The Very Hungry Caterpillar

 

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The Very Hungry Caterpillar by Eric Carle

1969

Illustrated by Eric Carle

Eric Carle created The Very Hungry Caterpillar at the beginning of his career and it remains his most popular book. A caterpillar emerges from an egg and begins eating. Over the course of a week, he eats through a variety of fruits – one apple, two pears, three plums, four strawberries, five oranges – and then gorges himself on a sickening feast that includes an ice-cream cone, a pickle, and a slice of watermelon. Curing his stomach ache with a nice green leaf, he spins himself a cocoon and then emerges as a beautiful butterfly. With a minimum of fuss, a child has learned the days of the week, a few numbers, and the miracle of metamorphosis. A young child never ceases to be intrigued by the worm holes, just the size for a tiny finger, that go right through the foods on the page.

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The Very Hungry Caterpillar was the first of several “very” books which combine natural history, life lessons, and a multi-sensory component. The Very Busy Spider features the gradual building of a web, raised Braille-like on the page so there is a textural dimension. The Very Quiet Cricket ends with the realistic sound of a cricket chirping, while The Very Lonely Firefly includes the magic of twinkling lights. Carle avoids what in other hands might feel gimmicky by his obvious respect and wonder for the natural world.

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Carle’s illustrations have a deceptive air of simplicity. He creates collages with pieces of tissue paper painted with acrylic so there is considerable richness of texture and vibrancy of color. The technique, in his hands, is wonderfully suited to animals, insects, plants, and landscape. Less so to humans, who have calamine pink skins and thick legs. To see more of his art, visit The Eric Carle Museum of Picture Book Art in Amherst, Massachusetts, which also features rotating exhibits of the many gifted artists who have enriched the world of children’s book illustration.

 

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Brown Bear, Brown Bear, What Do You See?

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Brown Bear, Brown Bear, What Do You See? By Bill Martin, Jr.

1967

Illustrated by Eric Carle

Bill Martin, Jr. was on a train heading for New York City when the line “brown bear, brown bear, what do you see?” came into his mind. By the time he pulled into Grand Central Station fifteen minutes later, the book was complete, jotted on the margins of his newspaper. He chanced upon an ad portraying a bright red lobster and he hunted down the artist and invited him to collaborate. Eric Carle had no experience as a book illustrator but over a weekend he created the painted tissue paper collages. The resultant book has remained a bestseller for over forty years. Perhaps the spontaneity of its creation ensured its enduring freshness.

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Of the 300 books that Bill Martin, Jr. wrote, there are two that stand out. The first begins, “Brown Bear,/ Brown Bear,/ What do you see?/ I see a red bird looking at me.” Using this template, in the ensuing pages, we meet a yellow duck, a blue horse, a green frog, a purple cat, a white dog, a black sheep, and a goldfish. The second book begins, “A told B,/ and B told C,/ I’ll meet you at the top of the coconut tree” – this from Chicka Chicka Boom Boom, co-written by John Archambault. The key to both is the cadence of the rhythm, in the latter case finger snapping and jazzy. Listen to Bill Martin, Jr. sing Brown Bear with his slightly cracked and off-key voice – it is hard to read the words without giving them a tune. There are a myriad of books that teach the colors, animals, and alphabet, but children return to these two repeatedly because of the melody behind the words.

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Martin was raised in Hiawatha, Kansas in a house without books. He had difficulty with reading until he went to teacher’s college where memorization of poems by Robert Frost and Walt Whitman helped him decipher the written word. In response to a professor’s encouragement, he read a whole book for the first time. Because of his own dyslexia, he wrote books that children could hear. His rhythmic language has greater affinity to song lyrics than to either poetry or prose.