Once upon a time, endpapers – those little bits of real estate connecting the inside covers of hardcover books to the pages within – were a site of pure decoration, or maybe, as in the case of The Chronicles of Narnia, a map of a fantasy realm. More recently, illustrators have been reimagining just what endpapers can be – far from decorations or maps, they are now used to bookend and compliment the stories told in books in fascinating ways.‘A self-described art thief’: how Wayne Thiebaud channeled other artistsRead more“The illustrator Shaun Tan described them as like quotation marks or parentheses around the story,” said Bruce Handy, a journalist and children’s book author. “In his mind it’s a way of setting the story off. Kind of like an anteroom to the story, or like a transition into the story.”Handy has been thinking a lot about endpapers recently, as the curator of Open + Shut, an exhibition of endpapers that is currently running in Amherst’s Eric Carle Museum of Picture BookArt. Eric Carle, the co-founder of the institution, is the creator of the immensely popular picture book The Very Hungry Caterpillar and the museum has celebrated the world of picture books since its founding in 2002. With Open + Shut, it delves into an often overlooked, yet increasingly vital, part of these books.The show originated with Handy’s children, who were his conduits to the picture book world. As Handy read these books to his children, he found himself “falling in love” with picture books and he began to take note of just how important the endpapers were. “I was intrigued by the many ways that artists were using them,” he told me. “I was surprised at how much thought goes into endpapers.”View image in fullscreenJerry Pinkney’s illustration for The Lion & the Mouse, published in 2009.Photograph: Jerry PinkneyEventually, Handy found himself in a room where the New York Times keeps virtually every picture book released in a single year – sent to them by publishers keen for a review. He was poring over the titles for a feature he was writing on the best endpapers of the year, and that project planted a seed that has now been realized in Open + Shut.The show features over 50 titles, ranging fromLife of Geoffrey Chaucer published in 1803 up through numerous titles from the 2020s, including Eliza Kinkz’s illustrations in comedian Jesús Trejo’s widely celebrated 2023 title Papá’s Magical Water-Jug Clock, and Christian Robinson’s illustrations in Something, Someday by Amanda Gorman, the youngest presidential inaugural poet in US history.Handy explained how endpapers used to be mostly decorative in nature, but as printing became cheaper, illustrators began to have more freedom with what they could do with that real estate. “Eventually the endpapers started turning into something like a commentary on the contents of the book, or something playful, like an Easter egg,” he said.View image in fullscreenSophie Blackall’s illustration for If You Come to Earth, published in 2020.Photograph: Sophie BlackallOnce of the nicer historical endpapers is a map of Ashdown Forest taken from a 1957 edition of AA Milne’s The World of Pooh. Landmarks include “Eeyores Gloomy Place” (noted as “rather soggy and sad”) and “Sandy Pit Where Roo Plays.” The map offers a glimpse of a transitional moment where endpapers were beginning to interact with the substance of the book in creative ways, yet had not quite evolved to the state that one sees nowadays. “There’s this hand-drawn quality to it,” said Handy. “It’s drawn as if it were made by Christopher Robin, so there’s all these misspellings and cute kinds of references and things.”By the time the 2000s rolled around, it was very common to have endpapers act as integrated elements into the overall story told by the book. Shaun Tan’s 2006 graphic novel The Arrival uses only images to tell the rather bracing and at times traumatic story of an immigrant coming to a new land. The endpapers perfectly compliment this story by offering a gallery of snapshots in the style of passport or green card photos, showing a variety of people from all over the world. The endpapers act as a grounding device that sets the theme of immigration, paving the way for an allegory-like story that is focused around the cumbersome details of immigrating to and making a new life in a foreign place.In the picture book Inside Cat, the endpapers actually function as part of the story, as they help bookend the protagonist’s journey from an indoor cat to one that gets out of the house and explores. “At the beginning of the story, we can see the cat looking out the window trying to imagine what the world is like,” explained Handy. “He gets stuff wrong in cute and funny ways. So in the front endpaper, the cat is in the house, and that’s reflected in the house being shaped like a cat. At the end of the, book the cat steps outside for the first time, and the back endpaper shows the city in the shape of a cat. It’s a great ending and a great image.”View image in fullscreenBrendan Wenzel’s illustration for Inside Cat, published in 2021.Photograph: Brendan WenzelAccording to Handy, not all artists are fans of endpapers. “Some artists see it as important as any other part of the book,” he told me. “Other artists see it like, why should I do more work? Or they don’t see the creative possibilities or really care.” It’s a good reminder that, even as these parts of the bookmaking process can provide space for so much innovation and creativity, they are far from universal and remain very precious things when artists choose to embrace them.Insofar as that goes, Handy shared that curating Open + Shut has given him a new appreciation for this fascinating part of books. “In curating this show, I’ve been surprised at how much thought goes into endpapers, how deeply so many artists care about it. There’s so much variety to endpapers. They really see it as fundamental to the overall effect of the book.” Audiences are fortunate to have a chance to see that variety face to face and appreciate a new and emerging art form.Open + Shut: Celebrating the Art of Endpapers is on show at the Eric Carle Museum of Picture Book Art in Amherst until 9 November 2025.
‘Something playful’: celebrating the art of endpapers in children’s books
TruthLens AI Suggested Headline:
"Exhibition Highlights the Evolving Role of Endpapers in Children's Literature"
The Guardian
9.2
TruthLens AI Summary
Endpapers, the often overlooked pages that connect the covers of hardcover books to their content, have evolved significantly in their purpose and design. Historically, these pages served as mere decoration or were used to illustrate maps, as seen in classic works like The Chronicles of Narnia. However, contemporary illustrators have begun to reimagine endpapers as integral components of the storytelling experience. Bruce Handy, a journalist and children's book author, describes endpapers as akin to quotation marks or anterooms that frame the narrative. This shift in the perception of endpapers is highlighted in the exhibition 'Open + Shut' at the Eric Carle Museum of Picture Book Art, curated by Handy. The exhibition showcases over 50 titles, tracing the evolution of endpapers from simple decorations to complex elements that complement and enhance the stories told within the books.
Handy’s inspiration for the exhibition stemmed from his experiences reading to his children, which reignited his passion for picture books and led him to explore the artistic potential of endpapers. With advancements in printing technology, illustrators now have the freedom to use endpapers creatively, turning them into commentaries or playful surprises that engage readers. The exhibition features a wide range of works, including notable examples like Shaun Tan's 'The Arrival,' where endpapers serve as visual narratives that reflect the themes of immigration. Other titles, such as 'Inside Cat,' utilize endpapers to illustrate the protagonist's journey in a whimsical manner. While not all artists embrace the creative possibilities of endpapers, those who do often see them as a vital aspect of the overall book design. Handy's curation of 'Open + Shut' has deepened his appreciation for this art form, showcasing the variety and thoughtfulness that many artists apply to these seemingly simple pages.
TruthLens AI Analysis
The article highlights the evolving role of endpapers in children's books, emphasizing their artistic significance beyond mere decoration. It portrays endpapers as a vital part of storytelling, serving as a bridge between the book's cover and its content. Through the lens of curator Bruce Handy and the exhibition "Open + Shut" at the Eric Carle Museum, the piece invites readers to appreciate the creativity involved in designing these often-overlooked elements.
Purpose of the Article
This piece aims to raise awareness about the artistic value of endpapers in children's literature. By showcasing the exhibition and Handy's insights, it encourages readers to consider how these elements contribute to the overall storytelling experience. It seeks to celebrate children's book art and promote an appreciation for the creativity involved in all aspects of book design.
Public Perception
The article fosters a perception that children's literature is not just about the stories told but also about the artistry that complements them. It positions endpapers as an essential part of the reading experience, potentially elevating the status of children's books within literary and artistic communities. This could lead to a renewed interest in picture books, prompting readers to explore them more deeply.
Transparency and Hidden Agendas
There is no evident attempt to conceal information or manipulate public opinion in this article. Instead, it seems to celebrate a niche aspect of book design, potentially drawing more attention to the field rather than detracting from other issues. The focus on the exhibition and the artistic process appears genuine and rooted in a love for literature and art.
Authenticity of the News
The article presents credible information about an ongoing exhibition and contains quotes from relevant figures in the field, enhancing its authenticity. The insights shared by Bruce Handy and the details regarding the Eric Carle Museum lend credibility to the narrative.
Social and Economic Implications
While the article primarily focuses on the artistic aspects of children's books, the potential increase in interest in picture books could have positive economic implications for publishers and illustrators. If readers begin to value endpapers more, this could inspire greater creativity and investment in children's literature, potentially leading to increased sales of picture books.
Target Audience
The article is likely to resonate with parents, educators, and children's book enthusiasts. It appeals to those who appreciate art and literature's intersection, promoting a community that values creative expression in all forms.
Market Impact
This article may not have a direct impact on stock markets or global financial trends. However, if the exhibition leads to a surge in interest in children's books, it could benefit publishers and companies involved in the production of illustrated literature.
Relevance to Current Events
The discussion around children's literature and its artistic components is relevant in today's context, where there is a growing focus on the importance of early childhood education and literacy. This article contributes to that discourse by highlighting an often-ignored aspect of children's books.
Use of Artificial Intelligence
There is no clear indication that artificial intelligence was used in writing this article. It appears to be crafted by a human journalist, given the personal insights and qualitative descriptions provided. The narrative style reflects a human touch, focusing on emotional connections to literature and art. In conclusion, the article is a reliable source that celebrates the artistic elements of children's literature and encourages a deeper appreciation for picture books and their design. It effectively highlights the significance of endpapers, promoting a broader understanding of their role in storytelling.