Other books byHelen Bannerman
The Story of Little Black Sambo
The jolly and exciting tale of the little boy who lost his red coat and his blue trousers and his purple shoes but who was saved from the tigers to eat 169 pancakes for his supper, has been universally loved by generations of children. First written in 1899, the story has become a childhood classic and the authorized American edition with the original drawings by the author has sold hundreds of thousands of copies. Little Black Sambo is a book that speaks the common language of all nations, and has added more to the joy of little children than perhaps any other story. They love to hear it again and again; to read it to themselves; to act it out in their play.
The Story of Little Babaji
Helen Bannerman, who was born in Edinburgh in 1863, lived in India for thirty years. As a gift for her two little girls, she wrote and illustrated The Story of Little Black Sambo (1899), a story that clearly takes place in India (with its tigers and "ghi," or melted butter), even though the names she gave her characters belie that setting. For this new edition of Bannerman's much beloved tale, the little boy, his mother, and his father have all been give authentic Indian names: Babaji, Mamaji, and Papaji. And Fred Marcellino's high-spirited illustrations lovingly, memorably transform this old favorite. He gives a classic story new life.
The Story of Little Black Mingo
Story of Little Black Sambo
A remarkable celebration from the Caldecott Honor-winning artist! A clever young boy outwits a band of voracious tigers and returns home in triumph to a splendid feast of a yard-high stack of pancakes. The story, penned by Helen Brodie Bannerman for her two daughters in 1889, has captured the imagination of readers around the world and across many generations. But the pictures which accompanied her text were crudely stereotypical and hurtful to many. Caldecott Honor-winning artist Christopher Bing has spent almost fifteen years rediscovering the joy and energy of the original story. He respects that Bannerman was writing in an Indian setting and with Indian animals-after all, there are no tigers in Africa-and faithfully adheres to the original text. However, recognizing that the image of Sambo has been used as a symbol of repression of Africans and African-Americans, Christopher Bing celebrates Sambo as proudly African, a child of beauty and joy, wit and resourcefulness. In recreating the illusion of an antique, weathered, tiger-clawed storybook filled with exquisitely detailed paintings that draw upon a lush jungle-inspired palette, Christopher Bings interpretation of Sambos world seamlessly melds a grand sense of wonder with the minutiae of nature, and a story with history.