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Book description

Book description
You do not know the temptation I am fighting right now to begin this review with some grandiose statement equating a fear of the dark with a fear of death itself. You have my full permission to slap me upside the head if I start off my childrenвЂ™s books reviews with something that bigheaded. The whole reason I was going to do it at all is that after reading a book like Lemony SnicketвЂ™s The Dark I find myself wondering about kids and their fears. Most childhood fears tap into the weird id (see, here I go) part of our brains where the unknown takes on greater and grander evils than could possibly occur in the real world. So we get fears of dogs, the color mauve, certain dead-eyed paintings, fruit, and water going down the drain (or so Mr. Rogers claimed, though IвЂ™ve never met a kid that went that route), etc. In the light of those others, a healthy fear of the dark makes perfect sense. The dark is where you cannot see and what you cannot see cannot possibly do you any good. That said, there are surprisingly few picture books out there that tackle this very specific fear. Picture books love to tackle a fear of monsters, but the idea of handling something as ephemeral as a fear of the dark is much much harder. It takes a certain kind of writer and a certain kind of illustrator to grasp this fear by the throat and throttle it good and sound. Behold the pairing of Lemony Snicket and Jon Klassen. YouвЂ™ll neвЂ™er see the like again (unless they do another picture book together, in which case, scratch that). вЂњYou might be afraid of the dark, but the dark is not afraid of you.вЂќ Laszlo is afraid but thereвЂ™s not much he can do about it. Seems as though the dark is everywhere you look sometimes. Generally speaking it lives in the basement, and every morning Laszlo would open the door and say, вЂњHi . . . Hi, dark.вЂќ He wouldnвЂ™t get a reply. Then, one night, the dark does something unprecedented. It comes into LaszloвЂ™s room and though he has a flashlight, it seems to be everywhere. It says it wants to show him something. Something in the basement. Something in the bottom drawer of an old dresser. Something that helps Laszlo just when he needs it. The dark still visits Laszlo now. It just doesnвЂ™t bother him.There is nothing normal about Lemony Snicket. When he writes a picture book he doesnвЂ™t go about it the usual route. Past efforts have included The Composer Is Dead which effectively replaced ye olde stand-by Peter and the Wolf in terms of instrument instruction in many a fine school district. Then there was 13 Words which played out like a bit of experimental theater for the picture book set. I say that, but 16 copies of the book are currently checked out of my own library system. Besides, how can you not love a book that contains the following tags on its record: cake, depression, friendship, haberdashery, happiness? Take all that under consideration and The Dark is without a doubt the most normal picture book the man has attempted yet. It has, on paper anyway, a purpose: address childrenвЂ™s fear of the dark. In practice, itвЂ™s more complicated than that. More complicated and better.Snicket does not address a fear of the absence of light by offering up the usual platitudes. He doesnt delve into the monsters or other beasties that may lurk in its corners. The dark, in Snickets universe, acts almost as an attentive guardian. When we look up at the night sky, it is looking back at us. In Laszlos own experience, the dark only seeks to help. We dont quite understand its motivations. The takeaway, rather, is that it is a benign force. Remove the threat and what youre left with is something that exists alongside you. Interestingly it almost works on a religious level. I would not be the least bit surprised if Sunday school classes started using it as a religious parable for death. Not its original purpose but on the horizon just the same.It is also a pleasure to read this book aloud. Mr. SnicketвЂ™s words require a bit of rereading to fully appreciate them, but appreciate you will. First off, thereвЂ™s the fact that our heroвЂ™s name is Laszlo. A cursory search of childrenвЂ™s books yields many a Laszlo author or illustrator but nary a Laszloian subject. So thatвЂ™s nice. Then thereвЂ™s the repetition you donвЂ™t necessarily notice at the time (terms like вЂњcreaky roofвЂќ вЂњsmooth, cold windowsвЂќ) but that sink in with repeated readings. The voice of the dark is particularly interesting. Snicket writes it in such a way as to allow the reader the choice of purring the words, whispering them, putting a bit of creak into the vocal chords, or hissing them. The parent is granted the choice of making the dark threatening in its initial lures or comforting. Long story short, adults would do well to attempt a couple solo readings on their own before attempting with a kiddo. At least figure out what take youвЂ™re going for. It demands no less.The most Snicketish verbal choice, unfortunately, turns out to be the bookвЂ™s Achilles heel. YouвЂ™re reading along, merry as you please, when you come to a page that creates a kind of verbal record scratch to the whole proceeding. Laszlo has approached the dark at last. He is nearing something that may turn out to be very scary. And then, just as he grows near, the next page FILLS . . . . with text. Text that is very nice and very well written and perhaps places childhood fears in context better than anything IвЂ™ve seen before. All that. By the same token it stops the reading cold. I imagine there must have been a couple editorial consultations about this page. Someone somewhere along the process of publication would have questioned its necessity. Perhaps there was a sterling defense of it that swayed all parties involved and in it remained. Or maybe everyone at Little, Brown loved it the first time they read it. Not quite sure. What I do know is that if you are reading this book to a large group, you will skip this page. And if you are reading one-on-one to your own sprog? Depends on the sprog, of course. Thoughtful sprogs will be able to take it. They may be few and far between, however. The last thing you want when you are watching a horror film and the hero is reaching for the doorknob of the basement is to have the moment interrupted by a five-minute talk on the roots of fear. It might contain a brilliant thesis. You just donвЂ™t want to hear it at this particular moment in time. Canadians have a special relationship to the dark that Americans canвЂ™t quite appreciate. I was first alerted to this fact when I read Caroline WoodwardвЂ™s Singing Away the Dark. That book was about a little girlвЂ™s mile long trek through the dark to the stop for her school bus. The book was illustrated by Julie Morstad, whose work reminds me, not a little, of KlassenвЂ™s. They share a similar deadpan serenity. If Morstad was an American citizen you can bet sheвЂ™d get as much attention as Mr. Klassen has acquired in the last few years. In this particular outing, Mr. Klassen works almost in the negative. Much of this book has to be black. Pure black. The kind that has a palpable weight to it. Laszlo and his house fill in the spaces where the dark has yet to penetrate. It was with great pleasure that I watched what the man did with light as well. The colors of a home when lit by a flashlight are different from the colors seen in the slow setting of the evening sun. A toy car that Laszlo abandons in his efforts to escape the dark appears as a dark umber at first, then later pure black in the flashlightвЂ™s glow. We only see the early morning light once, and in that case Klassen makes it a lovely cool blue. These are subtle details, but theyвЂ™re enough to convince the reader that theyвЂ™re viewing accurate portrayals of each time of day. The dark is not visually anthropomorphized. It is verbally, of course, with references to it hiding, sitting, or even gazing. One has to sit and shudder for a while when you imagine what this book might have been like with an author that turned the dark into a black blob with facial expressions. ItвЂ™s not exaggerating to say that such a move would defeat the very purpose of the book itself. The whole reason the book works on a visual level is because Klassen adheres strictly and entirely to the real world. An enterprising soul could take this book, replicate it scene by scene in a live action YouTube video, and not have to dip into the film budget for a single solitary special effect. This is enormously important to children who may actually be afraid of the dark. This book gives a face to a fear that is both nameable and not nameable without giving a literal face to a specific fear. ItвЂ™s accessible because it is realistic. When dealing with picture books that seek to exorcise fears, one has to be very careful that you donвЂ™t instill a fear where there wasnвЂ™t one before. So a child that might never have considered the fact that nighttime can be a scary time might enter into a whole new kind of knowledge with the simple application of this book. That said, those sorts of things are very much on a case-by-case basis. Certainly The Dark will be a boon to some and simply a well-wrought story for others. Pairing Klassen with Snicket feels good when you say it aloud. No surprise then that the result of such a pairing isnвЂ™t just good. ItвЂ™s great. A powerhouse of a comfort book.For ages 4-8.
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