Reading the masterpiece and wonderful composition in the wordless book — “The Steadfast Tin Soldier”

That night, after fin­ish­ing my mun­dane duties, I lay down to read Miller’s The Stead­fast Tin Sol­dier. This word­less book, even after read­ing it a hun­dred times, still finds its delight and fresh­ness. After a while, I became lost, and began to utter strange nois­es, echo­ing the events in the book. My wife, great­ly sur­prised, rushed in, sus­pect­ing a mon­ster. Upon see­ing the book, she burst into laugh­ter. I unfold­ed a page and asked her what she thought of it. She replied, “Car­nal!” I unfold­ed anoth­er page and asked her again. She sighed and exclaimed, “Bloody!” I laughed and said, “This is indeed a chil­dren’s book, but a tru­ly unique and excep­tion­al one.” 

Read­ers famil­iar with Ander­sen’s fairy tales will rec­og­nize the orig­i­nal struc­ture of Miller’s The Tin Sol­dier. How­ev­er, that fairy­tale love sto­ry becomes so unfa­mil­iar in Miller’s writ­ing. We see anoth­er side of the world, one that is tense to the point of mad­ness, some­times so filthy that it is unbear­able to wit­ness… For­tu­nate­ly, it still returns to a fairy­tale-like hap­py end­ing, albeit a slight­ly absurd one. — Chil­dren read it as a fairy tale, while adults read it as the absur­di­ty of real­i­ty! 

This mas­ter illus­tra­tor, who has paint­ed “Big Bear in the For­est”, “Good­bye, Lit­tle Rab­bit” and “The Exca­va­tor Roars Year After Year — The Coun­try­side Has Changed”, always said that he just used his brush to objec­tive­ly record the world, that’s all, but his views are hid­den in his per­spec­tive.

In this sense, I think York Miller is a mas­ter of crit­i­cal real­ism in pic­ture books. 

【About the Painter】 

Jörg Müller, born in Lau­sanne, Switzer­land in 1942, grad­u­at­ed from the School of Applied Arts in Biel, Zurich. He worked in adver­tis­ing design before, with finan­cial sup­port from his father, embark­ing on pic­ture book cre­ation. Müller’s style is metic­u­lous­ly real­is­tic, and he expert­ly employs cin­e­mat­ic cam­era tech­niques to pro­gres­sive­ly unfold the plot, enrich­ing the visu­al imag­i­na­tion. His debut work, “Year After Year, the Exca­va­tors Roar, the Coun­try­side Trans­forms,” was pub­lished in 1973 and received a tremen­dous response. His col­lab­o­ra­tive pic­ture books with Jörg Stein­er, such as “The Bear in the For­est” and “Good­bye, Lit­tle Rab­bit,” have gar­nered inter­na­tion­al acclaim. In 1994, Müller received the Inter­na­tion­al Hans Chris­t­ian Ander­sen Award for Painter.