Through the Year With Tomie dePaola GIVEAWAY!

Note: I am now an Ignatius Affiliate, and earn money when readers purchase books through my links. 

When Tomie dePaola died a few years ago, I had just recently gotten up the nerve to ask him for an interview, and it’s an everlasting regret that I missed my chance. I don’t know how likely it is that he would have agreed, but he certainly was generous with his work. 

That’s one reason it feels like such a gift to have this new book, published posthumously: Through the Year With Tomie dePaola. Ignatius is sponsoring one copy for me to give away! Read on. 

Through the Year With Tomie dePaola collects the “art mail” he used to send to family and friends (and sometimes post on social media), and it is lovely. 

Each page features one of his bright, fluid illustrations of a saint or other depiction of a holy day, and is decorated with dePaola’s characteristic clouds, stars, leaves, flowers, and doves, and the pictures are accompanied by text written by Catherine Harmon and John Herreid. It feels like a beloved journal or sketchbook by someone in love with celebration of the liturgical year.

There is not an entry for every single day, but each month features between eight and fourteen little pictures and passages, and each month also ends with a list of “other important feast days.”

Some are well known

some are more obscure

some include prayers

a few are specifically American, while still staying grounded in the faith

and a few include history lessons, and are also just cute

It is a small, solid hardcover that comes with a ribbon bookmark, so you can keep your spot and dip into it as you move through the calendar. 

This book would be an easy enrichment for evening prayers, or would be a pleasant way to start the day with little ones. It would make an appealing baptism or first Communion gift (or confirmation gift, depending on how old kids are when your diocese confirms them). The reading level makes it completely appropriate for older kids, maybe through age 12 or even older, but they may look at the cover and think it’s aimed at younger kids. I would not hesitate to make it part of family prayers, though, even if you don’t have younger kids in the house, because dePaola’s art is for everybody.

AND NOW THE GIVEAWAY! Just leave a comment on this post and I will use a random number generator to chose a winner in a few days. U.S. and Canada only, please. And please o please be sure that the email you use when you comment on this site is a real email address! I will be using it to contact you if you win. If the winner is “nicetryfeds@biteme.edu” then you won’t get your lovely book. 

If you just want to buy the book, which is $18.99, you can order it here. Go ahead! I get a commission! Mama needs a new set of teeth. 

This is the second book that John Herried has produced, and I’m delighted to see him using his considerable creative powers in this direction. If you haven’t yet checked out his Catholic Home Gallery, also from Ignatius, do take a look! It’s an excellent collection of contemporary Catholic artwork in all different styles, and the book is designed so you can pull the prints right out and hang them in your home. I interviewed John about it here

And thank you to Ignatius for sponsoring this giveaway!

Children’s book giveaway! Tomie dePaola’s CHRISTOPHER THE HOLY GIANT and THE LITTLE FRIAR WHO FLEW

Couple of things! First, Ignatius is having a 30% off sale on children’s books. Just about every book for kids is on sale until Sunday, March 26 at 11:59 PM Pacific. They have so many lovely titles, including many re-issues by Tomie dePaola. (I reviewed some others here.)

Second, today I have two more books to give away! Two more wonderful Tomie dePaola books, both great picks for Easter. And weirdly enough, they ended up being two books about two very different models of masculinity (or maybe that’s just where my head is at right now). 

First: THE LITTLE FRIAR WHO FLEW 

It’s a cheery, attractive, colorful book full of details, animals, flowers and fanciful historical costumes, and makes a good introduction to the life of Joseph of Cupertino, the simple-minded, accident-prone boy who experiences the joy of God so directly, he levitates.

The story has a gentle arc and ends quietly with Joseph escaping fame and returning to his solitary life in the hills.

The text is by Patricia Lee Gauch and illustrated by dePaola in 1980, in a style that’s a little more line-heavy and busy and maybe more comic-like, less elegant and delicate than the style we may associate with dePaola.

Not a bad thing, just worth noting.

Incidentally, last night we watched The Reluctant Saint (1962) about Joseph of Cupertino and we all liked it. I’ll try and do a full review later this week, but it was entertaining and well-realized and although it was certainly dated, it had some very moving scenes and extremely appealing characters. 

Next book! 

CHRISTOPHER THE HOLY GIANT, written and illustrated by  dePaola. This one was first published in 1994, and it is my favorite dePaola era. 

What a story! This is very much what I mean by a myth: Something that’s not perhaps intended to be taken as a literal historical account, but is crafted to convey things that are true and important about humans, about the world, and about God.

It’s told very simply, without embellishment, and lets the glowing, icon-like illustrations wallop you. 

There are two pages with no text

And it ends with Jesus telling him everything he needs to know, and Christopher listens, and the very next day his actions bear fruit. What do you know about that. 

What a book! Can we have this as recommended reading for high school kids? For seminarians? 

Uh, I don’t mean to be a weirdo, but Christopher actually kind of looks like the sigma male or gigachad meme guy, ultra-muscular, ultra-masculine lone wolf who does what he wants and follows his own set of very simple rules.

I feel like a lot of dudes I’ve encountered have been reduced to Reprobus [Christopher’s name before he meets Jesus] level-grasp of cultural and spiritual norms. They know they are strong, and they are just looking for someone even stronger to follow, the end. What to do? 

Not that there is any kind of pop cultural subtext in this book, or anything! I just thought it’s an especially poignant parable for 2023. It wouldn’t be a bad idea to buy this for your little kids but leave it around for your teenage boys to read. (I’m a big believer in leaving books lying around where they may be idly picked up, like outside the bathroom or in the car, or on the table when dinner is almost ready.) 

Anyway, both books, in their own way, are about being the person God made you to be, and using the strengths you have been given for their proper ends. Good stuff, good stories. 

***

And now the giveaway! To enter to win both books courtesy of Ignatius, just leave a comment on this site and I’ll use a random number generator to pick and notify a winner on Sunday afternoon. (That will give you a chance to still purchase them at 30% off if you don’t win.) Good luck! 

The Seed Who Was Afraid To Be Planted: A terrifying and potentially dangerous book for kids

A new children’s book, The Seed Who Was Afraid To Be Planted (Sophia Institute Press, 2019), is getting rave reviews from moms, Catholic media, and conservative celebrities.

On the surface, it’s a simple, inspiring story about courage and change; but for many kids — and for many adults who have suffered abuse — the pictures, text, and message will be terrifying and even dangerous. At best, this children’s book delegitimizes normal emotions. At worst, it could facilitate abuse.

The rhymed verses by Anthony DeStefano, lavishly illustrated by Erwin Madrid, tell the story of a little seed who’s plucked from his familiar drawer

and planted in the earth. He’s frightened and confused, but soon realizes that change means growth, and as he’s transformed into a beautiful, fruitful tree, he becomes thankful to the farmer who planted him, is grateful and happy, and forgets his fears forever.

While religion isn’t explicitly mentioned until after the page that says “the end,” the influence of scripture is obvious (the seed packets are labelled things like “mustard,” “sycamore,” “olive,” “grape,” and “fig,” and it makes references to “mansions” and “vineyards”). The seed is everyman (or everychild), and the farmer is God the Father, and/or authority figures like parents and teachers.  

It sounds helpful and wholesome, but let’s take a closer look.

Margaret Realy, author, artist, and speaker (The Catholic Gardener) reviewed the book, anticipating a pleasant read, but was alarmed and disturbed. She wrote a review on Amazon that pinpoints the specifics. Realy said:

This story places childhood abuse and neglect in the center of its theme. A small defenseless being is repeatedly traumatized by seeing loved ones ‘disappeared’ “…and no one would see that seed anymore.” Then the following stanzas speak of anticipatory trauma that he too will be taken away.

The fearful day comes, he can’t escape, and the man’s hand clasped around him. No matter how the seed cried and yelled, he was taken from a secure and loving environment to one of “horror”, “pain”, and “agony.”

The man that took him away was silent and unresponsive to the pleading seed, buried him alive, and left him abandoned.

That’s a lot for a young child to process, and nearly impossible for one—of any age—that is abused.

The pictures are dramatic and gripping, and the dark subject matter contrasts weirdly with the cartoonish faces and font:

Here is the seed, weeping after being abruptly buried alive:

The seed does, of course, come out well in the end, and it becomes a home for birds and animals; children play around it, and it bears much (confusingly diverse) fruit while overlooking a prosperous paradisal landscape with “millions of mansions.”

But this happy ending doesn’t do the job it imagines it does. Realy points out that, while the story attempts to show that the seed’s fears were unfounded and it would be better if he had trusted the farmer, it doesn’t show any of that in progress. Realy said:

Unfortunately I find the story’s transitioning through fear of the unknown into transformation by Grace, weak. The ‘seed’ began to change without any indication of the Creator’s hand, and his terrified soul was not comforted or encouraged by human or Holy.

Instead, it simply shows him transforming “all at once, in the blink of an eye”

This might have been a good place to point out that a seed grows when it’s nourished by a farmer, and to illustrate what appropriate care and concern  actually look like. The Old and New Testament are absolutely loaded with references to God’s tenderness, kindness, mercy, love, care, pity, and even affection; but this book includes none of that, and instead skips seamlessly from terror and abandonment to prosperous new life.

It explicitly portrays God (or his nearest representative in a child’s life) as huge, terrifying, silent, and insensible and unresponsive to terror and agony — and also inexplicably worthy of unquestioning trust.

Realy points out: 

Research indicates that up to 25% of children in the United States are abused, and of that 80% of those children are five and under (Childhelp: Child Abuse Statistics Facts. Accessed December 2019). This is based on only reported cases.

That’s a lot of kids.

Imagine a child who has been taken from a place of comfort, happiness, and companionship and is thrust into darkness and isolation by a looming, all-powerful figure who silently ignores their terror and buries them alive.

Now imagine what this book tells that child to think about himself, and what it tells him to think about God. Imagine how useful this book would be to someone who wants to continue to abuse, and who wants his victim to believe that what is happening to him is normal and healthy and will bear fruit. 

It is ghastly.

But what about kids who aren’t being abused? The statistics, while horrifying, do show that most children aren’t being abused. Can’t we have books designed for these typical children? 

It is true that some kids are inappropriately afraid of change and growth, and need to be reminded that the unknown isn’t always bad. Imagery is useful for kids (and for adults), and I can imagine an anxious child who’s afraid of going to second grade being comforted with a reminder: Remember the little seed? He was scared, too, but the new things turned out to be good and fun!

But even for these children who aren’t experiencing massive trauma or abuse, and who truly are being cared for by people who want good for them, the narrative minimizes and delegitimizes normal childhood emotions. It’s clear that the seed is wrong to be afraid, even though his situation is objectively terrifying. Teaching kids to ignore and minimize their powerful emotions does not facilitate growth or maturity; it encourages emotional maladaptations that bear bad fruit in adult life. Ask me how I know. 

The flaws in the book are especially egregious when they make the message explicitly spiritual. The final page says “From the Bible” and quotes four passages from scripture. Two are unobjectionable, but two are breathtakingly inappropriate for kids: One quotes John’s passage about a grain of wheat falling to the ground and dying; and one describes Jesus falling to the ground at Gethsemane and praying that the Father might take the cup away, but saying “Yet not as I will, but as you will.”

These are not verses for children! They are certainly not for children of an age to appreciate the colorful, cartoonish illustrations and simplistic rhyming stanzas in the book. These are verses for adults to grapple with, and goodness knows adults have a hard enough time accepting and living them. 

Including them in a book for young kids reminds me chillingly of the approach the notorious Ezzos, who, in Preparation for Parenting, urges parents to ignore the cries of their infants, saying, “Praise God that the Father did not intervene when his Son cried out on the cross.” I also recall (but can’t find) reading how the Ezzos or a similar couple tell parents to stick a draconian feeding schedule for very young babies, comparing a baby’s hungry cries to Jesus on the cross saying, “I thirst.”    

On a less urgent note, it’s also sloppy and careless with basic botany. Realy, an avid garner, points out its “backwards horticulture” which has the tree growing “nuts and fruits that hang down,” but then later “the tree sprouted flowers/and blossoms and blooms.” It also shows a single tree producing berries, fruits, nuts, and grapes, refers to how “woodpeckers pecked/at his bark full of sap.” Woodpeckers do not eat sap, and sap is not in the bark of a tree. Realy and I both also abhor the lazy half-rhymes that turn up, pairing “afraid” with “day” and “saw” and “shore.” 

But worse than these errors is the final page, which shows a beaming, full-grown tree, along with a textbook minimization of trauma:

“The tree understood
that he had been freed.
He barely remembered
when he was a seed.

He barely remembered
his life in the drawer.
his fears disappeared
and returned . . . nevermore.”

Again, if we’re talking about a kid who was nervous about moving to a new classroom, then yes, the fears might turn out to be easily forgotten. But that’s not what the book describes. When the seed is being carried away from its familiar home, it says, “I’m in so much pain and such agony!” and “He felt so abandoned, forsaken, alone” as he’s buried alive by a giant, faceless man who offers no explanation, comfort, or even warning. In short, it describes true trauma, and trauma doesn’t just “disappear and return nevermore.” It’s cruel to teach kids or even adults to expect the effects of trauma to vanish without a trace.

As Realy said: “PTSD never goes away, even with God. We learn to carry the cross well.” 

Let’s be clear: Children don’t need everything to be fluffy and cheery and bright. Some kids, even very young kids, relish dark and gruesome stories, and I’m not arguing for shielding children from anything that might possibly trouble or challenge their imaginations. We recently read Robert Nye’s Beowulf, for instance. We read mythology; we read scripture.

But when we set out to explicitly teach a lesson — especially a lesson that purports to speak on behalf of God! — it’s vital to get the context exactly right. This book is so very sloppy and careless with children’s tender hearts, that even if there isn’t some dark intention behind it, it’s very easy to imagine a predatory abuser using it as a tool.

 A Catholic publisher like Sophia Institute Press ought to know better.

The crepuscular nihilism of E. B. White

“I’m drankful they didn’t clip Serena’s wing,” said my four-year-old at evening prayers. “Drankful” is her fusion of “grateful” and “thankful,” and Serena is the wife of Louis the Swan in The Trumpet of the Swan by E. B. White, which we’ve been reading aloud. And her whole sentiment was my signal that, no, the weirdness in the book hadn’t flown harmlessly over the kids’ heads.

The Trumpet of the Swan tells the story of Louis, a trumpeter swan born without a voice. He can’t communicate, which means he can’t live a full swan’s life. So he goes to school with a boy who befriends him, and, after some initial skepticism from the teacher, he learns to read and write, using a small slate and chalk that hang around his neck. But none of the other swans can read, and he still can’t talk to them; so his father steals a trumpet for him, and he uses it not only to vocalize like a swan, but to play human music. Burdened with the guilt of the theft, Louis leaves home to play music for humans until he earns enough money to pay back the trumpet. The trumpet also allows him to woo Serena, who is also attracted by the slate, a lifesaving medal, and a moneybag that hang around his neck along with the trumpet, setting him apart from other swans.

At one point, Serena is in danger of having her wing clipped to keep her at a zoo; but Louis, who works for the zoo, strikes a bargain: If they let Serena go, the couple will return and donate a cygnet to the zoo from time to time. 

My kids were not okay with that, and neither was I. 

This book — and E. B. White’s other books, Charlotte’s Web and Stuart Little — are not the first ones to deal with the problem of sentient animals living in a human world, but I find myself repelled by how he does handle it.

Let’s switch for a moment to Charlotte’s Web, which aggressively insists that children to think about mortality and, specifically, about being killed. When Wilbur realizes he is going to be slaughtered someday, he is quite reasonably horrified. Charlotte, with her creative weaving, manages to find a way to spare him, and that’s a comfort; but every other animal on the farm, who is just as sentient and emotionally and psychologically whole as he is, will be put to use as farm animals are. Many of them will be killed and eaten. That’s just the way it is. Charlotte dies, too, but Wilbur has some comfort when a few of her children stay behind as friends for him.

As a kid, I read this book compulsively, with fear and loathing. I could see what a good story it was, and how sensitively and beautifully the story was told, but I also felt guilty and ashamed for not being moved and satisfied by how it plays out.

It’s not that I couldn’t get comfortable with the idea that everything passes. I did as well with that idea as any child or any human could be expected to do. It’s that I was angry to be presented with two contradictory realities: That animals are just like us, only we don’t realize it because we can’t understand their language; and that humans can kill and eat these animals, and that’s fine. That even extraordinary people like Fern can penetrate the wall between human and animal . . . until she grows up a little and meets a boy, and then she stops caring, and that’s fine.

That friendship and other relationships between two souls is extremely important, and are what gives life meaning — but someday this will be cut short. And that’s fine. 

It’s really not fine. It’s not just that Charlotte’s death is tough. It’s that the entire book is steeped in a kind of mild nihilism, brightened by the suggestion that sometimes, if you’re lucky, you can put off death for a while. How is this a book for children?

The same theme is present in The Trumpet of the Swan, although it’s more in the background. The central problem of the story is communication: Louis and his father both feel that Louis cannot be whole unless he can communicate. When the father swan goes literally crashing into the human world, through the plate glass window of the musical instrument store, he brings back something which allows his son not only to converse with other swans, but to enter into the world of humans as an entertainer and a businessman — which, in turn, allows him to pay back his debt, lay down the human burden of the moneybag, and return to the world of swans and live in peace with his family in the wilds of Canada. 

Except that he made that deal that sometimes he gives some children to the zoo. Dammit, E. B. White! There it is again: The reader, and specifically children, are forced to work out some kind of uneasy truce with the contradictory world he builds. We are asked to accept that swans are fully sentient, with ideals and ethics, consciences and desires, and that a wild swan living in a zoo with clipped wings is a kind of servitude so undesirable that my four-year-old recognized it as a dreadful fate. And yet this is the fate Louis proposes for an indeterminate number of his future children, and that’s fine.

White is a good and imaginative story-teller, and he could have come up with some other plot device to extricate Louis and Serena from their dilemma. But he chose to use a trope familiar to anyone who reads fairy tales: child sacrifice. This is in Rapunzel; it’s in Rumpelstiltskin; it’s in Hansel and Gretel. Heck, it’s in Iphegenia and Psyche and Andromeda. Heckity heck, it’s in the Old Testament, when Jacob lets Benjamin go to Egypt. I have no other choice. Here, take my child.

And it’s never presented as a good or reasonable solution. We may recoil in horror, or we may writhe with pity and sympathy, because we can imagine what it feels like to be in such a tight spot; but it’s unequivocally a wrong choice, or at very least a dreadful one, made with anguish. You’re really, really not supposed to sacrifice your children to save yourself. 

Not so in Trumpet. Louis and Serena, who love and dote on their children, who know them as individuals, who have real relationships with each other and even with their own parents, and who cherish their beautiful and peaceful life in the wild, travel across the country once a year and sometimes drop off one of their babies at the zoo, as per their agreement. And that’s it.

We don’t even have the comfort of knowing that this is fantastical world where the rules are different when magic intrudes, as we do in fairy tales. In fairy tales, everyday life and hardships smack up against supernatural rule-breaking, and it’s easier to accept some hard truths that wouldn’t play well in real life, because magic is present, and magic has rules of its own. Sometimes cleverness beats magic; sometimes humans are helpless before magic’s inexorable logic. But even when the results are weird and scary and unsettling, we can tell our children, “It doesn’t happen that way in real life. It’s just a story.” 

But E.B. White, with his clean, lucid, reporterly style, is at pains to present his world as the actual world, where there are seedy jazz clubs and spoiled campers, where Louis frets over the appropriate tip for the bellboy, and must remember to clean his trumpet’s spit valve. He’s not a magical creature, and he’s not exceptional, except that his defect propelled him to take the trouble to learn English. His creatures rejoice in the world, especially the natural world; but it is very clearly the real world. There’s no otherworldliness to reassure us that we may approach the ethics of this particular story through a modified lens. Again and again, he presents troubling questions to us, and does not answer them. 

I keep wondering, how much is White aware of the plight he’s creating for his readers? 

Sam Beaver, the boy who befriends Louis and helps rescue him from an ignominious life of muteness, has the endearing habit of writing a question in his journal every night, something to mull over and he falls asleep. In the final scene, he come across the word “crepuscular,” describing a rabbit, and he doesn’t know what it means. He falls asleep wondering what it might mean, planning to look it up later. Then the book ends.

After we finished reading, I followed the obvious prompt from the author looked it up. It means animals that are most active during twilight. 

And there it is. E.B. White is a crepuscular writer, who leads us, for reasons of his own, to live in a twilight world, where nothing is clearly one thing or the other, but we’re still expected to live our lives in the half-darkness.

Maybe it’s not nihilism; maybe it’s more like some kind of American zen buddhism. But it’s not especially well-suited for kids, either. Kids can handle the idea of death; but they can’t handle the idea of being content with semi-meaninglessness, and neither can I. 

***

Some interesting responses to this essay:

from Darwin: In defense of E. B. White’s talking animals
and from Melanie Bettinelli: Children’s books in Parallax

Five Catholic books for littlest kids (and also for their parents)

The books we read as young kids stay with us for a lifetime, so I’m always on the lookout for books that not only have attractive and engaging illustrations, but convey powerful and lasting truths.

I’m especially careful when those books are explicitly about our Faith. Here are a few of my current favorites in that category. They not only tell my kids things I want them to know about God, but I’ve found them moving and engaging myself.

Read my list at The Catholic Weekly

In praise of Mike Mulligan

My friends on social media often share excerpts from books they are reading: Illuminating passages from encyclicals, breathtaking ideas found in scholarly books about design and sociology.

I, on the other hand, post a little bit of Mike Mulligan and His Steam Shovel:

I shared this after reading it aloud for maybe the eight thousandth time the other day. I was admiring once again the perfectly-crafted rhythm of the story. You would have to work really hard to read it wrong. In the page I shared, you can hear the building, busy excitement as more and more people get caught up in the action:

“Now the girl who answers the telephone called up the next towns of BANGerville and BOPperville and KIPperville and KOPperville and TOLD them what was HAPpening in POPperville.

“All the people came over to see if Mike Mulligan and his steam shovel could dig the cellar in . . . ”

and the sentence ends in three, flat, one-syllable words that land with incredulity:

“just. one. day.”

The author, Virgina Lee Burton, would read her books aloud to her own two sons and to neighbor children, to make sure they liked it. She said:

My first book, Jonnifer Lint, was about a piece of dust. I and my friends thought it was very clever but thirteen publishers disagreed with us and when I finally got the manuscript back and read it to Aris, age three and a half, he went to sleep before I could even finish it. That taught me a lesson and from then on I worked with and for my audience, my own children. I would tell them the story over and over, watching their reaction and adjusting to their interest or lack of interest . . . the same with the drawings. Children are very frank critics.

This is about the story, characters, and pictures, but also about the sound of the writing itself. When you’re reading aloud, a book is only as good as how well it can be read. An awful lot of modern children’s books have all the elements that people think kids want: zaniness, lots of frenetic action, lots of repetition; but they require the reader to make constant adjustments so the lines come out right. 

The execrable Skippyjon Jones books come to mind. They are hugely difficult to read aloud, because the words stutter and start and pile up, but rather than building excitement, they’re formless and aimless, littered with dreary puns that kids won’t get, lacking any purpose or arc. They always remind me of this clown, Cheryl, who used to turn up at children’s events. Her entire repertoire was screaming at the kids, because she heard kids like screaming, so here is some screaming. Cheryl was exhausting.

Anyway, about the story of Mike Mulligan. I was astonished to find that some people think it’s depressing. To paraphrase what several people said: He messes up one little job, and now he has to be a janitor forever! Mary Anne is interred in a basement for the rest of her life! I guess if I read the book for the first time as an adult — especially, perhaps, as a young housewife feeling overlooked and trapped — I might read it that way. 

But I did grow up loving the book, and so I’m predisposed to seeing more in it. It’s a John Henry story (“He always said that she could dig as much in a day as a hundred men could dig in a week but he had never been quite sure that this was true”);  except instead of a glorious death in the end, Mrs. McGillicuddy takes them nice hot apple pies. The end of the story is no dark tomb; sunlight pours into the basement, a sort of Elysian Fields for heroes who have earned their rest. 

Several of Burton’s books deal with the idea that progress is good, until it stops being good. (Her excellent The Little House is a more stark and melancholy story with the same theme.) Mike Mulligan and Mary Anne are a victim of their own success. In their prime, they did all the works of progress: They dug the great canals, they cut through the high mountains, they lowered the hills and straightened the curves.

They were literally on the cutting edge of industry and progress; and that means they were destined to be surpassed. 

What are they to do? In a briefly grim passage, Mike has a vision of Gehenna:

It’s intolerable. But where else can you go, when you’ve come to the end?

But in Virginia Lee Burton books, there is always a way out; always a little bit of paradise still reserved for the worthy. So the two heroes set off for greener pastures

and Mike finally has the chance to find out if he and Mary Anne can really dig as much in a day as a hundred men could dig in a week. 

The busy pressure of their past life of industry is recreated in one final, intense day of crisis: He and Mary Anne are fighting against time. The era is coming to an end; the sun is going down. The only way to survive is to do what they are made to do, faster and faster.

And they win! They beat the sun. But in their victory, they have literally dug a hole for themselves that they can’t get out of.

And here is the brilliance of the book. How are they going to get out? It’s not just about this specific job; it’s about retaining their dignity and identity in a changing world. They’ve come to the end. What can be next?

It would make no sense for them to find more and more digging to do. They’re no longer wanted in the city, but they also can’t despoil the green and sunny world that saved their lives. So instead, rather than finding a way out, they find a way to stay in . . . but without defeat.

Mary Anne’s engine keeps working, but now she warms up the meetings at the new town hall. It’s the end of an era, and this is inescapable; but that doesn’t mean anyone is consigned to the netherworld. They lay down their hammer, but they do not die.

Not to put too fine a point on it, but Mike and Mary Anne’s virtues are transformed into warmth, rather than mere industry. (They always worked better and faster when people are watching, after all.)

And through their ordeal, Henry B. Swap, with small town scheming ways, is also transformed; and after Mike triumphs, “he spends most of his time in the cellar of the new town hall listening to the stories that Mike Mulligan has to tell and smiling in a way that isn’t mean at all.” So it turns out it’s all about people, in the end.

There are other children’s books that look back fondly on the past, but I’ve never found another book that deals with inevitable change in such a satisfying way.

But it’s not a lesson book, a wholesome moral disguised as a story; and that’s another of Burton’s virtues. My four-year-old doesn’t hear a Fin de siècle rumination on identity, mortality, and the mixed blessing of productivity. She hears an exciting story about digging, and billowing clouds of dust, and hurry hurry hurry, and Kipperville and Kopperville and Bangerville and Bopperville, and hot apple pies, and that’s what makes it a good book. 

So I guess I’m okay with being the one who gets all excited about children’s books, enough to share passages that I find illuminating. I know full well that some people see my kind of life as interred in a basement, endlessly changing diapers and wiping up crumbs instead of using my mind and my college degree and making constant progress. What can I say? I’m using the engine I have, and I feel like I’m making some warmth.