Henny Penny and Friends Reimagined: “What’s Fair is Fowl, What’s Fowl is Fare”

Stories don’t get much sillier than Henny Penny.  The plot is set in motion when a chicken gets beaned on the head by an acorn.  The nitwit jumps to the conclusion that the world is ending and the king must be told.   On her way, she meets a series of birds, each of whom asks permission to accompany her on the mission.  That question—and its response–is always posed to the group, not its leader Henny Penny, which requires the repetition of all the characters’ silly rhyming names in the order in which they joined.  Galloping through the list in the correct order without mistakes takes concentration and a straight face.  The number of feathered delegates to the king would have increased until the castle gate was in sight, had not a fox helpfully offered to show them the short cut via his den.

The pictures of the birds in Paul Galdone’s classic picture book version plays it straight, putting all the pressure on the reader to keep things moving along to the inevitable conclusion. To Leonard B. Lubin, an artist who liked to imagine animals in elaborate historical costumes,  the cast of barnyard fowl posed an irresistible challenge. Where Beatrix Potter hesitated to dress up birds in her illustrations, he plunged in and designed exquisite eighteenth-century robes with appropriate headgear for a chicken, rooster, duck, goose, and turkey.  The only concession made to reality was to give them human feet that would look daintier than webbed ploppers in high-heeled slippers and pointed buckled shoes.When our flock of beribboned, furbelowed, and flounced birdbrains come barreling down the road, who should they meet but the fox, gentlemanly and helpful as can be, dressed for a day’s shooting in the countryside.  How they were picked off and plucked for the platter is left entirely to the reader’s imagination, but not a whisper of hope is offered that any escaped the fate of being eaten in one greasy sitting.

Jane Wattenberg’s retelling lovingly blows up the old story with wild photocompositions full of sly verbal jokes and a text stuffed with jaunty puns, vivid verbs, cool apostrophes, and emotive type setting. It’s unapologetically and deliciously over the top from the copy on the front flap “Come flock along with Henny Penny and her feathered friends flap around the world in search of…  King Kong?  King Tut?  Or is it Elvis…  But when they meet up with that mean ball of fur Foxy-Loxy, their plans suddenly go a-fowl” to the back cover illustration of Henny Penny  captioned “Was it REALLY all my fault?”

Wattenberg’s poultry wear nothing but their feathers and combs, but they talk like no other birds in picture books—“Shake, rattle, and roll!  The sky is falling!  It’s coming on down! Henny-Penny saw it and heard it and it smacked her on her fine red comb. We’re full tilt to tell the king.”

In a picture narrative where the pace never lets up, it is seems just right that the ending doesn’t mince words or dial back the jokes about the mayhem  in Foxy Loxy’s cave.

Leaping gizzards!  What a skanky prank!  For with a Gobble-Gobble-Gobble! That sly Foxy-Loxy wolfed down poor Turkey-Lurkey.  With a Squonk-Hiss-s-s-s-Honk! That fleazy Foxy-Loxy gobbled up Goosey-Loosey and Gander-Lander.  With a Quack@  Don’t Look Back! That cunning cad Foxy-Loxy wolfed down Ducky-Lucky and Drake-Cake.  With a Cock-a-Doodle-Doo!  What I Do to You?  That greedy grunge of a Foxy-Loxy gobbled up poor Cocky-Locky.

The darkness is softened by the way the fox’s treachery is underscored with each gulp and allowing Henny Penny, the unwitting perpetrator of the carnage, to escape.  The last one waiting outside the killing room, she figures out what is going on and runs away as fast as her little three-toed feet can carry her, squawking that she’s got to get home and lay the daily egg.There’s nothing like justice in the tale of Henny Penny and her unfortunate friends, but it isn’t the way of the world to look out for the gullible, whether the sky is falling or not…  Perhaps that’s why the story continues to be retold and we cry with laughter with every one.

Baby Memory Books from around the World

They go by many names…  Baby books, baby journals,  baby milestone books, and domestic baby diaries are a few of them.  To facilitate the tracking of information, memories, and storage of precious photos, designers experiment with the format and layout.  Does the new mother want prompts or lots of white space to fill up with thoughts and observations?   Should she start recording her experiences  as soon as she knows she is pregnant, the beginning of the journey to motherhood, or wait until the baby arrives?   Is a choice of bindings in a rainbow of colors important so the book will fit in with the décor of the nursery or master bedroom?  Or would a completely customizable product, such as InScribe Publishing’s babEbook make the process more fun, more personal, and much easier, whatever the mother’s circumstances?

As showcases of illustration and repositories of data about individuals, these highly ephemeral books have been collectible for some time.   The Louise M. Darling Biomedical Library at UCLA has been accumulating titles from the late Victorian era to the present day and now has six hundred examples spanning 125 years.   Some of Cotsen’s baby books, along with the first edition of Dr. Benjamin Spock’s  Common Sense Book of Baby and Child Care (1946) and other treasures, were brought out for members of Princeton’s BabyLab when they visited Special Collections in October.

Because the milestones of an infant’s first twelve months are more or less agreed upon, a baby book’s contents are relatively predictable.  After recording birth weight and length comes a series of firsts: first tooth, shoe, word, etc.  It’s the illustrator’s challenge to capture the excitement of the moment in a way that will evoke pleasant memories later.  Ella Pipping’s Jag [Me], a Swedish baby book first published in 1937, was undoubtedly reprinted many times on the strength of its headpieces by the mother-daughter team of Signe Hammarsten-Jansson and Tove Jansson, the creator of the Moomins.   No Swedish is necessary to figure out where to enter most of the different statistics, but no information about a baby was ever entered on this copy’s pristine pages.

Sugiura Hisiu’s Kodakara [Baby Book] (Tokyo: Misukoshi Department Store, 1909) is also perfectly preserved.  I wonder if many recipients of such beautiful books felt they were too pretty to write in them, even though the more likely explanation is that the new mother was simply too tired and busy to begin, much less keep up.  Many of the full-page illustrations are charming depictions of little children, full of surprising details about the coexistence of Eastern and Western fashions in Japan.The earliest of the three baby books shown to BabyLab was Baby’s Record (New York: Frederick A. Stokes, c.1898) illustrated by Maud Humphrey, beloved creator of sticky-sweet pictures of little children.  It’s a well-established urban legend that the mother of Humphrey Bogart was responsible for the famous Gerber logo baby.  She wasn’t.   The  Cotsen copy of the Record was given to “Baby,” by Mrs. Leo Fleishman (presumably a family friend or relative) and “Baby” was Edward Jacques Ruff, the son born to Joseph Ruff and Rosa Rosenthal Ruff November 22, 1910 in Mexico City. His first shoe is shown to the right.  The Ruffs appear to have been devout Jews and recorded little Edward’s first prayer in transliterated Hebrew  and descrubed his first visit to temple with his grandfather at age three.  The handwritten memorandum reveals that Edward “was very good.  Said Amen about a minute after the rest of the congregation which very much embarrassed his grandfather.”

The three books could not be more different in appearance, but they do have one thing in common: baby’s vaccination for small pox is among the milestones of the first year.  In Sweden, it looks as if the doctor came to the house.  Edward was just four months and three days when he was inoculated.   Look carefully at the little Japanese baby and you’ll see he’s crying and picking at the red spots on his arm.Very little has been written about the history of the baby book before the 1870s, when the first ones were published.  The only scholarly article I could find, “The Observing Eye;: A Century of Baby Diaries” by Doris Wallace in a 1994 issue of Human Development suggests that German psychologists who were leaders in their profession agreed agreement that the systematic observation of very young children complemented experimental and testing methodologies.

Wallace seems not to have been familiar with parent diarists in England before Charles Darwin.  Novelist Mrs. Gaskell managed to cover the first six months of her daughter Marianne’s life, the very thoughtful, insightful, and loving notes making it a fascinating document to read.  She was almost certainly following in the footsteps of Maria and Richard Edgeworth, who showed parents in their highly influential Practical Education (1798), the scientific value of detailed anecdotes about child behavior for the way they revealed the child’s thought processes as they matured.  The compilation of such a diary, the Edgeworths argued, was the way to realize Thomas Reid’s wish to “obtain a distinct and full history of all that hath passed in the mind of a child from the beginning of life and sensation till it grows up to the use of reason.”   Easier said than done, but it remains a noble goal for recording the mundane details of babyhood, when what mother really needs is a good night’s sleep.