Prior to Reading
While not a wordless book, The Stranger can be classified as a children's illustrated story book, or in other words, a picture book with narration. Prior to reading the story, based on mere observation of the book, a reader is likely to anticipate from the title a mystery or an adventure involving a stranger with the dust jacket illustration further cementing that notion. The dust jacket features a darker illustration of a young man, seated at a table, being served soup from a tureen by a woman with a soft smile on her face. It is a curious illustration because the young man has a somewhat shocked look about him with eyebrows raised and eyes quite open -- the cover certainly adds to the mystery or adventure-feeling that the title incites.
Because this is an illustrated children's book geared for those in early to mid-elementary school, it is not a chapter-style book with headings -- if it were, Van Allsburg would certainly include an illustration on each chapter page. As it is, Van Allsburg's illustrations are placed throughout the book -- from the dust jacket, to the title page, and the verso-side opposite the story's narration. The font size selected for this work is quite comparable to the size of subheadings found in Charlotte Huck's Children's Literature textbook or around 14 - 16 points. For ease of reading, works targeted at younger age groups typically select a larger font size. Older children reading a book with a larger font are sometimes quick to label it as a "baby book" or classify it as remedial reading; however, in the case of this piece, the font size was found to be appropriate for a wide range of readers.
The Plot Thickens
The Stranger features a very unique plot that moves while playing with both fantasy and reality -- certainly a draw to children and for those reading the story aloud. Action begins on the very first page of the story:
It was the time of year that Farmer Bailey liked best, when summer turned to fall. He whistled as he drove along. A cool breeze blew across his face through the truck's open window. Then it happened. There was a loud "thump." Mr. Bailey jammed on his brakes. "Oh no!" he thought. "I've hit a deer."The story continues to unfold when Mr. Bailey learns that he has hit and injured a young man. The Library of Congress Cataloging-in-Publication Data, included on the verso, concisely captures the overview of the plot: "The enigmatic origins of the stranger Farmer Bailey hits with his truck and brings home to recuperate seem to have a mysterious relation to weather." In a well developed plot, Van Allsburg has the young man stay with the Bailey family for several weeks and as the story progresses they begin to notice idiosyncrasies and eccentricities such as his clothing, inability to speak, behaviors and mannerisms, relationship with animals, and as the cataloging summary hints, a curious change in the weather. Events in the story are presented in logical order, cause and effect, with appropriate preparation leading into the various situations. For example, as a direct result of Bailey hitting and injuring the young man, he drives him back to the farm and calls for a doctor. The story climaxes when the stranger realizes that the trees surrounding the Bailey's property have changed colors yet the trees on the farm have remained green and summer-like.
The Setting
While Van Allsburg does not give an indication as to a specific location or part of the world, The Stranger takes place in a rural agricultural setting in a climate that is supportive of growing wheat and pumpkins, as indicated by the illustrations on pages 14 and 18. Furthermore, the opening page of the story notes seasonal change and the story wraps up with illustrations depicting trees changing color. The story's setting has the universal implication that it could occur anywhere these conditions may exist such as the Mid-Western United States, the United Kingdom, and even Michigan, for that matter.
Throughout the story, the characters visit other locations which are presented to the reader with obvious affect on action of the characters. For example, when the characters are inside of the Bailey's house, they are eating at the table and enjoying musical entertainment in what looked to be the family room. When the various characters are outside, they are taking in their surroundings, such as when Katy and the stranger are watching the migrating birds, and working on the farm by loading pumpkins and pitching wheat shocks onto a wagon. Van Allsburg's illustrations support the narration by giving the reader a visualization of the characters' location and the overall setting.
Like the setting, Van Allsburg does not openly declare a time in which the story took place; however, by noting the actions of the characters, such as calling a doctor to the home and loading horse drawn wagons, as well as the illustrations, such as the wheat shocks stacked in the field drying in the sun, the reader is lead to believe that the story takes place in the late 1920s to early 1930s. In other words, this story could easily be labeled as a Depression-era tale. From the late 1930s until the advent of the self-propelled combine in the late 1950s, farmers threshed wheat by way of a pull-type combine behind a tractor. Earlier yet, as indicated in this story, farmers such as Mr. Bailey and the stranger, manually pitched cut and dried wheat onto wagons pulled by teams of horses. The farmer then fed the wheat from the wagon into a stationary threshing machine that separated the grain from the stalk which resulted in the residual grain being dumped into burlap or cloth sacks. However, the mere existence of Farmer Bailey's truck (think: if a farmer had a truck -- where is the tractor and/or combine?) and stylization which sings of the 1940s-era conflicts with time as indicated by the rest of the agricultural practices. To this reviewer, when drawing conclusions as to when this story took place, it is safe to say that the inclusion of the truck was an error, but rather a very necessary error for the story to have taken flight as the believability factor would be challenged if it had been a team of horses that hit the stranger.
Theme
This story calls to mind several themes and concepts that are certainly worth transmitting to children: (a) never judge a book by its cover; (b) extraordinary things can happen to ordinary people; (c) family and compassion, as well as, (d) making amends when mistakes are made. As the story progresses and the stranger recuperates, the themes unfolded naturally without creating an overtly "educational" piece by moralizing the story. The theme of family and compassion is transmitted to readers by way of the narration and several of the illustrations rendered by Van Allsburg. For example, in two instances the narration indicates that the family is seated at the table eating dinner together with the stranger -- although, in the latter situation, while the stranger is present at the table, he is not eating. On the book's dust jacket, and within the story, an illustration shows Mrs. Bailey caring for the stranger by serving him soup. Midway through the story, a scene is depicted in which the characters are together and entertaining themselves with musical instruments and dance. At the story's close, the family is shown together outside looking for the stranger with Mrs. Bailey comforting her daughter Katy.
Characterization
Van Allsburg introduces the characters in this piece via the story's narration, illustrations, and action. The following is a rank order list of characters presented in the piece based on their appearances in the story: The stranger (name unknown), Mr. Bailey, Mrs. Bailey, Katy (the Baileys' daughter), and the Doctor. Based on the various actions throughout this piece, mainly compassion and curiosity, the characters certainly seem convincing and credible in the context; however, if the piece took place in the present day or perhaps even in a more suburban setting, a reader might be more skeptical about the characters. When this piece was introduced to a family member who was unfamiliar with the story, a question was broached after the scene in which Mr. Bailey took the stranger home and subsequently calls for a doctor, "Does something bad happen to this family?" This leads to the next point of stereotypes.
Stereotypes about agricultural communities are still persistent and rampant in our society regardless of era: the notion of a "simple" life, farmers always wearing overalls, and the women spending their days cooking meals and caring for the family. Women played larger roles on the family farm than what is traditionally portrayed in books and stories. It was (and still is) not unusual for the woman of the house to be up before sunrise getting breakfast ready for the family and the kids off to school, while quickly making the transition from the kitchen to the dairy parlor in order to milk cows next to her husband and the hired help. In the afternoon, after lunch is served, she might be stacking bales of hay and straw in the barn's mow (hayloft), hauling grain to the elevator, ordering seed and fertilizer, and doing the farm's bookkeeping. In reality, the woman of the household often works double-duty -- caring for her family as well as carrying out her responsibilities on the farm.
While much specific detail about the characters is not given by Van Allsburg, strengths and weaknesses are revealed as the story unfolds though the action of the characters. At the opening of the story, to the reviewer, Mr. Bailey shows weakness by paying too much attention to the weather and not enough to road when he accidentally hits the young man in the road. The stranger's inability to verbally communicate is initially shown as a weakness; however, by mid-story, the stranger demonstrates that he can communicate in other ways. The Bailey family shows strength of character by allowing the young man, who is inexplicably different, to recuperate in their home while treating him like a family member on holiday.
Development and growth of character is portrayed in this piece when the Bailey family breaks from their routine by opening their home to an injured stranger. With the stranger's arrival, the autumn-like weather around the farm ceases and the days begin to resemble, once again, the summer months. Through opening their hearts and minds, as well as, collective observation as narrated by the Van Allsburg, the Bailey family begins to realize that the change in weather is connected to the stranger's presence on their farm; their suspicion is confirmed at the end of the story when the stranger leaves. On the other hand, if the characters had been stubborn and close-minded, the story would have likely taken a different path.
Style
Van Allsburg's straightforward style of writing is supportive and appropriate for a children's fantasy story. He gives the reader enough detail and information, at the right times, to move the story forward while keeping the reader interested and engaged. For what little dialogue there is in this piece, it was found to be natural and fitting for the characters in their various roles. By writing the collected observations of the characters and not providing probable explanations, the mood created was of inquisitiveness which leaves the reader pondering and yearning to read more of the story. For example, when helping Mr. Bailey in the field, the narration mentions that the stranger did not tire or even break a sweat. A very curious observation! Another example is the scene in which Katy, the daughter of Mr. and Mrs. Bailey, observed the stranger interacting with the rabbits. Katy was completely surprised when the rabbits did not take to the woods, but rather let the stranger hold one of them. An air of mystery is certainly created by the narration and illustration of this scene.
Through the Looking Glass
Throughout the story, the point of view varies from character to character depending on who is in the stranger's presence. Having the point of view centered on the current character's observation does, indeed, limit the reader's horizon; however, it suits the story quite well. Considering alternative methods for delivery, young readers could become confused and the story rendered moot. For example, if the narration took an all-knowing or omniscient point of view, the mystery-element of the story would be eliminated with the readers being aware of the stranger's identity, Jack Frost, before the storyline could be unfolded -- not conducive to holding a child's attention. In reading and reflecting upon the story, it seems that Van Allsburg's point of view centers on the notions of keeping an open mind and not judging which was transmitted to the reader by way of the characters' actions throughout the piece.
Further Considerations
Van Allsburg's beyond satisfying illustrations enhance this piece by drawing the reader into the story's environment -- absolute perfection. Readers can imagine themselves watching the curious events unfold as if they are alongside the characters. The format and overall size of the book makes it easy to hold for teachers, parents, and librarians when sharing this piece in a story time format. With the narration shared on the verso and illustrations on the recto, the story flows very nicely and is conducive to being read and shared aloud. The book used for purposes of this review is a trade binding rather than a library binding. Due to the beautifully rendered illustrations, a trademark of Van Allsburg's work, in which children will enjoy perusing, library binding is recommended for classroom use. The paper selected for this book is slightly glossy, beneficial for wiping away sticky fingerprints, which allows the illustrations to pop without extra glare.
In comparing Van Allsburg's The Stranger to Smoky Night by Eve Bunting (illustrated by David Diaz), both stories are very unique in their own way and have a serious tone. With oil pastel being the medium of choice for Van Allsburg and a blend of acrylic and photography employed by Diaz, both works feature strong and prominent illustrations. Both books have the same formats -- text on the verso and images on the recto; however, differing from Van Allsburg's work, Bunting's text is set over busy backgrounds rendering white space non-existent which creates a loud and busy feeling. In contrast to The Stranger, dialogue used in narration is quite prevalent throughout Bunting's book giving a slightly deeper dimension to the characters.
Other works created by Van Allsburg also fall into the children's fantasy genre with three of his books translated onto the silver screen: Jumanji, The Polar Express, and Zathura. Not all of his illustrations feature the warm and colorful palette as exhibited in The Stranger; several employ monochromatic techniques such as with The Garden of Abdul Gasazi, Ben's Dream, Probuditi, and The Widow's Broom. His other works include: The Garden of Abdul Gasazi (1979, Caldecott Honor), Jumanji (1981, Caldecott Medal), Ben's Dream (1982), The Wreck of the Zephyr (1983), The Mysteries of Harris Burdick (1984), The Polar Express (1985, Caldecott Medal), The Z Was Zapped (1987), Two Bad Ants (1988), Swan Lake (1989, illustrator), Just a Dream (1990), The Wretched Stone (1991), The Widow's Broom (1992), The Sweetest Fig (1993), The Mysteries of Harris Burdick (1994, portfolio edition), Bad Day at Riverbend (1995), A City in Winter (1996, illustrator), The Veil of Snows (1997, illustrator), Zathura (2002), Probuditi (2006), and Queen of the Falls (2011).
Because of Van Allsburg's popularity, a number of reviews and evaluations of his work are available for parents, teachers, and librarians to read. For the purposes of this review, three commentaries from notable sources were selected. For the School Library Journal, Patricia Dooley wrote:
Grades 2 - 4. The Stranger is a down-homey modern myth about the phenomenon of Indian Summer, but the opening owes less to the folktale than to The Twilight Zone. Farmer Bailey, rapt on an end-of summer day in his 1940s pickup, suddenly hits something: the next page shows a young man's body, dramatically foreshortened and stretched out at eye-level in the evening shadows. The terror-stricken victim quickly recovers but has lost both speech and memory. Invited to stay with the farmer, his wife, and little girl, he spends idyllic days with them while autumn's advance is unaccountably delayed. The text scatters clues to the stranger's identity (Jack Frost); but the moment of recognition is cleverly given over to the electrifying illustration alone. Characteristically, the bold simplifications of Van Allsburg's warm pastels look back to the American regionalist paintings of the 1930s and '40s especially to Thomas Hart Benton and Grant Wood. The story is too low-keyed for most children, although several action compositions provide suspense with their unorthodox points-of-view, out-of-frame action, and play with effects of light. Here the interweaving of fantasy and reality is more complex than in Van Allsburg's earlier books, and the effects more subtle; but the surface pleasures of color and form are still enticing.A review from the Horn Book states, "The author-illustrator has woven a thread of fantasy in and around his realistic illustrations to give the reader, once again, a story that stays in the imagination." And last, but not least, Dr. Phyllis Kennemer of Children's Literature stated the following: "...Van Allsburg's tale of the origins of Indian Summer will continue to both charm and mystify young readers....Each page of the text has a facing picture in full color. Van Allsburg's signature illustrations illuminate the surreal feeling of the story…Ages 7 – 11."
The Stranger, when published in 1986, became an immediate classic. In summing up this piece, Van Allsburg's talent for writing and illustrating is certain to entertain and engage children of the intended audience (4 - 8); however, this reviewer feels that this book is more than appropriate for children of all ages including adults. Parents, teachers, and librarians looking for a magical story to share with children about the coming of autumn should definitely consider this book. This piece is one that I will cherish and share with others for years to come.
Sources
- Bunting, E. & Diaz, D. (1994). Smoky night. San Diego, CA: Harcourt Brace.
- Dooley, P., Jones, T., Gale, D., & Doxsee, E. (1986). The stranger (book review). School Library Journal, 33(3), 84.
- Kennemer, P. (1986). The stranger (review). Retrieved from http://www.childrenslit.com/childrenslit/mai_vanallsburg_chris_qa.html
- Van Allsburg, C. (1986). The stranger. New York, NY: Houghton Mifflin.
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