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The Story Behind Little Golden Books

There's a good chance you grew up reading the adventures of The Poky Little Puppy, Tootle, or Scuffy the Tugboat in the pages of Little Golden Books. But how much do you know about the story behind these beloved tales?

Before the introduction of Little Golden Books in 1942, children's books weren't necessarily made with children's interests in mind. They were usually large volumes that were too difficult for young readers to handle or comprehend, and were awfully expensive at $2 to $3 each (that's about $28 - $42 today). But George Duplaix of the Artist's and Writer's Guild, in partnership with Simon & Schuster Publications and Western Printing, wanted to change all that.

Duplaix thought the solution was small, sturdy, inexpensive books with fewer pages, simpler stories, and more illustrations so little kids could actually enjoy them. Western was already publishing a line for kids called Golden Books, so Duplaix and his team piggy-backed on those marketing efforts, calling the new line Little Golden Books. 

The first 12 titles were released on October 1, 1942, at a price of only a quarter a piece. They were an instant success. After only five months on the market, 1.5 million copies had been sold and many titles were already in their third printing; by 1945, most were in their seventh printing. One of the keys to their sales success was the fact that they were available in unusual places, such as department stores, drug stores, and supermarkets. Busy parents could keep rambunctious children occupied while they ran errands, and not feel guilty about the additional 25 cents tacked onto their final bills. 

The Little Golden Books' original 12 titles were:

Three Little Kittens
Bedtime Stories
The Alphabet A - Z
Mother Goose
Prayers for Children
The Little Red Hen
Nursery Songs
The Poky Little Puppy
The Golden Book of Fairy Tales
Baby's Book
The Animals of Farmer Jones
This Little Piggy

The Poky Little Puppy was and still is the most popular of these original titles, helping it become the best-selling children's book of the 20th century (a total of 14,898,341 copies were sold). But Poky isn’t the only Little Golden Book with impressive numbers. Many of the original 12 rounded out the Top 10 of the century, too. Tootle (1945), about a locomotive-in-training, was third with over 8.5 million copies sold. Saggy Baggy Elephant (1947) was #7 with just under 7.5 million, and Scuffy the Tugboat (1955) came in at #8 with 7.3 million.

Overall, well over two billion Little Golden Books have been sold since 1942 in nearly every country across the globe—though they were banned for many years in the Soviet Union for being “too capitalist.”

The books, of course, couldn't stay $0.25 forever, although it did take 20 years before the price jumped to $0.29. The price continued to rise over the years, but still stayed under a dollar for decades, finally threatening that threshold in 1986 when the price reached $0.99. Currently, Little Golden Books retail for $3.99. When you consider the buying power of a quarter back in 1942 was about $3.47 in today's money, they’re still pretty easy on the pocketbook.

Once Upon a Time

In the beginning, Little Golden Books were either based on classic fairy tales or featured wholly original stories and characters. But that all changed in 1944, when the publishers signed a licensing agreement with Disney, which has been in place ever since.


Along with Mickey, Pluto and the gang, there have been tie-ins with just about every kid-friendly property you can imagine, creating an interesting timeline of children's interests. The 1940s and '50s featured cowboy legends, including Hopalong Cassidy, Annie Oakley, and Roy Rogers. The Flintstones, Lassie, and Bugs Bunny and friends were widely read throughout the 1960s. The 1970s saw the beginning of another long-standing licensing agreement—Sesame Street—and even a Donny and Marie Osmond book.


Kids of the 1980s will remember reading about Rainbow Brite, Inspector Gadget, and Pound Puppies. The '90s saw Barney, Pokemon, and Thomas the Tank Engine books, and today, kids can read everything from Dora the Explorer-focused stories to Dinosaur Train to SpongeBob SquarePants.

Brought to You By …

There have also been a handful of corporate tie-ins with Little Golden Books. In 1951, Doctor Dan the Bandage Man included six Johnson & Johnson Band-Aids glued to the title page—1.75 million books were printed, making it the largest first run of any Little Golden Book at the time. Shortly after, a Nurse Nancy edition also sold with Band-Aids.

In 1952, Texcel Cellophane Tape sponsored Tex and his Toys, which featured a roll of tape on the cover so kids could put together paper cut-out toys. Not to be outdone, Kleenex issued 2.25 million first editions of Little Lulu and Her Magic Tricks in 1954, with a small package of tissues on the front.

Little Golden Books have also been given away with Happy Meals, Hardee’s Kid’s Meals, Kimbies Diapers, sold with Fisher-Price pull toys. Special edition books were even once sold at The Ice Capades.

Striking Gold

For collectors, first editions, not surprisingly, are the most sought-after. However, it’s very difficult to properly identify the age of a Little Golden Book, because the copyright date rarely changes from the original printing. Which means even though your copy of The Monster at the End of this Book (one of the best-selling Sesame Street Little Golden Books) has a copyright date of 1971, it may in fact have been printed in 1990.

But there are ways to know if you have a first edition:

If your book has a blue spine, it was published between 1942 and 1947, and the edition number will be on the first or second page.

If there's a letter near the spine on the lower-right corner of the last page, your book was published between 1947 and 1970. The letter “A” means first edition, “B” is second edition, and so on. If it’s “AA,” it’s the 27th edition, “BB” is the 28th, etc.

If there is a series of letters on the first few pages of the book, it was published between 1971 and 1991. Using the same letter to edition connection (A=first edition, B=second edition), the letter farthest to the left indicates the edition number.

Between 1991 and 2001, Roman numerals appeared on the title page to indicate the year the book was printed. If the number is preceded by an A, it’s a first edition; by an R, it’s a revised edition. If there is no letter, there’s no definitive way to know what edition it is.

Finally, since 2001, the now-standard print edition method has been adopted. On the copyright page you’ll see a list of numbers. The last number on the right is the edition of your book. For example, “10 9 8 7 6 5” would be a fifth edition.

First editions of the original 12 titles can be sold for $100 or more if the book is in exceptional condition and includes the dust jacket. Some special edition books, such as the Band-Aid books, or titles that included cut-out toys, paper dolls, or a cardboard puzzle, can sell for about $75 if everything is intact. (Another "prize" for collectors: Any edition of the controversial Little Black Sambo, which has been out of print since the '60s.)

Overall, collecting Little Golden Books is a fairly affordable hobby. Most vintage first editions are available for around $15. Later vintage editions in mint condition can be had for as little as $2 to $3. But if you just want to enjoy the stories, Little Golden Books are a staple at thrift stores and flea markets, where they can often be purchased for, interestingly enough, as low as $0.25.

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Vivid Imagery Makes Poetry More Pleasurable, According to Psychologists
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Contrary to what English teachers led us to believe, most readers don’t judge poetry based on factors like alliteration and rhyme. In fact, a new study published in the journal Psychology of Aesthetics, Creativity, and the Arts suggests that vivid imagery (i.e. sense-evoking description) is what makes a poem compelling, according to Smithsonian.

To determine why some poetic works are aesthetically pleasing while others are less so, researchers from New York University and the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany, had more than 400 online volunteers read and rate 111 haikus and 16 sonnets. Participants answered questions about each one, including how vivid its imagery was, whether it was relaxing or stimulating, how aesthetically pleasing they found it, and whether its content was positive or negative.

Not surprisingly, taste varied among subjects. But researchers did find, overall, that poems containing colorful imagery were typically perceived as more pleasurable. (For example, one favorite work among subjects described flowers as blooming and spreading like fire.) Emotional valence—a poem's emotional impact—also played a smaller role, with readers ranking positive poems as more appealing than negative ones. Poems that received low rankings were typically negative, and lacked vivid imagery.

Researchers think that vivid poems might also be more interesting ones, which could explain their popularity in this particular study. In the future, they hope to use similar methodology to investigate factors that might influence our enjoyment of music, literature, and movies.

[h/t Smithsonian]

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15 Facts About Tennessee Williams's A Streetcar Named Desire
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Hulton Archives/Getty Images

In a sweltering New Orleans, a wilted Southern belle collides with the dysfunctional marriage of her sweet sister and brutish brother-in-law. This is the plot of Tennessee Williams's classic play, A Streetcar Named Desire, which opened on Broadway on December 3, 1947. But the story of its making and legacy is even wilder than Stanley Kowalski's screaming.

1. WILLIAMS SET THE PLAY IN HIS CHOSEN HOME.

The boy born Thomas Lanier Williams III lived in Columbus, Mississippi, until he was 8 years old. From there, his traveling salesman father bounced the family around Missouri, moving 16 times in just 10 years before abandoning them. As he forged a path of his own, Williams wandered from St. Louis's Washington University to the University of Iowa to the New School in New York City, and even spent some time working on a chicken ranch in Laguna Beach, California. But at 28, he found his “spiritual home” in New Orleans. There he officially changed his given name to the college nickname he'd come to prefer. Inspired by the culture of the French Quarter, he wrote short stories and what would become one of his most popular plays. There he became Tennessee Williams, in more ways than one.

2. A STREETCAR NAMED DESIRE WAS NAMED AFTER A REAL STREETCAR LINE.

Named for its endpoint on Desire Street in the Ninth Ward, the Desire line ran down Canal Street onto Bourbon and beyond. It operated from 1920 to 1948—meaning that shortly after becoming famous on Broadway, it was retired in favor of buses that were quieter and put less stress on the streets and surrounding buildings. Gone but not forgotten, one of the Desire cars was restored in 1967, and was made a tourist attraction. In 2003, the city even proposed resurrecting the streetcars and this famous line's name, but this dream died when federal funding was denied.

3. STANLEY KOWALSKI WAS INSPIRED BY TWO MEN.

The name "Stanley Kowalski" was borrowed from a factory worker Williams met while living in St. Louis. But the playwright's true muse was Amado ‘Pancho’ Rodriguez y Gonzales, a Mexican boxer who was once Williams's lover, and who argued the character he inspired should be Latino, not Polish.

Ten years his junior, Gonzalez met Williams when the writer traveled to Mexico City in late 1945. Entranced by the macho 24-year-old, Williams invited Gonzalez to move into his New Orleans home. Their relationship lasted only two years. By the time Streetcar Named Desire hit Broadway, Williams had moved on to who would be the love of his life, aspiring writer Frank Merlo.

4. BLANCHE MAY HAVE BEEN A STAND-IN FOR WILLIAMS.

As a gay man, the writer had been mocked all his life, called "sissy" by sneering peers, and “Miss Nancy” by his drunken, abusive father. In some respects, he was like Blanche, a gentle Southern soul, thirsty for love and kindness, yet dangerously fascinated by gruff men. Elia Kazan, who directed both the original Broadway production of Streetcar and its movie adaptation, once said of Williams, "If Tennessee was Blanche, Pancho was Stanley….Wasn’t he [Williams] attracted to the Stanleys of the world? Sailors? Rough trade? Danger itself? Yes, and wilder. The violence in that boy, always on a trigger edge, attracted Williams at the very time it frightened him.”

The closest Williams came to commenting on this comparison was saying of his work, "I draw every character out of my very multiple split personality. My heroines always express the climate of my interior world at the time in which those characters were created.”

5. A STREETCAR NAMED DESIRE WAS WILLIAMS'S SECOND BIG BROADWAY HIT.

In 1945, Williams broke through with his groundbreaking autobiographical drama The Glass Menagerie. Just a year and a half after this acclaimed production closed, A Streetcar Named Desire opened to even greater praise. Reportedly, the standing ovation lasted for 30 minutes after the curtain descended on opening night.

6. THE PLAY WAS DRASTICALLY DIFFERENT FROM ITS BROADWAY CONTEMPORARIES.

In her historical essay on Williams, critic Camille Paglia notes that A Streetcar Named Desire was a total change from The Glass Menagerie. Where the former had a "tightly wound gentility," the latter boasted "boisterous energy and eruptions of violence." But more than that, "Streetcar exploded into the theater world at a time when Broadway was dominated by musical comedies and revivals." She adds, "the shocking frankness with which Streetcar treated sex—as a searingly revolutionary force—was at odds with the dawning domesticity of the postwar era and looked forward instead to the 1960s sexual revolution."

7. IT CEMENTED WILLIAMS'S REPUTATION AS A MAJOR VOICE IN AMERICAN THEATER.

The New York Times critic Brooks Atkinson proclaimed, "Mr. Williams is a genuinely poetic playwright whose knowledge of people is honest and thorough and whose sympathy is profoundly human." A Streetcar Named Desire went on to run for more than 800 performances, and would win the New York Drama Critics' Circle Award for Best Play. Jessica Tandy earned a Tony Award for originating the role of Blanche, and Williams was honored with the Pulitzer Prize for Drama.

8. STANLEY KOWALSKI LAUNCHED MARLON BRANDO.

At 23, Brando was a method actor who was drawing praise in a string of Broadway roles. The year before A Streetcar Named Desire debuted at the Ethel Barrymore Theatre, New York critics had voted him "Broadway's Most Promising Actor" because of his powerful performance in Maxwell Anderson's Truckline Café. His portrayal as Kowalski delivered on that promise, and then some. Playwright Arthur Miller wrote that he seemed "a tiger on the loose, a sexual terrorist … Brando was a brute who bore the truth." And this intensity was captured in the 1951 film adaptation, which earned the actor an Oscar nomination for what was only his second film role.

9. A STREETCAR NAMED DESIRE REDEEMED WILLIAMS'S HOLLYWOOD REPUTATION.

Following the success of The Glass Menagerie's Broadway run, Warner Bros. hired Williams to draft an adapted screenplay for a movie version. But seeking a more commercial offering, they hired another writer to tack on a happy ending, behind Williams's back. The result was a critically panned dud that the playwright denounced as a "travesty." Nonetheless, Williams returned to Warner Bros. with A Streetcar Named Desire. This time, however, the director and most of the cast from the Broadway show were kept on for the film, which went on to earn an impressive 12 Academy Award nominations, winning four, including Best Supporting Actress (Kim Hunter) and Best Actress (Vivien Leigh).

10. JESSICA TANDY WAS THE ONLY LEAD OF THE BROADWAY PLAY NOT CAST IN THE MOVIE.

Hollywood didn't care about her Tony or her rave reviews. Warner Bros. needed a big name to assure the film's success. So Tandy was dropped in favor of Leigh, who'd played the role of Blanche in a London production of A Streetcar Named Desire, but more importantly was a household name thanks to her first Oscar-winning role, that of Scarlett O'Hara in 1939's historical epic Gone With The Wind.

11. THE FILM WAS TAMER THAN THE PLAY.

With mounting pressure from a public concerned about the influence movies have on children, Hollywood created The Motion Picture Production Code, a series of guidelines about what was acceptable and not in film. Thus, A Streetcar Named Desire's movie adaptation was forced to tone down some coarser language, and cut some of its most scandalous elements, like Blanche's promiscuity and her late husband being a closeted homosexual. For instance, in the play Blanche demands of her sister, "Where were you? In bed with your pollack!" In the film, she says, "In there with your pollack!"

12. WILLIAMS FOUGHT TO KEEP BLANCHE'S RAPE FROM BEING CUT.

Following their climactic confrontation, the play implies Stanley rapes Blanche. But Warner Bros. felt this was too dark for the movie. Williams and Kazan sparred with the studio over this. The former argued, "[The] rape of Blanche by Stanley is a pivotal, integral truth in the play, without which the play loses its meaning which is the ravishment of the tender, the sensitive, the delicate by the savage and brutal forces of modern society." Like in the play, this grievous crime occurs between scenes, but its implication is clear by the violent events that lead up to a fade to black.

13. ONCE AGAIN, HOLLYWOOD TACKED ON A HAPPY ENDING.

The compromise on including the rape was that Stanley would have to be punished for the act. So just as they did with The Glass Menagerie, Warner Bros. softened the end of William's acclaimed tragedy with a script change. In this case, a line is included, where Stella declares she won't go back to her abusive husband. It's a stark contrast to the play, which concludes with the stage direction "He kneels beside her and his fingers find the opening of her blouse," as Stanley coos to her. Williams would go on to say the adaptation was "only slightly marred by [a] Hollywood ending."

14. THE FILM MADE A STREETCAR NAMED DESIRE ICONIC.

Brando's tour de force performance may not have won him the Oscar, but his brutish performance, tight white t-shirt, and signature "Stella!" cry made the movie one that would not be forgotten. Today, the play is considered a classic, and has been revived on Broadway eight times. In 1999, the movie adaptation was added to the National Film Registry, which aims to preserve "culturally, historically or aesthetically" works of cinema. And in 2005, the American Film Institute included Kowalski's agonized scream of "Stella! Hey, Stella!" among its 100 greatest movie quotes of the last 100 years. It came in at number 45.

15. EVERY SPRING, NEW ORLEANS THROWS A FESTIVAL IN HONOR OF THE PLAY.

Called the Tennessee Williams/New Orleans Literary Festival, the annual five-day event celebrates Williams's world-famous work, showcases emerging writers, and provides educational opportunities for literary students. It also offers tours of the French Quarter locations where Williams walked, conversed and worked, like the Hotel Maison de Ville, the restaurant Galatoire's, which gets a mention in Streetcar; and the apartment where he lived with Pancho, which overlooked the Desire line.

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