Growing up most of a continent away, there were always some books in our house (though none in most other homes I visited), and I always had books to hold and look at. I had Golden Books of the 1950s, and other child-size books like Little Toot and The Little Red Caboose. But I also had a library of particular book-size books. My first house of books was My Book House.
The set that I grew up with was published in 1943. The prior 1920s editions were six thick volumes but by the 40s the same basic material was in twelve volumes of more than 200 pages each. They were deep blue, thinner but larger in size to better accommodate illustrations.
For me now, the color, slight shine and heft of these volumes, the very touch of their cool surfaces, still define "books." As I view their contents, browsing by the light of the floor lamp that had once been in my grandparents' living room, now nearest to the shelves where these books repose, I can be taken back to earliest impressions, especially by the relationship of these evocative, colorful and now singular illustrations to the text.
Once I'd learned to read I don't recall my mother offering any guidance as suggested, but she seems to have heeded some of the suggestions on reading to babies. (I have the advantage of having my own very real memories confirmed by watching her with my younger sisters, particularly Debbie, who was born when I was 8.)
For example, the book suggests how to hold a baby's arms and clap while mother recites "Pat-a-cake, pat-a-cake, baker's man" (which sounded more like "patty-cake" to me) and how to play with the babies toes for "This little piggy went to market." It's exactly how my mother did it, although she sometimes added a rhythmic bouncing as she held me on her knee, which I believe was important in showing me that whatever else words in such arrangements were about, they were first of all about rhythm and music.
After fifty pages of common nursery rhymes, there are successive sections of short rhymes from Scotland, Wales and Ireland; Norse, Italian, Spanish, Swiss, South American, Mexican, Polish, Swedish, Chinese and East Indian nursery rhymes, and one Japanese lullaby, before national and regional rhymes from America, including American Indian Songs.
Some of the verses get longer before the book turns to prose, and explores childhood experience in a neighborhood, on a farm, in a big city and so on, sometimes in stories similar to those found in an early grade reader, sometimes adapted from authors like Hans Christian Andersen. Ending up with tales from Greece, Rome and the Bible. All in this first volume.
This resolute international inclusiveness, the combination of folk stories, myths and work of classic authors, set one pattern for further volumes. Olive Beaupre Miller would change the mix over the years, but this edition seems to preserve some authentic cultural fragments, perhaps otherwise lost, with no apology for how puzzling many selections were and are.
Some stories have morals and messages, but they aren't all "The Ugly Duckling" and "The Little Engine That Could" (which are included.) The one that stayed with me is "The Gingerbread Man" (who in the story is called the Gingerbread Boy.) The Gingerbread Boy comes to life, leaps out of the oven and over 8 madcap pages inset with illustrations, he laughs and outruns everybody. Until the last page when he reaches the river, still being pursued, and accepts the fox's offer to carry him across on his back. As the water gets deeper the fox counsels him to jump up on his shoulder and then his nose, until the fox eats him.
Not exactly a strive and succeed sort of story, but the impact of it hit me with the final illustration. Most of the figures had been cartoonish, except the fox in the final one, which is rendered with startling realism. I'm surprised now to see how small this illustration is, down at the bottom of the page, because it made a big impression on me, when my mother read me the story.
The illustration in this book I most loved however was of the Sandman holding his wondrous umbrella over a sleeping child. The umbrella reminded me of a similarly shaped and decorated lampshade on a table lamp at my grandparents. (I believe my sister Kathy has it now.)
By volume 3, the books in my set are also in better shape, showing less handling than the first two. Now I seem them as treasuries, but at the time they competed with schoolbooks and later with comics and library books. But I did read selections in all of the volumes, often in bed and especially when restricted to bed by my many childhood illnesses (mumps, chicken pox, measles twice as well as colds, flus, etc.)
Now when I browse subsequent volumes I see poems, excerpts and rewritten tales from authors and works I've since read. If I read these as a child, their influence was subconscious, but then much of education is. There are bookmarks left in them (one indicating 1962) by one or another of us.
Comparison to Jonathan Swift's text shows this to be only lightly edited and condensed, so Swift's voice is preserved as well as the now classic story. Again I remember reading it here because I recall the illustrations. But these illustrations are not so numerous, and the story lasts for some forty pages. The point being that while I was transported by the wonder of the story, I was given the opportunity to absorb its literary merits as well.
These books existed in my life within a context that prominently included movies (especially Disney), radio (early on) and television, as well as phonograph records. (I still have my battered 78 version of Tubby the Tuba.) But the point is that books were represented, and not just picture books or school books (which barely registered as books.) My Book House provided living examples of what books are, and the template for my further and continuing explorations of these nurturing, magical objects.