Miss Rumphius by Barbara Cooney (1982) is a beautiful picture book with a gentle message encouraging children to create beauty in the world. Cooney’s art is a mixture of full-bleed landscapes and spot illustration.
That said, this is a classic example of an old picture book with an environmental message which has not held up well, at least outside America.
Six Dinner Sid (1993) is a picture book written and illustrated by Inga Moore.
The plot of the cat who goes from house to house pretending to be anyone’s will be familiar to anyone who’s ever known a cat. There’s an episode of cult hit This Country (“The Vicar’s Son”) in which Kerry Mucklowe eats her mum’s dinners, then sort of falls opportunistically into a scheme whereby she cadges dinner off an elderly lady living in the same village. The audience soon realises that Kerry is behaving exactly like a house cat.
Six Dinner Sid is a picture book cat who does the same thing. In these stories about opportunistic tricksters, there’s a storytelling rule which I have not yet seen broken: At the climax, their scheming ways are exposed for all to see. The mask comes off. Two types of stories rely heavily on the mask: thrillers and comedies. This is more comedy than thriller. For a thriller cat picture book which also uses a mask, see Slinky Malinki by Lynley Dodd.
Illustrators of fairy tales frequently choose styles that evoke the periods of history not particularly related to the tales but that they perceive to share the values they find in the tales.
Perry Nodelman, Words About Pictures
Children’s picture books draw from a great number of traditions. One of those is ‘chinoiseries’, a European mimicry of Chinese art.
Chinoiserie: a decorative style in Western art, furniture, and architecture, especially in the 18th century, characterized by the use of Chinese motifs and techniques.
The word ‘chinoiseries’ denotes a European art style dominated by pseudo-Chinese ornamental motifs evoking a romanticized or fairy-tale East. [… This] style exudes a longing for a newly romanticized medieval “Cathay”.
Objectifying China*, Imagining America: Chinese Commodities in Early America by Caroline Frank
(In earlier eras, Northern China used to be known in English speaking areas as ‘Cathay’, from ‘Catai’. The south was called ‘Mangi’.)
A standout example of chinoiseries are the popular engravings of French artist Francois Boucher (1740s onwards).
Boucher borrowed details from:
Chinese woodblock prints
a Turkish designer
Arnold Montaneus’s 1671 Atlas Chinensis. Montaneus was a Dutch teacher and author.
Japan Work (late 17th century — 19th century)
This term referred to pseudo-lacquered furniture featuring chinoiserie decorations actually applied in Europe. It also referred to tin-glazed earthenware pottery, metalwork and textiles with the same decorations.
Furniture which has undergone this treatment is said to be ‘japanned’.
Perhaps you have some examples of chinoiserie in your own environment?
Features of Chinoiseries
Tropical exoticism is exaggerated
It is based on a fanciful European interpretation of ‘Chinese’ styles which may not be Chinese at all, but from Japan, Korea or Turkey. In earlier eras (and into the present) Westerners were unable to distinguish between different parts of the East. It was simply ‘exotic’. If it’s Western art inspired by Japan, then some use the word ‘japonaiserie’.
Chinoiserie was most popular during the rococo period (1750-70), a movement known for its light-heartedness but also for its heavy detail.
It’s not really Chinese or even Asian art, because the materials required to create it weren’t available in Europe or America.
Dragons, exotic birds, ‘Chinamen’ and women dressed in traditional Chinese clothing, fu-manchu beards, ponytails, multi-tier structures with those pointed, sweeping up roofs (pagodas), pink and white lotus leaves, bamboo plants, weeping willows and other Chinese vegetation, blue-and-white ware, hump-backed bridges, water gardens, misty mountain-scapes
Chinoiserie may contain shapes such as this:
CHINOISERIE AND CHILDREN’S LITERATURE
The standout example of fake Eastern stories influencing the views of Western children are Tales of the Arabian Nights.
I was given an anthology of Arabian Nights as a kid and this thick book sat on the shelf right beside the Grimm fairytales. My edition was more modern, but it was Walter Crane who came out with the first picture book on Ali Baba and the Forty Thieves and Aladdin and the Wonderful Lamp. These were coloured lithographs. The story was ostensibly about a Chinese boy and set in China, though Crane was actually influenced by Japanese woodcuts, especially those by Hiroshige.
Other examples can be found among the illustrations of Hans Christian Andersen’s pseudo-Chinese “The Nightingale”. The art in an edition illustrated by Nancy Ekholm Burkert is a mixture of chinoiserie and art nouveau.
Header painting by Austrian Carl Moll, artist of the Art Nouveau era (1861 – 1945).
Bread and Jam for Frances is a picture book written by Russell Hoban, illustrated by Lillian Hoban, first published in 1964 as a part of a series about a girl in the body of a badger, who lives in a middle class house and has access to all the spoils you’d expect of 1960s middle class Westerner.
I never came across this picture book as a kid, but a book with a similar plot must have really affected me because it was probably read once in class, yet I remember it profoundly: The book I’m talking about is Mrs. Pig’s Bulk Buy, one of the Pig Family picture books by Mary Rayner. This family of pigs might be considered the 1980s follow-up to the Hobans’ Frances stories. (I’ve taken a close look at Garth Pig and the Ice-cream Lady on this blog.)
In Rayner’s 1981 version of Bread and Jam for Frances, the mother pig of the Pig Family gets utterly sick and tired of her piglets hoeing into the tomato sauce so she feeds them nothing but tomato sauce until they crave a more varied diet.
No matter how carefully she flavored the stews or spiced the puddings, the piglets always squealed for tomato ketchup. She had always tried to stop them from having it, and make one bottle last a week, but it was always gobbled up by Monday and then the piglets would grumble until she went to the supermarket again.
“But things will be different soon,” thought Mother Pig happily. She reached down one of the big jars and emptied it into a huge soup tureen.
My mother was frequently complaining about the family using too much tomato sauce as well, which is probably why the story stuck with me. (Criticism was mostly directed at our father, though, who used sauce not only for flavour, but to cool hot food to a more scoffable temperature.)
DIDACTICISM AND FOOD PREFERENCES
Do these stories do what they intend, that is, to encourage children to eat a more wide and varied diet? One Goodreads reviewer of Rayner’s picture book said, “I read this to my daughter in the hopes of encouraging her to eat less ketchup, but all it did was make her want ketchup sandwiches.”
I doubt these stories work as intended. I do remember Rayner’s story, but I don’t remember going easy on the tomato sauce. They appeal to adults for didactic reasons, and to children for the carnivalesque element. Eating nothing but your favourite food is peak carnivalesque fun. The ending of both stories doesn’t resonate; doesn’t count.
Parenting culture has changed since the 1980s and certainly since the 1960s. For better or for worse, modern parents hand more food choice over to their children. I know plenty of kids who’d be quite happy to eat nothing but white bread and jam for weeks on end, possibly forever. Some of them have sensory issues around eating, which is the first thing I thought about Frances as she described and personified her eggs.
STORY STRUCTURE OF BREAD AND JAM FOR FRANCES
Frances is a fussy eater. In fact, the only thing she likes is bread and jam. So she’s delighted when Mother and Father grant her wish and give her bread and jam at every meal. This endearing story of how Frances faces unlimited bread and jam is a classic that will continue to be gobbled up by children, picky eaters, and parents everywhere.
Frances grows more and more tired of bread and jam. When the mother serves Frances the same dinner as the rest of the family is having, Frances is so keen for something different that she eats it up without complaining. Mother has won this battle.
We extrapolate that Frances is permanently fixed and that she’ll never look at bread and jam in the same way again.
I was prompted to read Bread and Jam for Frances after seeing the following image memed around the Internet. It’s actually an abbreviated version of the relevant page, and almost functions as a tagline. In abbreviated form, without any context, this image is perfectly suited to modern meme culture. Perhaps it encapsulates our collective existential loneliness.
The Evolution of Breakfasts in Fiction. In the 1960s, America was in the middle of switching over from cooked breakfasts to breads and extruded cereals. Frances in this story has clearly been influenced by the modern Continental breakfast (probably from ads on the TV) but her old-school mother resists.
Egg Symbolism. I wonder how many humans across history have found eggs disgusting. Until battery farming, eggs were a hard won delicacy and an important element of many diets.
The idea that all of the other kids will get something, and that you, due to your own moral shortcoming will miss out, was utilised by Beatrix Potter in Peter Rabbit, and in many stories after that, including Little Golden Books’ super popular The Poky Little Puppy. But can you think of any modern picture books which use this kind of punishment plot, withholding food from children? This was certainly how I was brought up. But I suspect it’s had its day.
Russell and Lillian were married Americans who moved to England together in 1969. However, Lillian moved back to America about a year later. Russell stayed in England and married someone else in the mid 1970s. They each continued to have a full and varied career in children’s books, independently. Russell died in 2011. Lillian died in 1998.