behind The Little Prince. Translated by Allen, Esther. New York City: Random House. ISBN 978-0-8129-6717-3.
• Schiff, Stacy (1994). Saint-Exupéry: A Biography. Knopf. ISBN 978-0-679-40310-4.
• Schiff, Stacy (1996). Saint-Exupéry: A Biography. Vintage Canada. ISBN 978-0-679-30822-5.
• Schiff, Stacy (2006). Saint-Exupéry: A Biography. Henry Holt. ISBN 978-0-805-07913-5.
• Severson, Marilyn S. (2004). Masterpieces of French Literature: Greenwood Introduces Literary Masterpieces. Greenwood Publishing Group. ISBN 978-0-313-31484-1.
• Webster, Paul (1993). Antoine de Saint-Exupéry: The Life and Death of The Little Prince. London: Pan Macmillan. ISBN 978-0-333-61702-1.