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I once read that one must take a close look at a picture book in order to discover what can ultimately be found in it beyond what is seen on the surface. At first glance, Ten Counting Cat is a simple, ordinary book about numbers. On the surface that’s what draws the reader to it. If scrutinized beyond its numerical surface, it is a multi-layered book, which makes it a most unique counting book. It is unique because it is a very short story of numbers set against the universal, macabre, and fateful relationship between a cat and a bird. As the numbers evolve from one page to the next, one begins to notice an underlying preoccupation with death throughout the book. The description on the author’s Etsy shop states, “Arithmetic is Unsympathetic!” For many of us, arithmetic feels like the death of us. I must admit that it does for yours truly. However, this theme of death is no more shocking than your typical fairy tale, so don’t be apprehensive about giving Ten Counting Cat a legitimate shot. It will be worth your time because Robert Chaplin eloquently and quite effortlessly blends the concepts of the circle of life and a cat’s nine lives to explain infinity and other numerical concepts. On a final note, the illustrations are irresistibly simple and cute, which mute the theme of death throughout the story if you’re concerned about it in this fun and unique counting book! However, this central theme should not be ignored.

For more information on Ten Counting Cat, click here.

The True Story of the 3 Little Pigs shows a parallel relationship between images and text. For example, the expressive way the paint has been applied is a metaphor for the wolf’s energy and cunning ways. Even though the book is written from the wolf’s perspective with protestations of innocence, the images in The True Story of the 3 Little Pigs hint that the wolf is not entirely being truthful.

In Whistle for Willie, the pictures dramatize the story beyond the calm verbal recitation. The contrasting bright and pale illustrations dominate by covering the whole page and the text is placed conveniently and calculatedly within the contents and structure of the illustrations. The story seems simple enough. It’s about a boy named Peter who frets because he cannot call his dog because he doesn’t know how to whistle. However, it really is much more complex that that. The lines in the story signify the emotional states that Peter experiences as the story unfolds. For example, the horizontal lines stand for Peter’s emotional balance, the curves indicate his fluctuating moods, and the horizontal lines stand for the tension that he experiences. Pay close attention to the story as it travels alongside the illustrations and notice how the moods not only change, but come to life.

John S. Goodall has created a truly imaginative story of Little Red Riding Hood in this wordless edition of the classic fairy tale. His heroine is an adorable young mouse who encounters a number of friendly animals on her way to visit her grandmother. On her journey, she meets a family of ducks, a chivalrous frog, a squirrel who stops to tell her the time, and a sophisticated looking wolf who has been unknowingly following her throughout her encounters with the aforementioned animals. Unlike most stories of Little Red Riding Hood, John S. Goodall’s version is unique because it empowers the use of the imagination through self-administered dialogue that is not only unique to each reader, but to each reading of the story itself. Needless to say, no two experiences are alike when picking up  this charming book. Another unique aspect of John S. Goodall’s wordless classic is the effective use of alternating full and half pages throughout the book. This approach to storytelling works exceptionally well to accentuate the amusement, drama, tension, and the element of surprise in this classic re-telling of Little Red Riding Hood. Bravo to John S. Goodall.

Before ever stepping one foot in the classroom, children are virtually offered nothing but fantasy-based literature. Bookshelves and bedrooms are filled with stacks of classics by A.A. Milne, Dr. Suess, Curious George, and countless others. Upon reaching school, however, imaginative literature is tossed out the window to some degree and replaced with more reality-based writing. This pattern in school only accelerates as children traverse from one grade to another. If there is any consolation in this scenario, this observation does demonstrate that the home is the birthplace of imagination and of endless possibilities, a silver-lining in this otherwise grim portrait. Needless to say, if fantasy-based stories are going to continue to survive in the lives of children, they are going to have to come from outside of the school setting. Children and those parents who find fantasy-based literature important enough will have to tap into that important literature of possibilities that has provided the foundation for exploration and curiosity.

Luckily, Arthur Collins, the protagonist in Arthur and the Three Wishes doesn’t have to do that. He has a family who not only understands the importance of the imagination in every day life, but thoroughly encourages it through stories and casual discussions of Arthurian Legend. As a result of being surrounded by regular imagination-based conversations, Arthur Collins finds comfort and strength in these stories in a world that is not so comforting at times. In fact, Aurthur Collins feels so much out of place, out of sorts, and downright overwhelmed that on one occasion we find him wishing he lived in another place and time, specifically 6th century Britain rather than 20th century America. Although there is only one occasion of this wish in the book, I’m sure this was only one of many occasions where Arthur wished he’d been born in another place and time.

One night Arthur Collins gets his wish and is faced with a whole new set of challenges unlike the ones faced in his primary world. Although he finds himself in an unfamiliar secondary world, which is only familiar to him through his imagination, Arthur Collins finds greatness within himself after enduring endless obstacles. As a result of these trials and tribulations, Arthur Collins gets a glimpse of his potential and his destiny. As we journey through this secondary world with Arthur Collins, we become members of that community, integrated into his adventure. It becomes our quest as well. In fact, his triumphs and failures are just as significant to us as they are to him.

So, why is Arthur Collins so empowered in this unfamiliar secondary world rather than in his familiar primary world? Is it because he has no choice but to deal with these challenges at hand? I’m sure that’s part of it. However, I think the answer goes beyond that. Aurthur Collins simply finds strength in the countless stories that have shaped his imagination. In short, he believes in the power of fantasy. If we take a moment and think about it, Arthur Collins’ is an important lesson to us all.

According to Tamora Pierce, “In fantasy, those normally perceived as unimportant are vital players.” Arthur Collins may not have considered himself to be a vital player in his primary world, but he found himself to be one in his secondary world. Needless to say, I’m sure as his adventures unfold beyond Arthur and the Three Wishes into subsequent books we will see an Arthur Collins who will continue to bring back with him the lessons from his secondary world back into his primary world and eventually find balance within both worlds. It is my hope that after his journey into his secondary world is complete, Arthur Collins will find no need to return there because he has found peace and satistifaction in his primary world.

In conclusion, I do want to say that as I read Arthur and the Three Wishes, Arthur Collins reminded me of a quote by Charlotte S. Huck. She stated that, “Good fantasy might be critical to children’s understanding of themselves and of the struggles they will face as human beings.” It is quite clear that any reader will identify with the aforementioned statement when reading any piece of fantasy-based literature. However, this statement comes to fruition as we journey with Arthur Collins because we see those first glimpses of the potential to understand his place in his primary world as a result of the introspection and his adventure in his secondary world.

For more information on Arthur and the Three Wishes, click here.

At the end of 2008, Marvel Comics released the first issue of The Wonderful Wizard of Oz, a visually stunning, abridged version L. Frank Baum’s beloved classic. Although I’m not a fan of abridged stories, the Marvel Comics team, which consists of an Award-winning writer and two highly respected artists, interpret the story just beautifully. Since we’re all familiar with Dorothy and Toto and their accidental, yet extraordinary trip to the magical Land of Oz, the only thing I will say about this is that it’s worth checking out. Visit your local comic book store and see for yourself.

When I was a kid I could not get enough of comic books. I lived vicariously through the many adventures of some of my favorite super heroes. There were instances where I reenacted, with an old bath towel around my neck, some of the adventures I’d read about around the neighborhood. Other times, I ran around my neighborhood performing good deeds whenever and wherever possible, from assisting neighbors with groceries, to watering lawns, to just asserting and reciprocating a simple greeting. I just couldn’t get enough of this fantasy world. To a certain extent, I still can’t get enough of it. In many ways, comic books continue to be more than just fantastic adventures. They are instruction manuals, teaching me important lessons in life, like overcoming adversity and the importance of good citizenship. However, more than anything, these comic books continue to teach me the importance of being in touch with my imagination. As a kid I completely surrendered and lost myself in these fantastic adventures. I am proud to say that I continue to get lost in these adventures even today. If you look in the right places at just the right time, you can still find me in my favorite comic book store reliving old adventures and experiencing some new ones as well.

I was at my favorite comic book store the other day and I came across Tiny Titans: Adventures in Awesomeness, an absolutely great graphic novel for kids. As I thumbed through the first few pages of this eye-catching book, I was immediately transported back to my youth as I saw these tiny super heroes in training involved in simple adventures that included a trip to a distant planet to help clean a friend’s bedroom, to receiving their highly anticipated report cards, to transforming unexpectedly into monkeys, and to experiecning the first feelings of puppy love. In addition to these intertwined, short-attention-span stories, the adventures are perfectly tied together with puzzles, interactive games, word searches, and occasional references to pop-culture, making this not only a fun read, but a contemporary one too.

The Quicksand Book by Tommie dePaola is an oldie but goodie. If you’re familiar with Tommie dePaola’s work, then you know just how masterful he is at talking to kids. The Quicksand Book is no exception. The story begins with one of the characters in a perilous situation. As a reader and observer, I’m immediately pulled into the story. How could I not? This is certainly a life and death situation and as human beings we are drawn to the observation of things and situations greater than ourselves. As a reader I understand that there is a dire situation at hand and as a powerless observer I can only expect an appropriate response to alleviate it. What makes The Quicksand Book unique is the reciprocity between both main characters. Both understand that they’re involved in a dilemma, but both are not in sync when it comes to dealing with it. In short, there is an understanding between them, but then there really isn’t. Tommie dePaola is masterful at this, by the way. Although there is a verbal exchange, I guess you can say that there is a definite glitch in it. In any case, an appropriate response to this tension would be to deal with it in some sort of constructive way as quick as possible. However, The Quicksand Book deals with this anxiety in an unorthodox way. There are calm responses that are repeated throughout the story that evolve into something instructive, intellectual, comprehensive, and simply out-of-place. This pattern repeats itself so much that the person experiencing this anxiety, constantly asserts the inappropriateness of the approach, thus increasing the tension in the story. It’s a viscious cycle, really, but it’s a fun one, nonetheless - and one that keeps the reader glued to each page, while anticipating the following one. It is a story with a perfect balance.

David Shannon, children’s book author and illustrator, says he came to the world of children’s literature “almost by accident,” and was initially more interested in comic book art and creating illustrations for authors of children’s books. He has illustrated close to twenty children’s books, and has authored and illustrated twelve of his own – the most well-known of which is No, David! By the way, No, David! is based on a book David Shannon drew when he was just 5 years old with the famous words “No” and “David” throughout the book. The lines and overall illustrations create a book filled with challenges and tension.

Childhood is usually a state of dependence. Children are dependent upon adults, usually their parents, to provide them the physical, emotional, and spiritual means to live and flourish as human beings. Children may live privileged or cruel lives through no action of their own, except that they may be born to rich or kind or indifferent or destitute parents, and thus reflecting their social position in life.

The story of Hansel and Gretel is one such story. It introduces us to two children who, although abandoned by the adults who were supposed to love and protect them, are creative, resourceful,and willful enough to survive. By the way, this courage in the face of adversity is one of the hallmarks of children in many folk tales. Anyway, such courage is often seen in folk tale protagonists regardless of age, but it is perhaps in the stories that revolve around children that this bravery is most underscored. Perhaps because children are so often associated with innocence and a need to be protected. In short, putting them in dangerous situations only serves to highlight the courage they find within themselves.

The background and perhaps the impetus behind Hansel and Gretel is a famine. Famines were real occurrences in Europe prior to the 20th century. The Irish Potato Famine is one well known example. A series of 19th century famines in Sweden caused the emigration of one million Swedes to North America. Hunger and death by starvation and malnutrition were familiar occurrences to European peasants. In fact, it would not be surprising if parents may have been forced to choose which of their children would receive the meager amounts of food they could scrape together. This may sound horrific to us now, but life was rough for a peasant because difficult and horrible choices sometimes had to be made. Unfortunately, children, through no fault of their own, suffered, sometimes horribly.

In conclusion, it is important to note that the original version of Hansel and Gretel first recorded by the Brothers Grimm reveals that the children’s cruel stepmother was in fact a creation of Wilhelm Grimm’s fantasy. The tale, as the Brothers Grimm first heard it, featured a biological mother who conspires with her husband to abandon the children. It is tough to grasp that a biological mother would do such a thing, but unfortunately, we have become too familiar with frequent stories where a biological has harmed her children, sometimes fataly.