The Development of Wordless Picture Books

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20th Century Children`s Literature
In this paper, I argue that children’s books were now being considered for more than their educational uses and could also entertain and express the simple pleasures and innocence of childhood. During the early 1900s we began to consider other important functions for a children’s book— functions that might encourage more symbolic approaches and abstract thinking. Perry Nodelman cites: The early use of pictures for their informational value obviously relates to the longstanding conviction that books for children should have primarily educational purpose; that Caldecott and others filled the void created by popular ideas . . . there is a fairly obvious connect between the pure sensual pleasure offered by brightly colored pictures and the tolerance for and delight in the innocent joys of childhood that developed in Europe and America in the early 19th century (Nodelman 3). To consider the personal development of children through narrative was instrumental to the development of the wordless picture book. This approach to education and literacy led to new concerns about the child reader’s perceptions. These first books were created to “interact” with children. Their interpretations and participation were considered an important aspect of the picture book, leading to a deeper concern for the implied viewer of the picture book.
With the growth of the wordless picture book market, it is important to consider the benefits these books can provide. Wordless picture books are not only important tools in the classroom but they also aid in other areas of children’s development as well. According to Nodleman, “…viewed with an attitude of respect for the communicative powers of visual codes of signification, wordless books can be as powerful a source of education in the attentiveness basic to literacy as are books with words.” (Nodelman 191). Since children use picture books to learn, we will explore some of the specific educational aspects of wordless picture books.
First, wordless picture books introduce the physical qualities of a book— the way in which the cover introduces the story and the pages follow sequentially. Jalongo, Dragich, Conrad, and Zhang write, “Before children can explore books for themselves, they need to learn how a book works”(3). Children examine the mechanics of a book as an object: they experience how pages that turn right to left (in Western cultures). When a child is exposed to the narrative structure with a sequence of visual images they are being introduced to basic story structure with a beginning, middle, and end.
Another very important skill introduced through the wordless picture book is the ability to infer. Children learn to interpret images they see in wordless picture books. The wordless book encourages visual literacy and supports the child’s ability to draw conclusions as to what is going on in the picture. Wordless books also encourage verbal expression— the ability to speak the story aloud. This skill not only aids in reading text but it also aids in building the foundation for free thinking and curiosity.
Because these stories are open to interpretation there are varying opinions regarding the benefits of the wordless book. Nodelman states, “Some adults believe that the inadequacies of wordless books are actually their strengths, that in leaving some things vague they allow their young viewers to be ‘creative’” (Nodelman 190). This approach to learning might allow children to express themselves openly which can affect how they make sense of their world.
Wordless picture books not only offer children a place to explore story and narration they also offer children an opportunity to learn about themselves, allowing children to find ways to express themselves and explore their world. According to Nodelman, “Making ourselves and our children more conscious of the semiotics of the picture books through which we show them their world and themselves will allow us to give them the power to negotiate their own subjectivities” (Nodelman 195).
A notable wordless picture book was Keats, The Snowy Day (figure below page). The Snowy Day relates the adventure of a boy who builds a snowman during the day only to find it has come to life at night. Keats’ story was told through framing each scene in a similar style to comics. There is also a range of viewpoints utilized that allows the reader to imagine the book cinematographically— fitting for it to be adapted into a popular animated short film. Action is implied through Keats’ stylistic choices. According to Perry Nodelman, “As the boy and snowman fly, similarly, the shading lines that depict the darkness of the sky also slant in a direction that implies the characters’ flight”( Nodelman 161).
Image 1 - Keats. The Snowy Day


Image 2 – Richardson and Parnell, And Tango Makes Three


This tale by Parnell and Richardson is based on a true story of a charming penguin family living in New York City's Central Park Zoo, that captured the hearts of penguin lovers everywhere. Silo and Roy, two male penguins, are "a little bit different and queer." They cuddle and share a nest like the other penguin couples, and when all the others start hatching eggs, they want to be parents, too. So Tango had two daddies in this heartwarming tale, and inspired by actual events in the zoo. This loving story can also serve as a gentle jumping off point for discussions about same-sex partnerships in human soci...