The Velveteen Rabbit by Margery Williams Centennial Anniversary

Margery Williams Bianco (1881-1944) was an English-American author. The Velveteen Rabbit or How Toys Become Real was her first children's book and most famous piece of work. This endearing tale of a toy rabbit who through a child's love is magically transformed into a real being was first published in 1922 by George H. Doran Company. It continues to be published to this day and has been adapted numerous times for film and television. To celebrate the centennial anniversary of The Velveteen Rabbit, presented are two new special edition books and two older treasures. They each contain the complete classic story and is illustrated by a renowned artist. When comparing all four books side by side, the style differences are clear but a favourite is difficult to choose.

The Velveteen Rabbit 100th anniversary edition from Applesauce Press is illustrated by Charles Santore (1935–2019). This new design is streamlined to fit in nicely with their other newly published classic children's picture books and it does so very well. A soft lavender hue cover and an updated layout that displays all of Santore's original illustrations in a fresh setting. The book dimensions are the same as the 2013 version however, a sturdy cardboard slipcase and ribbon marker make this possible gift a tad more special. There are 21 beautiful illustrations painted in pastel colours; most are full page. The slightly larger text and thicker paper stock are always welcomed. A matte cover and case with spot varnish adds a classy touch to an overall clean look and is well worth the redesign.

 

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Applesauce Press 2022

Hardcover 48p

10.5" x 11"

 

The 2007 Christmas edition published by Running Press has an elegant gold on red cover that is truly inviting. Don Daily (1940-2002) illustrates this book as well as the standard edition originally published in 1997. Some of the finest examples of Daily's legacy lies within these 24 superb illustrations. The painted human figures have natural poses and facial expressions while the rabbits are just the loveliest. The art is bright and uplifting. Daily excels at illustrating animals and delivers on The Velveteen Rabbit's poignant message. The text double spacing is easy on the eyes. The paper stock could be thicker.

 

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Running Press Kids 2007

Hardcover 56p

10" x 13.25"

 

Rich and luminous paintings by Donna Green accompany this edition published by Vermilion in 1998. These illustrations are the most realistic of the four books discussed here. Green's oil paintings have a warmer feel and much softer look; the toy rabbit appears more velvety and huggable. There are 18 full page illustrations that evoke innocence and wonder; especially magical is the one of the young nursery fairy. The text is large enough but a little tightly spaced. Donna Green's website.

 

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Vermilion 1998

Hardcover 48p

10.75" x 12.25"

 

The 100th anniversary edition from Doubleday is illustrated by Caldecott Medalist Erin Stead. The art is created using woodcut printing in two colours and pencil. By using a lot of white space to frame the illustrations; the effect is uncluttered and focused. Elegant in its simplicity, the 16 illustrations accentuates the melancholy of Williams' tale. While being a much smaller book than the previous mentioned, it holds a quiet and understated charm. Erin Stead's website.

 

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Doubleday 2022

Hardcover 48p

8.25" x 10.31"

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The Velveteen Rabbit remains a favoured classic for its celebration of love and friendship. Relive the magic with these beautiful editions.

Favorite Children's Stories from China and Tibet by Lotta Carswell Hume Illustrated by Lo Koon Chiu

Presented here are 18 popular folk tales from China and Tibet. I have fond memories of reading some of these stories in elementary school. They are very similar to Aesop's fables with anthropomorphic animals and in most cases a moral to learn. The themes of kindness and cleverness is always triumphant. Enter the world of ancient China, where magic and mystical beings abound. There are not many compilations of Chinese fairy tales written in English and Lotta Carswell Hume does an excellent translation of the stories, offering readers an insight into Chinese culture. Each short story is 2-3 pages long and is suitable for reading out loud.

Lo Koon Chiu's illustrations are displayed throughout and done in watercolour in the classic Chinese brush style. His depictions of the people and costumes add authenticity and appeal. Lo Koon Chiu studied at the Art College of Guangzhou and the Canton Technical College of Arts. The new edition available this July with reduced pricing includes 7 stories. Recommended for ages 5+.

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Tuttle Publishing 2004
Hardcover 112p
9" x 9"

The Adventures of Pinocchio by Carlo Collodi - Illustrated by Roberto Innocenti

The Adventures of Pinocchio by Carlo Lorenzini, known by his pen name as Carlo Collodi, was first published in an Italian newspaper for children in 1880. The story is of a puppet carved from a magical piece of wood, whose self-serving behaviour leads him on a series of misfortunes. He is guided by a fairy to help him learn about action and consequence. Only after being tricked many times and the fairy’s promise of transforming him into a human boy does Pinocchio begin to repent and finally in the end, truly feel.

This lengthy fairy tale is illustrated by Roberto Innocenti. With fifty-six gorgeous illustrations in varying sizes and a clean layout, make this story seem anything but long. The setting is old Italy with aged buildings, villagers at work and country life. To show the passing of time, the different seasons are shown. The colours are mostly in darker tones, expressing the grim and solemn scenes. The detailing for the illustrations is fantastic and many have Roberto Innocenti’s signature perspective view.

Recommended for ages 5+. Some scenes can be a little dark like the part where Pinocchio gets hanged or when he sees an apparition of black rabbits carrying his coffin. The story was translated in its entirety from Italian to English by Mary Alice Murray.

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Creative Editions 2005
Hardcover 192p/dust jacket
8.8" x 11.6"

The Crane Girl by Curtis Manley - Illustrated by Lin Wang

While passing by the library, this little book caught my attention, The Crane Girl. It’s based on a very popular Japanese folk tale, adapted by Curtis Manley and illustrated by Lin Wang. The story is of a crane, who after being freed from a trap, decides to repay her saviour’s kindness. There are many variations to this tale but in this book there is a love story and a happy ending. This picture book also has haiku written from the perspective of the characters alongside the story. The haiku added much more emotion to an already heartwarming tale.

Lin Wang’s delicate watercolour illustrations are the perfect companion to this story. Her portrayals of the Japanese people and costumes are beautiful. Gone are the stereotypical depictions of East Asian people with exaggerated slant eyes. The illustrations of the faces are detailed and expressive in a melancholy way. This is the first time I’ve seen Lin Wang’s artwork and I love it; the fact that it’s not overly stylized makes it more attractive. I will definitely look out for her other works. This book about love and magic will appeal to fairy tale enthusiasts.

Published by Shen’s Books, an imprint of Lee & Low Books Inc. (February 1, 2017). The hardcover has no dust jacket. More Japanese fairy tales can be found here: Green Willow and Other Japanese Fairy Tales.

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Shen's Books 2017
Hardcover 32p
10.5" x 8.8"

Beauty and the Beast by Mahlon F. Craft - Illustrated by Kinuko Y. Craft

Having been a longtime fan of Kinuko Y. Craft’s amazing artwork, I’m very pleased to show you her latest picture book Beauty and the Beast. Loosely based on Jeanne-Marie Leprince de Beaumont’s version published in 1756, it is adapted by Mahlon F. Craft who also designed the book. How refreshing it is to read this story without the inclusions of enchanted talking objects but rather a storyline that is closer to the originals. In this adaptation, Beauty has two older sisters who are similar to Cinderella’s wicked step-sisters. There is also a fairy that appears throughout the story.

This book took ten years in the making and has sixteen stunning illustrations painted in oil with miniature sable brushes on gesso panels. Ms. Craft's paintings are so intricate, hidden images appear the longer you look at it. There are fairies and sprites woven into each tapestry-like painting. Her style is a combination of romanticism with a hint of orientalism. The figures are draped in gowns much like 18th century fashion. The beast looks like a mix of bear and leopard. Flourished capitals begin each new page and there is a good amount of text to read here; it should take about fifteen minutes to finish. There are three double page spreads that would have been better as fold-outs. This book is so lavishly illustrated, I like it even more than her previous picture books. The illustrations here also appear in the 2017 calendar. Recommended for ages 5+.

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HarperCollins 2017

Hardcover  32p /dust jacket

9.25" x 11.25"

The Original Tale of The Little Mermaid by Hans Christian Andersen with Illustrations by Edmund Dulac 1911

Far out at sea the water is as blue as the bluest cornflower, and as clear as the clearest crystal; but it is very deep, too deep for any cable to fathom, and if many steeples were piled on top of one another, they would not reach from the bed of the sea to the surface of the water. It is down there that the Merfolk live. We must not imagine that there is nothing at the bottom of the sea but bare yellow sand. No, indeed, the most singular flowers and plants grow there; the leaves and stems of which are so pliant that the slightest agitation of the water causes them to stir as if they had life. Fishes, both large and small, glide between the branches as birds fly among the trees here upon land. In the deepest spot of all, stands the castle of the Sea King. Its walls are built of coral, and the long, gothic windows are of the clearest amber. The roof is formed of shells, that open and close as the water flows over them. Their appearance is very beautiful, for in each lies a glittering pearl, which would be fit for the diadem of a queen.

The Sea King had been a widower for many years, and his aged mother kept house for him. She was a very wise woman, and exceedingly proud of her high birth; on that account she wore twelve oysters on her tail; while others, also of high rank, were only allowed to wear six. She was, however, deserving of very great praise, especially for her care of the little sea-princesses, her grand-daughters. They were six beautiful children; but the youngest was the prettiest of them all; her skin was as clear and delicate as a rose-leaf, and her eyes as blue as the deepest sea; but, like all the others, she had no feet, and her body ended in a fish's tail. All day long they played in the great halls of the castle, or among the living flowers that grew out of the walls. The large amber windows were open, and the fish swam in, just as the swallows fly into our houses when we open the windows, excepting that the fishes swam up to the princesses, ate out of their hands, and allowed themselves to be stroked. Outside the castle there was a beautiful garden, in which grew bright red and dark blue flowers, and blossoms like flames of fire; the fruit glittered like gold, and the leaves and stems waved to and fro continually. The earth itself was the finest sand, but blue as the flame of burning sulphur. Over everything lay a peculiar blue radiance, as if it were surrounded by the air from above, through which the blue sky shone, instead of the dark depths of the sea. In calm weather the sun could be seen, looking like a purple flower, with the light streaming from the calyx. Each of the young princesses had a little plot of ground in the garden, where she might dig and plant as she pleased. One arranged her flower-bed into the form of a whale; another thought it better to make hers like the figure of a little mermaid; but that of the youngest was round like the sun, and contained flowers as red as his rays at sunset. She was a strange child, quiet and thoughtful; and while her sisters would be delighted with the wonderful things which they obtained from the wrecks of vessels, she cared for nothing but her pretty red flowers, like the sun, excepting a beautiful marble statue. It was the representation of a handsome boy, carved out of pure white stone, which had fallen to the bottom of the sea from a wreck. She planted by the statue a rose-colored weeping willow. It grew splendidly, and very soon hung its fresh branches over the statue, almost down to the blue sands. The shadow had a violet tint, and waved to and fro like the branches; it seemed as if the crown of the tree and the root were at play, and trying to kiss each other. Nothing gave her so much pleasure as to hear about the world above the sea. She made her old grandmother tell her all she knew of the ships and of the towns, the people and the animals. To her it seemed most wonderful and beautiful to hear that the flowers of the land should have fragrance, and not those below the sea; that the trees of the forest should be green; and that the fishes among the trees could sing so sweetly, that it was quite a pleasure to hear them. Her grandmother called the little birds fish, or she would not have understood her; for she had never seen birds.