Scribbles at an Exhibition: “Baby
Blues” Scrapbook 29. By Rick Kirkman and Jerry Scott. Andrews McMeel.
$12.99.
The Lorax Pop-up! By Dr.
Seuss. Pop-ups by David A. Carter. Robin Corey Books. $29.99.
Even in a visual
medium, pictures are not enough – not enough for the best communicators,
anyway. Rick Kirkman’s Baby Blues illustrations continue to get
better and better, and the latest collection of the comic strip even features
cover art by members of the families of Kirkman and writer Jerry Scott. It’s all pretty cool, and pretty
self-referential, and hey, if the creators can’t have fun with their strip as
well as making it fun for readers, what’s the point? Scribbles
at an Exhibition is full of artistic delights: the three MacPherson kids
drawn as Marx Brothers; the detailed scene of utter chaos as dad Darryl
explains to mom Wanda that, unfortunately, there is no such thing as a
chocolate I.V.; the hilarious-if-you’re-in-on-the-in-joke scene of Hammie
looking longingly into the window of a store called “Dill’s Bros. Trébuchets and More” (a tribute to
Richard Thompson’s Cul de Sac). But the illustrations work so well precisely
because they are drawn in the context of excellent writing. An almost-wordless Sunday strip that deserves
to be a classic shows Wanda thinking negative thoughts about herself every time
she looks in a mirror or reflective surface: she vacuums and sees herself as a
frump with rollers in her hair, eats a salad and sees herself as obese and out
of control with food, and so on. Then
Darryl calls only “to say I love you” and the harried homemaker pushing the
shopping cart suddenly sees herself reflected in a supermarket display case as
slim, elegant and beautifully dressed.
Scott’s writing really comes through here in strips that play against
type and against reader expectations: an extremely touching remembrance of the
Twin Towers (built by baby Wren with blocks) on the 10th anniversary
of the terrorist murders of 9/11, for example, and a strip in which Hammie
actually comforts a disappointed Zoe – who comments that he can be
“surprisingly human,” leading to his promise that “it’s temporary.” And then there are strips in which the story
line carries the art along: a new toy called “Ick-Baby” with “gross bodily
functions”; a “when you say/they must hear” sequence that perfectly captures
the disconnect between what parents think they are putting across and what
their kids are actually absorbing; and Darryl’s reinterpretation of fairy tales
so Hammie will like them – “Pinocchio vs. the Wood Chipper” and “Hansel Ditches
Gretel.” And then there are strips in
which the melding of writing and comic-strip conventions is just about perfect,
such as one in which Wren crawls up and around the panels while Zoe and Hammie
argue about who was supposed to wipe the pancake syrup off her hands and
knees. It doesn’t get much better than
that – or much better than Baby Blues.
And there is really no
way to get better than the words-and-pictures combinations of the inimitable
Dr. Seuss, whose 1971 book The Lorax
was recently expanded and “complexified” into an animated film that opened to
mixed reviews but box-office success. In
conjunction with the film’s release, the Robin Corey Books division of Random
House (itself a division of Bertelsmann AG) has brought out a “complexified”
book version of the good doctor’s gentle environmental fable-cum-warning. And darned if The Lorax Pop-up! isn’t wonderful – an intensification of the
book’s message, perhaps, but not an attempt to add to it or turn it into more
of a clarion call than Dr. Seuss intended it to be. David A. Carter – who has previously created
wonderful pop-up versions of Horton Hears
a Who and Oh, the Places You’ll Go!
– turns The Lorax into eight
fold-out, open-up three-dimensional constructions that actually enhance some
scenes (you really feel you are in among the truffula trees) and that expand
the delights of the book in subtle, involving ways. For these are not mere pop-ups, although the constructions are impressive enough in
themselves. Carter incorporates other
interactive elements into this book: turning a notched cardboard tab causes
Humming-Fish to swim in circles and leap playfully out of the water, pulling a
tab unloads the Once-ler’s wagon, and the Lorax’s departure through the smog
actually happens, in motion, when one page is turned. The
Lorax Pop-up! is much more for parents than for kids: it is costly, parts
are fragile, and the type in which the story appears is small. But The
Lorax is one Dr. Seuss book that was intended to span the generations
(along the lines of The Butter Battle
Book), and by helping it do just that, Carter has produced something that
is very special indeed.
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