Inside Picture Books, Outside of History

Abstract

In her preface Ellen Handler Spitz explains, This book is for mothers, fathers, grandparents, teachers, therapists, and (xiii). Though Inside Picture Books names scholars among its intended audiences and has been published by university press, it does not appear to be directed at those who study children's literature. Rarely does it acknowledge any critical work on the subject and, in Jennifer K. Ruark's Chronicle of Higher Education profile of the author, both Spitz and Ruark convey the impression that taking picture books seriously is new and courageous idea.1 Indeed, Spitz's study never once mentions Barbara Bader, Perry Nodelman, or virtually any of her predecessors. If Inside Picture BooL· has not been written for scholars, perhaps one should adopt the perspective of an imagined general reader —say, the parents, teachers, and therapists mentioned in the preface —and evaluate the work from that viewpoint. Acknowledging the subjectivity of [her] criteria, Spitz says that she has chosen texts based on their psychological richness (13) and staying power (8), and casual fan of children's picture books should enjoy her analyses of well-known works. For example, her perception of Holocaust imagery in Maurice Sendak's In the Night Kit^n (60-61) and discussion of gender in several works—including Russell Hoban's Bedtime for Frances (25, 55-56) and Dr. Seuss's Horton Hatches the Egg (177-80) — invite readers to think about the cultural knowledge that children absorb from what they read. Indeed, should Inside Picture Books encourage even few more readers to consider children's books with the same thoughtfulness often reserved for adult books, it will have done great service. Most reviewers in major newspapers appear to agree. Writing in the Times of London, the illustrator Quentin Blake calls Inside Picture BooL· a valuable contribution to subject which asks for serious consideration. Though Marina Warner's New York Times review does note the absence of Nodelman's Words About Pictures, the piece concludes by