Allison Green and Shanakay Watson
Gladys Yarbrough, Ph.D.
Georgia State University
Ed Young is a well-known illustrator and writer for many children. He has illustrated an impressive eighty books. Of those eighty books, he has authored seventeen. Although Young was born in Tientsin, China he spent his time in many different geographical locations such as Shanghai and Hong Kong. He continued his journey moving to the United States as a student to pursue studies in architecture. However, it was not long until he found himself returning to his true passion, art. Beginning a career as a commercial artist in advertising he was able to put his artistic skills to use, yet he was still not deeply satisfied …show more content…
Some may say it is the Chinese version of the famous tale of Red-Riding Hood. This book, however, is distinctively different than most children’s books. The images are vivid, realistic, and imaginative. Young uses a unique combination of pastels and watercolors to enhance and compliment the story. He incorporates key virtues such as prudence, honesty, and cooperation as well as vices; greed, disobedience, and foolishness. The images are certainly original while simultaneously honoring and encompassing Chinese heritage. The book offers great way to introduce culture to children as well as comparative literature (Lon Po Po and Little Red-Riding …show more content…
To be awarded “most distinguished American picture book for children” excellent artistic technique must be present. In addition, pictorial interpretation of the story and its theme must be strong. Key parts of the story such as characters, setting, mood, and plot are brilliantly and powerfully illustrated in Young’s children’s book. While Young’s other books such as Seven Blind Mice and The Emperor and the Kite, both of which are identified as Newbery Honor books, are indeed marvelous works, it is recognized that Lon Po Po is more than just a book. It is a journey. Patricia Lee Gauch explains that most readers are accustomed to observing stories as if they were “being drawn slowly across the stage” (113). Gauch also shares that in Lon Po Po “the reader is asked to stand a breath away from the wolf, so close that the shadow is at his or her fingertips” (113). In other words, Lon Po Po is an