The Story of Little Black Sambo ANNOTATION
A little boy in India loses his fine new clothes to the tigers, but while they dispute who is the grandest tiger in the jungle he takes his fine clothes back again.
FROM THE PUBLISHER
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.
FROM THE CRITICS
Publishers Weekly
In this edition of Bannerman's story, first published in 1899, a long afterword from the publisher spells out its checkered past. But while the text remains nearly precisely the way Bannerman told it, Bing's (Casey at the Bat) light-infused illustrations focus on the heroic boy's courage and ingenuity as he outwits a series of tigers in the forests of India. One of the giant striped foes lurks in the grass on the title page, and the opening spread depicts Black Mumbo and Black Jumbo, the boy's parents, returning from the marketplace among buildings of onion-shaped domes and the ruins of exotic columns. They present him with the "beautiful little Red Coat,... Blue Trousers,... Green Umbrella... and lovely little Pair of Purple Shoes with Crimson Soles and Crimson Linings"; he will use these to bargain with the threatening tigers, before reclaiming them while the tigers fight to prove who looks grandest in his vestments. Unlike the vain tigers of Marcellino's The Story of Little Babaji or the somewhat simple-minded tigers, as characterized by Jerry Pinkney in Julius Lester's Sam and the Tigers, Bing's villains are ferocious, often towering above Little Black Sambo or tugging at the boy's pants with bared teeth. Still, Little Black Sambo maintains his composure and never seems frightened. The mood here may be more somber than Marcellino's or Lester's versions, but the hero looks triumphant as he walks away in his new outfit, none the worse for his trade. Ages 5-up. (Dec.) Copyright 2003 Reed Business Information.
Children's Literature - Ken Marantz and Sylvia Marantz
The late 19th century tale of the little black boy who meets a tiger while taking a walk in his beautiful new clothes became a popular classic despite illustrations that unfortunately reflected particularly insulting racist caricatures. The satisfying story of Sambo's final triumph, lost in controversy over the years, has been rescued for young readers only recently by Fred Marcellino's re-imaging in India as The Story of Little Babaji and Jerry Pinkney's revision, Sam and the Tigers. Bing re-invents here one of his childhood favorites. As in his earlier Casey at the Bat and The Midnight Ride of Paul Revere, he incorporates faux documents and historic photographs on the non-text pages to create a context for more profound appreciation. The book itself simulates an aging volume with yellowing pages, broken binding, and a jacket/cover slashed by tiger claws. The large format allows him to create framed double-page scenes which depict ancient Indian ruins and a lush grassy landscape; the naturalistic manner emphasizes the sunny brightness and the powerful big cats. This is a theatrical creation that encourages us to enter the fantasy of our appealing young hero to share his emotions. Extensive notes fill in background. 2003, Handprint, Ages 4 to 9.
School Library Journal
PreS-Gr 4-Despite the controversy surrounding Bannerman's racially insensitive choice of names and style of illustration for her 1899 book, Little Black Sambo perseveres in print and in the memories of adults who encountered the tale as children. Whereas Julius Lester (Sam and the Tigers [Dial, 1996]) casts Sam as a hero of the American South, and Fred Marcellino places The Story of Little Babaji (HarperCollins, 1996) in India, Bing affirms Bannerman's text and the incongruities inherent in fantasy. His African child lives in India where those infamous tigers want to eat him up-until each receives a portion of his new outfit. This is vintage Bing. The book has a weathered look, including the illusion of ripped seams and folded, yellowed pages. The danger, however, is palpable from the outset: the linen and gilt cover bears the deep, jagged imprint of a claw. Each double-page painting is framed in black and infused with golden light. The glow emanates from the sun, the tigers, the domes-foreshadowing the brilliance of that "lovely melted butter." Pen and ink are applied meticulously to skin, fur, and landscape, creating a rich overall texture and depth; the areas of unadulterated color provide the magical aura. Endpapers decorated with newspaper clippings, postcards, maps, shadow puppets, and other realia provide an in-depth history of the story and the particulars of this version. Some adults will no doubt continue to debate the use of Sambo. Children will be dazzled and delighted by the turn of events depicted here.-Wendy Lukehart, Washington DC Public Library Copyright 2003 Reed Business Information.
Kirkus Reviews
The most controversial children's picture book in history is richly resurrected with truly sumptuous illustrations in a gorgeous oversized format. Bing retains Bannerman's original text and names, but replaces the stereotypical characteristics with a handsome, tawny-skinned Sambo, and dresses Black Mumbo in a sari and Black Jumbo in a turban. In a note on the front endpapers, Bing relates how he worked for 20 years to illustrate his favorite childhood story. Amid the beautiful, etched-line textures, sun-kissed colors, and lush greenery, the magnificent tigers not only steal Sambo's clothes but also steal the visual show. Fascinating focal points create dramatic perspectives (a tiger viewed between Sambo's knees) and cinematic close-ups. The bordered spreads appear as if on parchment and end-page collages intriguingly display old postcards, maps, and items of the times. A lengthy note by the publisher on the story's history and publication provides important context. Exceptional in every detail: a classic story respectfully revitalized to a new grandeur-one it deserves. Simply superb. (Picture book. 3-7)
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