![]() The Policeman’s black dog stands alert next to them, and they are positioned together in front of a statue of Joseph with Baby Jesus and a glowing lantern. A policeman in a red uniform holds her arm with one hand and a battle axe in his other hand. In this final page-opening of Kubasta’s pop-up Goldilocks, a starry night and colorful city surrounds a girl in a short, ruffled, blue dress with a matching hair bow in her light blonde hair. In this original edition, a reader with a sharp eye may notice the typo on page 4, where Goldilocks tries the porridge that is “too hot her.” On this same page, Goldilocks is within nature, whereas Momma Bear and Poppa Bear pop-out from the page as they walk away from their home. Today, original editions of his books, such as this one, are prized possessions. ![]() Kubašta became one of the best-known book designers and illustrators, selling 35 million copies of his books. ![]() In 1956, he designed his first pop-up book, Little Red Riding Hood. Vojtěch Kubašta capitalized on the pop-up book trend. Since 1932, up to 25 million pop-up books have been produced. The new interaction and surprise of pop-up books became immediately popular among young readers. To reawaken the popularity of children’s books during the Great Depression, Blue Ribbon Publishing of New York created mechanized illustrated storybooks and coined the term “pop-up” in 1932. However, this version includes pop-up illustrations to help the story come alive. Goldilocks and the Three Bears, illustrated by Vojtěch Kubašta in 1984, retains the same basic plot as Robert Southey’s 1839 version: Goldilocks eats the bears’ food, sits in their chairs, and sleeps in their beds. The bear parents loom over the illustration as they pop-out from the page while Little Bear plays with a ball, oblivious to Goldilocks’ presence as they leave their home. In this pop-out illustration, Goldilocks hides behind the bears’ front door with a shocked expression, shielded by trees. Instead of sympathizing with a hungry girl, we identify more with the anthropomorphic bears whose lives were disrupted by a stray dog. The switching of the protagonist character from a human girl to a stray dog in Palazzo’s story impacts the readers’ relationship with the story. This inverts the usual associations by connecting stereotypical wild animals, such as bears, with a domestic life and a stereotypical domestic animal, such as a dog, with a wild life. The Three Bears on the other hand are given many anthropomorphic characteristics by living a domestic life in a house, wearing clothes, and speaking proper English. Goldilocks as a dog is stripped of her once human attributes. The size of the character is exaggerated, and also her boldness makes the character seem much more salient than the three bears. As we can see from the cover, pictured above, Goldilocks is the most notable figure. Palazzo’s version offers a striking twist to the classic tale in that the character of Goldilocks is portrayed by a shaggy, golden dog, instead of a young lady. This 1959 construction of Goldilocks and the Three Bears, retold by Tony Palazzo, deviates widely from the original tale first told by Robert Southey in England in1837. Three brown bears are visible in the background. The illustration on this book cover depicts Goldilocks as a shaggy, golden dog in the foreground.
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