Heavy Medal Mock Newbery Finalist: THE SKULL by Jon Klassen
Introduction by Heavy Medal Award Committee Member Sarah Threlkeld:
A young girl on the run. A lonely talking skull. A decrepit mansion with a bottomless pit. An aggressive skeleton in search of a head. Certainly not typical fare for modern children’s stories, but in Jon Klassen’s hands it seems like an obvious choice.
Klassen both wrote and illustrated The Skull, which is an adaptation of a Tyrolean folktale, and, while his familiar graphite and ink illustrations perfectly complement the text and contribute to the spooky tone of the story, the prose stands on its own. In just 1885 words Klassen conjures forth two characters that feel fully formed and even have a touch of back story, while also constructing a specific world that drives the plot forward. Small details, like the skull’s enjoyment of pears despite his complete lack of internal organs, immediately paints him as a charming character who manages to find humor in his absurd situation. The small actions Otilla takes to comfort the skull, such as making him tea and inviting him to dance, coupled with her willingness to risk her own safety by destroying the headless skeleton that’s after the skull, gives the character dimensionality. If one of the Newbery criteria is delineation of characters, Klassen nails it in impressively few pages.
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The same is true for delineation of setting. Simple sentences like, “She came out of the woods and into an open yard. In front of her, in the distance, was a very big, very old house” (11) and “The latch turned and the door cracked open against the snow” (23) quickly set the scene, transporting readers to the dark, empty mansion surrounded by a cold, bleak forest.
While The Skull’s unusual format–not quite a picture book, not quite a novel–challenges Newbery’s usual honorees, the book still deserves consideration. Klassen succinctly weaves a suspenseful and humorous tale that will appeal to readers of all ages and that happens to tick the boxes required for the Newbery award.
Heavy Medal Award Committee members and others are now invited to discuss this book further in the Comments section below. Let the Mock Newbery discussion begin!
Filed under: Book Discussion, Heavy Medal Mock
About Emily Mroczek-Bayci
Emily Mroczek (Bayci) is a freelance children’s librarian in the Chicago suburbs. She served on the 2019 Newbery committee. You can reach her at emilyrmroczek@gmail.com.
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Another example of a shorter text that still offers a lot to unpack, discuss, and appreciate! Klassen is clearly drawing on the vibrant tradition of fairy tales, with readers left to imagine most of Otilla and Skull’s past (and indeed, their futures) and the sparse but compelling worldbuilding. I like to call this the “dark and stormy night” school of writing – dramatic, universal, easily pictured, no extraneous details.
I noticed immediately that there are 5 parts, with 3 subsections for the first 4 and only 1 for the final part, giving us a total of 15. I initially dismissed this motif as a scaffolding tool for young readers, but upon reflection, started considering what other purposes this could be serving. Bear with me, this will take a bit to explain. But I think THE SKULL uses a chiastic structure, where each half calls back to the other, with the narrative hinging around the center point and rings expanding from there (e.g. ABC D CBA).
Here’s the schema in my analysis:
The Forest/Breakfast – At the beginning and end of the narrative, sharp contrast of the cold, dark, foreboding nighttime forest with the warmth, fellowship, and nourishment of breakfast at dawn.
The Dark/The Pit – Literal and metaphysical darkness.
The House/The Fire – The hearth is a sign of welcome, transformed into the means by which Otilla makes the House a safe place for Skull.
The Skull/The Bones – Once part of the same whole, two halves are now diametrically opposed.
The Rooms/The Headless Skeleton – Skeleton chases the Skull and Otilla through the rooms where the Skull showed Otilla earlier.
The Dance/The Bedroom – Scenes of intimacy build trust between Otilla and Skull, which bookends the reveal of The Secret.
The Secret – The story turns at the center of the narrative at the reveal that the Skull is afraid of the Skeleton, just as Otilla is afraid of everyone else.
I am not sure whether Klassen did this deliberately and I am quite certain that no child reader will consciously pick up on it. But I believe this structure is why THE SKULL feels old, timeless even though this version is quite different than the original tale Klassen was inspired by (as he discusses in the author’s note). In a chiastic structure, the ending is the beginning – perfect for stories that are retold over and over.
For stories passed along orally, this sort of structure also served as a mnemonic device. For listeners/readers, this sense of symmetry gives balance to the plot. For me as a Mock Committee member, it’s a craft choice that I believe merits respect, especially within such a short text, much like Alexander’s choice to work within the confines of a picture book for AN AMERICAN STORY.
P.S. Looking forward to catching up on a few discussions from last week – first a sick baby, then a sick me!
Kyra, this is a really interesting point, which I had not noticed, despite reading the book at least 3 times. You are so correct that it feels so classic and has that element of a mnemonic device in the oral tradition.
I have found that a lot of Jon Klassen’s works fall into the “dark and stormy night” writing style, and he does it so well. As a reader, I don’t feel like I’m missing anything with the lack of flowery prose. I would maybe compare it to Arnold Lobel’s style. He did receive an honor for FROG & TOAD TOGETHER.
Thanks for the intriguing look at the structure of this book, Kyra. And it goes along well with Sarah’s excellent introduction, where she notes how “small details” and “simple sentences” result in such strong delineations of setting, character, and plot.
I keep thinking about the phrase “individually distinct,” which is noted in the Newbery Criteria, with this book. It’s different from everything else on our list, for sure, but also seems very different from even the finest examples of folktales and scary stories that we’re used to seeing in children’s literature.
Wow, I just reread it with this structure in mind, thanks for outlining it for us! It’s stylistically the most unique title on the list, with the exception perhaps of MY HEAD HAS A BELLYACHE AND MORE NONSENSE. It’s certainly clever and intriguing in its setting and tone. It’s also memorable; like Tally said, there’s no flowery language, only the bare bones of a bond between Otilla and the skull (pun totally intended). But will it win the Newbery? It makes me wonder about the reasoning of the committee that awarded Arnold Lobel with a Newbery honor, to go back again to Tally’s comment. Were they just thinking about FROG AND TOAD TOGETHER being one of the best of that year? Or did they recognize an instant classic? Is that what is needed for Jon Klassen to be given the award over other authors for a fairy tale adaptation like THE SKULL?
Chiastic structure? #waitwhat? Kyra Nay’s schema analysis is incredibly in dept. I need to process and do some research.
Kyra, your explanation of how Klassen uses a chiastic structure is eye-opening! I will have to re-read to examine it more closely. I agree the book has the feel of a timeless tale, resonant and haunting. What I can’t tell is if it would be as memorable without Klassen’s illustrations. When I re-read, I will do my best to ignore the pictures and focus on the story.
What stood out to me the first time around is the absence of any explanation of what Ottila is running away from (though one could imagine many reasons), and the fact that the implied happily-ever-after is between a young girl and a skull, rather than (for example) a prince and princess. I’ll need to consider this one again.
I will confess, that while I like the plucky little heroine and think this makes a child-appropriate story (especially in the Fall season,) I thought the tale was a bit dark.
But the book kept popping up on the awards prediction lists and some librarians I respect really love it. I went back to it a few times, finding that the writing is full of imagery. It’s masterful when combined with the amazing drawings and muted tones of the illustrations. Even the smaller size of the book (6″ x 8″) and the thick matte paper are a kinesthetic experience that make the book a little treasure.
And then Kyra Nay came in with a plot twist and made my head explode this morning. So I went to look at “chiastic structure,” and LIGHTBULB. Nailed it! I do think that there is an awesome echo of ideas, but I think it is mainly achieved though the pictures.
There are similarities between THE SKULL and EVERGREEN (Matthew Cordell.) Both are folktale adaptations. Both have distinct illustration style and used muted tones. Between the two, I would pick Evergreen because, you, know I am a sucker for the plot twist. Both strong Caldecott contenders, but Newbery? I will pass the mic back to Ms. Nay.
As others have noted, THE SKULL checks nearly all the boxes of Newbery criteria–it is individually distinct, nicely portrays characters and setting, and puts forth a delightful, if dark, plot–in less than 100 pages of sparse text. But compared to AN AMERICAN STORY, where Alexander’s text can arguably be evaluated without consideration of Coulter’s stunning art, Klassen’s text works best when considered alongside his classic Klassen art. As Jane Doonan explains in her seminal LOOKING AT PICTURES IN PICTURE BOOKS, text and illustrations in picture books interact with one another in a way that “pictures may elaborate, amplify, extend, and complement the words” (18). Klassen’s use of color, perspective, and line to do all of these things make THE SKULL a strong contender for the Caldecott, but the Newbery? I think not.
I an so mixed on how I feel about this book. How I define it, where I place it, what my thoughts are on it in general. One thing I will say (and not sure this works in THE SKULL’s favor) is that to me, this book is masterful in large part due to Klassen’s illustrations. Part of me wonders if that is why THE SKULL is so loved. Dark and stormy is the vibe and dark and stormy is something Klassen does fabulously.
I did find that enjoyed this story more upon a second reading. Its macabre nature makes this a win for a lot of kids I work with. Let’s be real it’s a WEIRD folk tale. I’m not normally into dark but what I found it to be is ultimately a story of friendship.
This one left me wondering what is the age of the target audience? It’s probably not a read-aloud for preschoolers because it’s too dark. If it’s for children who can read, then some of the words are too complex to make it an early reader like the Elephant and Piggy books, but it’s still a picture book so is it a read-aloud for younger elementary students? However, it also doesn’t have the complexity of vocabulary that is often included in picture books that are designed for adults to read to children. I am left confused.
“The Skull” is definitely geared for 2nd – 4th Grades and it could definitely be used for a readaloud for those grade levels. I wouldn’t put this in picture books either; I’d place it in Children’s Fiction because of the complex vocabulary – and the book allows for independent reading for those grade levels. The strongest criteria for “The Skull” is the plot, characters and the style. I loved how Otilla and The Skull have this unlikely friendship and I think kids can relate to that. It also leaves intrigue for the reader. On pages 28-29, Otilla is holding The Skull and she sees a portrait of him. She asks if that was him and he says yes. Klassen only shows The Skulls feet and not a full portrait of him. Throughout the story, readers wonder who this guy really is. There’s so many questions: What is Otilla running from? How will they live together? This book screams Tim Burton-esque vibes, and I loved it!
This is such a unique and well done story. Klassen gives a two characters who are lonely and end up friends. The plot is so concise and not a word is wasted. I think this book is for kids who want something spooky without being too scary or gross, which is a huge win for children’s literature. I love that the book is this in between length because it seems like a trend if for books to be so long now, and that can be intimidating. It makes The Skull for readers of different ages.
I found this book disturbing and it left me with a lot of unanswered questions. Why was Skull separated from his/her body? Did Skull have an inner conflict with Skeleton that couldn’t be resolved? What about Otilla’s personality? She seems kind and caring, lighting a fire for Skull and enjoying and sharing a cup of tea with Skull in the big house. Then later the opposite, crushing the bones of Skeleton, lighting a fire, and enjoying a cup of tea as she threw Skeleton’s bone fragments in the fire. I don’t know if I would want to share a cup of tea with Otilla especially around a campfire. I certainly would not want to be on her enemy list!
I wanted to like Otilla and Skull, they both are lost souls with inner conflicts, and they found each other. But is it healthy? Skull didn’t seem to want to work at becoming whole again and Otilla destroyed Skull’s body and kept it secret from Skull, so he cannot become whole physically again. (Or was skeleton’s even Skull’s body?) Otilla deals with her issues through escaping. Their codependency at the end bothered me, but on the other hand they both seemed content so I don’t know why I should let that bother me. It ends happily ever after.
As far as Newbery, this book is strong in delineation of setting. Klassen’s muted colors with the shadows and warm candlelight gave this book an antique feeling. The unique characters have kept me thinking and wondering days after reading this book, and the plot is engaging. Klassen does an exceptional job of balancing spooky with cozy that I think kids would like and I was intrigued with Kyra’s analysis of the book structure.
To Rae’s question, this book has been presented to 3rd through 5th graders, and they had passionate reactions. A few were passionately negative, thanks to so many unanswered questions. “Why did she run away?” “Whose skeleton is that?” And my favorite, “Did she know how to destroy that skeleton because she was ready to do that to whoever was hurting her?” Talk about character backstory speculation! Most reactions, though, were raucously positive. “That was amazing!” “We’ve never read anything like that before!” Months after reading it, I mentioned the title’s inclusion on this list to a group of 5th graders, and they burst into praise again. “I don’t know how the author did that with such simple words!” I’m focusing on, “This book displays respect for children’s understandings, abilities, and appreciations,” as well as, “individually distinct.” One of the elements we discussed looking at The Skull as a mentor text, was word choices. Klassen writes that Otilla FINALLY ran away. Not just ran away. That one word adds immediate intrigue to her story. “Primarily text,” can be debated for hours. Does New Kid really work without its artwork? Maybe, but its art makes it wholesale distinguished. The Skull should be considered for the Newbery for its unique excellence among all the other 2023 publications.
Thanks, Elaine and Janee for sharing your insights on the reading level of the book. I especially liked hearing how children have interacted with the book.
Kyra, I had never heard of chiastic structure. Kudos to you for noticing that.
Quade, I thought the book was a bit dark, too, but I think kids who like scary stories will like it.
I thought some of the dialogue seemed a bit stilted. I also was thrown off by the skull not having a mouth in the pictures despite Klassen repeatedly having Otilla “feed” the skull.
You all shared interesting perspectives. I was left with so many questions at the end of the book. I realize young readers may not question as much. But why didn’t the skull want the body? Why will the girl stay with the skull? Why is the story so dark?
I just can’t understand a theme. The setting is just dark. Does the repetition of darkness make the setting strong? I am left with so many questions about the characters. I can’t put this in the category of Newbery…too little of so many things.
I think a book that generates more questions than it answers is generally a sign of a distinguished work of literature. Humans have been reading and wrestling with stories for our whole history – was Hamlet truly mad or was it an elaborate ruse? What truly motivated Raskolnikov’s murder of the pawnbroker in Crime and Punishment? Is Odysseus free to make decisions or bound only by the gods’ fate for him?
For me, I see themes of friendship emerging from shared vulnerability and the possibility of forging a new future after surviving a frightening past.
I’ve always like G.K. Chesterton’s writing on fairy tales and their importance to children’s imagination and worldview:
“Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.”
I confess that I didn’t find this book overwhelmingly dark, but then, I do have quite the fondness for fairy tales which are uniformly darker than their Disney versions! But it’s always resonated with me that all kids know that the world can be scary, lonely, grievous, and yes, sometimes terrible. Art that pretends otherwise doesn’t ring true. In works the THE SKULL, kids see brave Otilla confront the Skeleton, on behalf of her friend Skull. The darkness is defeated and a new day begins. To me, that’s a hopeful ending.