tension between the pastoral idyll and the urban environment represents in many ways the growing pains experienced as America moved from an agricultural tradition to an industrial society. This transition, during which the cultivated rural landscape was displaced by mechanization and metropolitan constructions, shifted the cultural focus from the idealized small town characterized by strong interpersonal relationships to the impersonal city that sociologists identify as consisting of rationalization, institutional differentiation, and new interlocking patterns of coordination (Stanley 191). fragmented industrial world is placed in opposition to the tranquility of the natural landscape (Marx 18), both sociologically and in literature.This tension forms a central and explicit theme in Lee Burton's 1942 picture book, Little House, which tells the story of a happy little pink house who watches as technology advances and the city gradually overtakes the countryside. Despite the potentially dark plot line, the 1943 Caldecott Medal-winning book has a happy ending as the house is moved back to the country and a new family moves in. It has been named among the one hundred best books for children (Bird; National Education Association; Teachers First). Burton (1909-1968), who also authored Mike Mulligan and the Steam Shovel (chronicling the triumphant comeback of the little steam shovel whom everyone thought was too old-fashioned to be useful), and Katy and the Big Snow (about a brave tractor who clears a snowstorm), among others, said that Little House was based on her own home, which was moved away from a busy highway to a daisy- and apple tree-covered field (Books by; Virginia Lee Burton). physical and symbolic experience of the move for Burton and the house's new setting surrounded by gardens and sheep grazing contributed to the book's creation (Elleman 57).Burton's self-declared intention in writing the book was to represent historical perspective with the Little House as the focus (Burton, Making Picture Books 231). Her depictions deliberately portray a simple country life as preferable to life in the city (Goddard 563). Little House sits at the center of the picture, literally, and it also occupies the central space in long shots which contextualize it in an environment. Indeed, the Little House sits at almost precisely the same location on the page throughout the book while everything around it changes (Virginia Lee Burton). story's opening establishes the house's relationship with nature and sets a tone of harmony with the environment. Accounting for over 30% of the book, this lengthy peaceful introduction contrasts sharply with the central portion, in which the city comes to the house. house also has an implied relationship with a specific family; the man who built her entailed the property so that it could be sold for gold or silver (Burton, Little House 1) and the house and her family remain as constants in one another's experience over several generations.Burton, using the term her-story to describe the plot, states, The heroine of my story was the little house, but unlike most central characters the little house is stationary until the end of the book while its surroundings change. And the changing surroundings represent the sweep of social history (Burton, Making Picture Books 231). Visually, this is accomplished through both color and line: the harmonious circular lines of nature are replaced with strong diagonal lines representing development (Virginia Lee Burton) and simultaneously, Burton utilizes darker hues as the city grows around the Little House.Conflict and decay, highlighting negative elements of development, are depicted. speed of technological development is echoed by the speed of the text, until finally the Little House is totally divorced from nature, able only to see the sun at noon. people rush about the city, never noticing the Little House, or indeed the old way of life that she symbolizes (Stott and Krier 33). …
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