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Now published as a young adult book, the new edition includes a number of poems written after the first. It also omits several from the original book. Acrylic paintings by Caldecott-winner David Diaz illustrate 10 of the verses. Although the more sophisticated art in the first edition may actually have greater appeal to young adults, Diaz's small, intense paintings create portraits rich in composition, color, and gesture. The images, almost mythic in their sense of representing more than individual people, seem to move with the rhythm of the verse.
No matter which illustrations the reader prefers, the power is in the poetry. As in any collection, some of the poems are better than others. As in any parody, knowledge of the original adds greatly to a reading of the verses. Still, the poems come together, uneven but undeniably powerful. They make their statements in different ways, with different tones, all contributing to a chorus that comes through loud and clear. When they first appeared, these poems sounded modern in spite of their nursery rhyme inspiration. They still do.
Merriam's introduction to the second edition (1982) is reprinted here. In it, Merriam comments that the book became "just about the most banned book in the country," with most of the criticism centering on one vulgar word, though broadening into more general charges that seemed to confuse cause and effect. Some of the poems concern aspects of our society, such as violence, racism, and corruption, that most of us prefer to leave in darkness. Instead, the poetry occasionally flashes like summer lightning, suddenly illuminating what we would rather not see and exposing our fears in its swift, cold light.
Whatever its history, and wherever librarians choose to shelve it, this book belongs in libraries: not because it mimics Mother Goose, not because it stirs controversy, but because it speaks with such clarity and in such an unexpected form. Carolyn Phelan
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