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Ungerer Continues...
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From: linnea hendrickson <lhendr>
Date: Mon, 09 Aug 1999 19:54:32 -0600
What wonderful responses we've been getting! Thanks to everyone who has contributed so far. To Judith Gorog for the account of Zeralda's Ogre (what do we make of the little child in the last picture, with knife and fork behind his back who looks like he's about to sample the baby? Have the Ogre's genes surfaced in this offspring?). To Linda Goettina, who admires Ungerer's courage for getting under the skin, and to Steven Engelfried, Robin Smith, Susan Daugherty, and Marian Drabkin who related experiences with children and focused on the question of what children get out of these books and whether they are aware of symbolism and hidden meanings as well as hidden images.
One thing that struck me, especially about the beginning pages of The Three Robbers, is the way the text is structured in groups of three lines, and the rhythm of the language also breaks down into a three beat rhythm. And the graphics, like the words, are so strong and simple -- against all that expansive dark black and blue background. The shape of the hats ties the whoe story together -- a repeated motif. Even on a page where the colors are the opposite of those in the rest of the book -- the little children all red (looking like Little Red Riding Hoods?), zigzigging across a green background. I think there is depth here, and in all of Ungerer's books, that both adults and children respond, too. And learning to notice what might be going on, and learning to talk about it, is something that can add to the enjoyment of the books for both children and adults.
Also, in The Hat, there is a pattern of circularity that gives the book a pleasing structure. I wonder what other patterns we might find in Ungerer's books that might help us understand their appeal?
Thanks also to Fran Manushkin for relating to us a bit of firsthand experience. Does anyone remember whether there's anything at all about Ungerer in "Dear Genius?" And thanks to Ruth Gordon for reminding us of Ungerer's anarchy and the appeal to children (and the child and anarchist? in all of us?) I hope I haven't left anyone out.
And those of you who haven't said anything yet, please don't hesitate to jump in!
Linnea
Linnea Hendrickson Lhendr at unm.edu http://www.unm.edu/~lhendr
Received on Mon 09 Aug 1999 08:54:32 PM CDT
Date: Mon, 09 Aug 1999 19:54:32 -0600
What wonderful responses we've been getting! Thanks to everyone who has contributed so far. To Judith Gorog for the account of Zeralda's Ogre (what do we make of the little child in the last picture, with knife and fork behind his back who looks like he's about to sample the baby? Have the Ogre's genes surfaced in this offspring?). To Linda Goettina, who admires Ungerer's courage for getting under the skin, and to Steven Engelfried, Robin Smith, Susan Daugherty, and Marian Drabkin who related experiences with children and focused on the question of what children get out of these books and whether they are aware of symbolism and hidden meanings as well as hidden images.
One thing that struck me, especially about the beginning pages of The Three Robbers, is the way the text is structured in groups of three lines, and the rhythm of the language also breaks down into a three beat rhythm. And the graphics, like the words, are so strong and simple -- against all that expansive dark black and blue background. The shape of the hats ties the whoe story together -- a repeated motif. Even on a page where the colors are the opposite of those in the rest of the book -- the little children all red (looking like Little Red Riding Hoods?), zigzigging across a green background. I think there is depth here, and in all of Ungerer's books, that both adults and children respond, too. And learning to notice what might be going on, and learning to talk about it, is something that can add to the enjoyment of the books for both children and adults.
Also, in The Hat, there is a pattern of circularity that gives the book a pleasing structure. I wonder what other patterns we might find in Ungerer's books that might help us understand their appeal?
Thanks also to Fran Manushkin for relating to us a bit of firsthand experience. Does anyone remember whether there's anything at all about Ungerer in "Dear Genius?" And thanks to Ruth Gordon for reminding us of Ungerer's anarchy and the appeal to children (and the child and anarchist? in all of us?) I hope I haven't left anyone out.
And those of you who haven't said anything yet, please don't hesitate to jump in!
Linnea
Linnea Hendrickson Lhendr at unm.edu http://www.unm.edu/~lhendr
Received on Mon 09 Aug 1999 08:54:32 PM CDT
