Gone Wild: An Endangered Animal Alphabet(2016) David McLimans Casebound, illustrated paper over boards, illustrated doublures, sewn book block. Illustrated, debossed glossy paper dustjacket. H255 x W285 mm. 36 unnumbered pages. Acquired from Gargoyle Books, 25 August 2022. Photos: Books On Books Collection.
In the history of children’s books, the alphabet looms large, and among alphabet books, animal alphabets make up the largest category. But why animals?
For learning and teaching letters, they are easily recognized and mnemonically effective. Illustrators can wrap them around letters, make them twist themselves into letters or hide them behind letters. Designers can hide them on tabs behind letters, make them pop out, parade them across leporellos (accordion books), let them lurk in tunnel books or put them on a paper disk to appear and disappear in a volvelle’s window. Writers can weave stories with animals and letters, put animals and letters together in puns and surprising scenarios or use alliteration and rhyme with them to reinforce letter recognition and reading. For authors more paleographically and philosophically inclined, the answer to “Why animals?” might be sought in the origins of the alphabet’s first letter as James Rumford does in There’s a Monster in the Alphabet (2002) and Don Robb and Anne Smith do in Ox, House, Stick (2007).
Whatever the cause, ever since John Hart’s A Methode, or Comfortable Beginning for All Unlearned (1570), which appears to be the first example of teaching the English alphabet with illustrations, we have had an explosion of imagination and wit choosing, finding or making up animals, birds, fish, insects and reptiles with which to decorate the letters, to make from letters (or make letters with), to be disguised with abstractions or to be hidden, revealed or popped out from behind letters. Now, in reverse over four centuries later, the alphabet has been mustered for teaching the endangered state of those creatures.
While E.N. Ellis, Bert Kitchen, the team of Alan Robinson and Suzanne Moore all allot only one letter and the dodo to make the point, Dick King-Smith and Quentin Blake together devote almost all of their Alphabeasts (1990) to examples of extinction, as do Jerry Pallotta and Ralph Masiello in The Extinction Alphabet Book (1993).
Left to right: from E.N. Ellis’s An Alphabet; Bert Kitchen’s Animal Alphabet; Alan Robinson and Suzanne Moore’s A Fowl Alphabet.
Quentin Blake’s page-by-page visual narrative married to Dick King-Smith’s opening verses in Alphabeasts.
With Gone Wild, David McLimans adds a complex and subtle device to the explosion. The book is not so much about learning the alphabet with animals as learning about animals with the alphabet — or rather with “alphabetic art”. Wielding computer, pencil, pen, brush and India ink on bristol board, David McLimans redraws the alphabet’s capital letters to look like animals not yet extinct but on the Red List of the International Union for Conservation of Nature. Even the design of the traditional alphabet book subtly serves as a teaching tool about these animals. Notice how McLimans and John Candell, the book’s designer, turn the traditional presentation of uppercase and lowercase letters into a kind of running head that underscores the common and scientific names of each animal. Even the list of facts on each species — their habitats, geographic ranges, threats to survival and statuses — receives meaningful thematic design touches from the use of two-color printing — blood red and extinction black.
After the brief red-on-black thumbnails and descriptions following Grevy’s Zebra, McLimans provides further reading (online and in print). You have to go beyond a quick dive into the address he provides for the IUCN to find the Red List (see address above). There you will learn how up to the minute this book was in 2016 — and, unfortunately, still is.
Kitchen, Bert. 1991. Animal Alphabet. London: Walker Books. For letters decorated with animals other than the dodo.
Mackey, Bonnie and Hedy Schiller Watson. 2017. Alphabet Books : The K-12 Educators’ Power Tool. Santa Barbara California: Libraries Unlimited. For a brief history and extended categorization of alphabet books.
Markle, Sandra; Markle, William; and Dávalos, Felipe. 1998. Gone Forever! : An Alphabet of Extinct Animals. 1st ed. New York N.Y: Atheneum Books for Young Readers. For letters in aid of animals rather than vice versa.
Pallotta, Jerry, and Masiello, Ralph. 1993. The Extinct Alphabet Book. Watertown Mass: Charlesbridge. For letters in aid of animals rather than vice versa.
A fair number of fiction and non-fiction children’s books on the history of the alphabet have made their way into the Books On Books Collection.
Of the fiction variety, there is Rudyard Kipling’s “Just So Story” of the alphabet’s invention: How the Alphabet Was Made (1983), illustrated by Chloe Cheese. Another fiction entry is James Rumford’s retelling of Cadmus’ visit to Crete in There’s a Monster in the Alphabet (2002) and William Joyce’s inventive The Numberlys (2014).
In the non-fiction category are William Dugan’s How Our Alphabet Grew (1972), Tiphaine Samoyault’s Alphabetical Order (1998), Renzo Rossi’s The Revolution of the Alphabet (2009) and the entry here: Don Robb’s and Anne Smith’s Ox, House, Stick.
Ox, House, Stick is scheduled to appear as part of an exhibition at the Bodleian Libraries in Oxford (opening 15 July 2023). “A is for Ox” designates the display case devoted to the question: Where did the alphabet come from? It’s not just a question for archaeologists, historians, linguists and paleographers — or children’s book authors and illustrators. It’s one generating repeated inspiration for book artists as shown by Abe Kuipers’ Letters (1971), Lanore Cady’s Houses & Letters (1977), another rendition of the Kipling tale by Gerald Lange in The Neolithic Adventures of Taffi-Mai Metallu-Mai (1997), designed by Gerald Lange and produced with Robin Price, Dave Wood’s Alphabetica (2002), Cari Ferraro’s The First Writing (2004), and Helen Malone’s Alphabetic Codes (2005).
Artists’ books share much with children’s books in general. They both play with form and structure. They play with words and images, sometimes images without words and sometimes just shapes. Almost always an attention to all the senses. Children’s alphabet books in particular display features that appeal to book artists: play with animals, the Babel of languages, bodies, calligraphy, colors, design (of letters, page and book) and, as above, alphabet origin stories. Viewing and exploring alphabet books and artist’s books side by side heightens the enjoyment and appreciation of both.
There’s a Monster in the Alphabet (2002) James Rumford Dustjacket, hardcover. H285 x W230 mm. 32 pages. Acquired from Bud Plant and Hutchison Books, 3 November 2022. Photos: Books On Books Collection. Displayed with permission of the author.
James Rumford subtly weaves fanciful, speculative and well-founded points about the origin and transmission of the alphabet into his inventive reframing of Herodotus’s tale of how the Phoenicians brought the alphabet to Greece. In the double-page spread above, the letter A’s evolution can be found in the ox’s head on the right and among the fish on the left.
Rumford’s painting with letters is another reminder of the fluidity of picture and letter. Phoenician and early Greek letters are used white on black to outline figures and suggest motion (as with the stick-throwing Cadmus above) or orange on black to evoke the decorative patterns of Greek pottery (as with the vase below).
The note shaped within the vase makes for a deft graphic transition from the pictorial to the fully textual appendix on the recto page, whose explanations will send an attentive reader back to the preceding pages to look more closely at their images.
Sequoyah (2004)
Sequoyah (2004) James Rumford Dustcover, hardback. H285 x W230 mm. 32 pages. Acquired from Amazon EU, 25 September 2022. Photos: Books On Books Collection. Displayed with permission of the author.
Rumford’s Hawaiian residence places him on the equivalent of a linguistic equator reflected in the range of languages his books have engaged: Arabic, Bamum, Chinese, English, French, Ikinyarwanda, Persian and, of course, Hawaiian. He might be suspected of aiming to create an A-Z library of stories about the world’s languages. He has even covered hieroglyphics and Latin.
With Sequoyah, Rumford gives bilingual treatment to an astonishing feat — the creation of a syllabary within decades as opposed to the centuries it has taken for most other languages’ alphabets and syllabaries.
Rumford’s style in this book takes on elements of Japaneses woodcuts and the perspective and color that Gaugin found in them.
As with There’s a Monster in the Alphabet, the audience for Sequoyah is older children (probably ages 8 and older), but supporters of the Endangered Alphabets Project and fans of works such as Sam Winston’s One and Everything (2022) would also enjoy Rumford’s two books.
Diringer, David, and Reinhold Regensburger. 1968. The alphabet: a key to the history of mankind. London: Hutchinson. A standard, beginning to be challenged by late 20th and early 21st century archaeological findings and palaeographical studies.