
Routledge’s Coloured ABC Book. New York: George Routledge and Sons, [not after 1871]. (Cotsen 9761)

Polly-Peters Picture-Map and Guide to Mother Goose Land. [United States?, 192-?]. (Cotsen 23414)
Mother Goose takes on a new role in the early twentieth century presiding over a land populated by the familiar characters in nursery songs and lullabies, which over time has taken many increasing ingenious forms. Polly-Peters Picture-Map and Guide to Mother Goose Land (ca. 1921), draws the realm in the shape of the good old dame in her steeple hat flying on a goose, with their features superimposed on the northernmost reaches of the continent and the bird’s webbed feet trailing over the sea.

Each Peach Pear Plum. New York: Viking Press, 1979. (Cotsen 4014)
Gathered within her outline are her silly subjects, all recognizable from the original ditties, but otherwise unconnected by any geographical logic. Alan and Janet Ahlberg did not need maps on the endpapers to their two iterations of Mother Goose Land in Each Peach Pear Plum or the Jolly Postman series because the action centered on a ramble through the countryside in the first, and a mailman on his bicycle delivering the post to the residents in the second. While readers cannot give directions from one house to the next on the mailman’s route, they know that names of the different houses and their addresses because they are printed on the envelopes in the book.

Mother Goose for Christmas. New York: Viking Press, [1973]. (Cotsen 150007)

Mother Goose of Pudding Lane. Somerville, MA: Candlewick Press, 2019. (Q-001943)
More recently Chris Raschka and Vladimir Radunsky compiled Mother Goose of Pudding Lane: A Small Tall Tale (2019) a typically quirky collaboration which is a nursery rhyme anthology that is also tells the story of Mother Goose and her husband Isaac, based on the hoary old urban legend that the patron saint of nursery rhymes and fairy tales was a real person, an Elizabeth Goose living in Boston at the end of the seventeenth century. The author and illustrator cleverly frame rhymes as responses, comments, or extensions to the stages of the Gooses’ lives. The newly weds start a family immediately and it grows so large so quickly that Elizabeth herself is cast as the old woman in the shoe. The object that looks like a coal scuttle at the bottom is really the heel of the family home.
As long as Mother Goose Land belongs to no one and everyone, there can never be a definitive iteration, but rather many delightfully different ones from which we can enjoy.