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Blooming Books
Beginning with his first published illustration in 1958 and continuing through to the work he continues to produce today, this is a stunning and diverse exploration of the work of this unique and brilliant artist. Commentaries by the journalist Nicolette Jones accompany extracts and, in some cases, complete picture books, reviewing the background to Briggs's work and its underlying themes. Following a foreword from Raymond Briggs and Nicolette Jones's introduction, the book is divided into four main The Early Years (including, among many others, The Elephant and the Bad Baby ); The Nursery Classics (e.g. Father Christmas , The Snowman , The Bear ); A Gallery of Characters (e.g. Fungus, The Man, Ug) and The Social Issues ( When the Wind Blows , The Tin-Pot Foreign General and the Old Iron Woman , Ethel and Ernest ). All of Briggs's work is here, from his captivating work for children through to the sharp and satirical works. Familiar favouites are also accompanied by some previously unseen material, including preparatory drawings for published titles and work from several planned sequels to Fungus the Bogeyman .
- GenresNonfictionWriting
288 pages, Hardcover
First published October 2, 2003
About the author
Raymond Briggs
169 books247 followersRaymond Redvers Briggs was an English illustrator, cartoonist, graphic novelist, and author who had achieved critical and popular success among adults and children. He was best known for his story "The Snowman", which is shown every Christmas on British television in cartoon form and on the stage as a musical.
His first three major works, Father Christmas, Father Christmas Goes on Holiday (both featuring a curmudgeonly Father Christmas who complains incessantly about the "blooming snow"), and Fungus the Bogeyman, were in the form of comics rather than the typical children's-book format of separate text and illustrations. The Snowman (1978) was entirely wordless, and illustrated with only pencil crayons. The Snowman became Briggs' best-known work when in 1982 it was made into an Oscar nominated animated cartoon, that has been shown every year since on British television.
Briggs continued to work in a similar format, but with more adult content, in Gentleman Jim (1980), a sombre look at the working class trials of Jim and Hilda Bloggs, closely based on his parents. When the Wind Blows (1982) confronted the trusting, optimistic Bloggs couple with the horror of nuclear war, and was praised in the British House of Commons for its timeliness and originality. The topic was inspired after Briggs watched a Panorama documentary on nuclear contingency planning, and the dense format of the page was inspired by a Swiss publisher's miniature version of Father Christmas. This book was turned into a two-handed radio play with Peter Sallis in the male lead role, and subsequently an animated film, featuring John Mills and Peggy Ashcroft. The Tin-Pot Foreign General and the Old Iron Woman (1984) was a scathing denunciation of the Falklands War. However, Briggs continued to produce humour for children, in works such as the Unlucky Wally series and The Bear.
He was recognized as The Children's Author of the Year in 1993 by the British Book Awards. His graphic novel Ethel and Ernest, which portrayed his parents' 41-year marriage, won Best Illustrated Book in the 1999 British Book Awards.
His first three major works, Father Christmas, Father Christmas Goes on Holiday (both featuring a curmudgeonly Father Christmas who complains incessantly about the "blooming snow"), and Fungus the Bogeyman, were in the form of comics rather than the typical children's-book format of separate text and illustrations. The Snowman (1978) was entirely wordless, and illustrated with only pencil crayons. The Snowman became Briggs' best-known work when in 1982 it was made into an Oscar nominated animated cartoon, that has been shown every year since on British television.
Briggs continued to work in a similar format, but with more adult content, in Gentleman Jim (1980), a sombre look at the working class trials of Jim and Hilda Bloggs, closely based on his parents. When the Wind Blows (1982) confronted the trusting, optimistic Bloggs couple with the horror of nuclear war, and was praised in the British House of Commons for its timeliness and originality. The topic was inspired after Briggs watched a Panorama documentary on nuclear contingency planning, and the dense format of the page was inspired by a Swiss publisher's miniature version of Father Christmas. This book was turned into a two-handed radio play with Peter Sallis in the male lead role, and subsequently an animated film, featuring John Mills and Peggy Ashcroft. The Tin-Pot Foreign General and the Old Iron Woman (1984) was a scathing denunciation of the Falklands War. However, Briggs continued to produce humour for children, in works such as the Unlucky Wally series and The Bear.
He was recognized as The Children's Author of the Year in 1993 by the British Book Awards. His graphic novel Ethel and Ernest, which portrayed his parents' 41-year marriage, won Best Illustrated Book in the 1999 British Book Awards.
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Displaying 1 - 4 of 4 reviews
April 12, 2026
Raymond Briggs picture-story books entered my family’s lives and made a particular impression. Almost certainly a lasting impression. II think we had three of his books....maybe four...all purchased for the edification and enjoyment of our children. We certainly had, “When the wind blows”...and I think that was the first of his books that we came across. And we certainly had “Fungus the Bogeyman” ...which utterly shocked me ...but the kids loved it. And much later we had “The Tin-Pot Foreign General and the Old Iron Woman”.....And....memory failing me here....I’m pretty sure that we had “The Snowman” at some stage. I always loved the art work But the political message of “When the Wind Blows” made a profound and lasting impression on me.
I find it fascinating that such a mild-mannered illustrator has had such an impact on the world. Though he is not unique. I compare his work with the political work of the Japanese Artist Chihiro Iwasaki and the homespun biographical work with Latt, the wonderful Malaysian cartoonist/book writer. Probably there are many others. I think, the whole series: “ xxxx for dummies” and “xxxxx made simple” (where xxxx ranges from Karl Marx to organic chemistry)........ does something of the same. They use pictures or visual cartoons to get a powerful message across.
Suffice to say, I really liked this book. It seems to capture Raymond Briggs, the man and his world exceptionally well. And also has a great coverage of his illustrations and stories. I also learned about a lot of other Briggs material that was previously unknown to me. The text blends smoothly with the illustrations and I’ve included a number of extracts below.....mainly as memory joggers for me. Anyway, an easy five stars from me.
“Raymond Briggs's favourite judgement about himself was uttered by the his partner. Liz’s granddaughter at the age of three. She said: 'Raymond is not a normal person?....He wants this, he says, on his gravestone.
He is perhaps more normal than he cares to think. His greatest eccentricity is that he does not vaunt his success. He does not live as others might do if they had an international reputation, book sales in six figures, and rights sold in many different countries.
Briggs broke with his own habit in 1998 and enjoyed himself much more than he expected when he went to Japan with half a dozen other illustrators whose work was included in an exhibition of English picture books.
Briggs was bowled over by the hospitality and enthusiasm he encountered. They were queuing round the block for him at one appearance, says his editor, Julia MacRae, who was among the party.
'Raymond looked at the crowd and said, "Who is this for?"'
Author and editor first met at a lunch, both of them very nervous' about cach other. It was the beginning of a productive collaboration that encompassed Father Christmas, Fungus the Bogeyman, The Snowman, Gentleman Jim and When the Wind Blows, before MacRae went her own way in 1979 to set up Julia MacRae Books. Briggs, loyal to his long-standing association with Hamish Hamilton, stayed with his publisher for The Tin-Pot Foreign General and the Old Iron Woman and the Wally books, but missed MacRae's editorial scrutiny and decided in 1991 to rejoin her. She edited The Man and The Bear before her retirement, and co-edited Ethel and Ernest afterwards.
By the time Raymond Briggs published Father Christmas he had already won a Kate Greenaway Medal for The Mother Goose Treasury. but this was the book that guaranteed his immortality.
It is Briggs's favourite of his own picture books because of its connection with his father. Ernest Briggs was a milkman who, like Santa, had a delivery round in all weathers. When Briggs re-imagined Father Christmas, he put the emphasis on Father, and portrayed a working man who has to go out in the cold, and is glad to come back to his humble but cosy home.
Helped by the television screening of the animation, Briggs's Father Christmas achieved iconic status. The image of the patron saint of Christmas would never be the same again. Briggs created a landmark in his evolution.
The Snowman (1978).... The Snowman is drawn and coloured in pencil crayon, which gives it a light, soft-focus quality compared to the gooier texture of Fungus's watercolour. It develops with a perfectly readable logic, despite the complete absence of text, each frame imparting just as much information as is needed to further the story....The animation of the snowman has been shown on TV every year bar one since 1982 and millions of copies of the video have been sold. So...pretty successful.
Everyone has to do a bear book, sooner or later. It's compulsory, says Briggs. The time had to come when he wrote his. With it he reverted to the soft pencil crayon of The Snowman, creating another nursery classic in a medium that expressed gentleness.
The huge bear that comes in one night through Tilly's bedroom window is the softest, whitest, shaggiest creature, and as Tilly says, 'He's the cuddliest thing in the whole world. But, being a Briggs character, he is not just cuddly. He is also real and wild.
He has big black claws, and vast yellow teeth which he bares in what Tilly interprets as a yawn. Yet there is never a moment when the child is frightened, right from the beginning when he licks her awake with his big black tongue, and she says 'Hello.
Raymond Briggs’s characters are remarkably various. And yet there is common ground between Fungus the Bogeyman who lives underground and revels in muck, Gentleman Jim, the lavatory cleaner who aspires to a more exciting life, Unlucky Wally, who is pimply and unattractive and unsuccessful, the Man, the miniature vagrant who shows up in the bedroom of a middle-class boy, and Ug, the Stone Age boy who hankers for something softer to wear than his stone trousers.
It is not only that all these characters speak to an adult audience.
Nor only that (with the exception of Wally, who is not drawn as a cartoon strip) they all demonstrate why, as Briggs vehemently believes, comic strips should be generally thought of as a subtle and expressive literary and visual form, as they are elsewhere in Europe...... Certain themes recur in all these books. A Briggs hero is always limited by his background and circumstances, but has some unfulfillable inkling of greater possibilities.
Briggs characters are held back by being ill-equipped for the world. When Ethel and Ernest was published it seemed to be a kind of key to all these books, illustrating a theme they all touched upon: the gulf between education and a lack of it, as expressed in Briggs's own experience of moving into a world which his parents, for all their innate intelligence, did not really understand. Briggs explores the gap between generations, but also the gap between the aesthete and the
Fungus was invented, says Briggs, partly in reaction to the prissyness of children’s books at the time. I wanted to show the petty nastiness of life-slime and spit and dandruff. All this awful stuff which is slightly funny because it detracts from human dignity and our pretensions. [Well when a friend gave a copy to my kids, I was horrified.....We’d been teaching them not to be afraid of noises in the night etc ...and here was a book teaching them that a monster was actually walking around the roof breaking off tiles etc. Plus all the other nasties that Fungus got up to....And we actually DID have loud thumpings on the roof ...so much so that I was convinced that we had someone stomping on our roof.....It was actually possums but can those guys make a racket!!........Of course the kids absolutely loved it].
The Oxford University magazine, Isis, was particularly delighted with Fungus when he appeared in 1977: ‘A figure to tower above such cultural colossi as Albert Camus, T. S. Eliot and Johnny Rotten. One name and one alone will reek throughout the endless corridors of eternity - that of Fungus the Bogeyman’. The choice of comparable icons shows that Fungus was perceived as a figure who had something to say about alienation and disaffection. He was a suitable hero for an age of punk, when propriety or 'niceness' was the enemy:
Although Briggs worked on this book intensively for two years, he had no real confidence that it would ever be published. 'I just had to do it, he says. 'It became an obsession. He doubted its future not so much because he thought it shocking, but because he feared it was too long-winded and tedious' to find general approval.
Jim and Hilda Bloggs are drawn as the protagonists in “When the wind blows” from Gentleman Jim, published two years carlier, in which a lavatory cleaner's aspirations for a more exciting life are thwarted by red tape. Once again the couple are victims of officialdom and
authority: they follow the preposterous government guidelines for what to do in the event of a nuclear strike, and those guidelines are criminally inadequate. All the official instructions in When the Wind Blows came from real government documents, which eye-opening and distressing fact gives the book its political bite....... The book was immediately a bestseller, however, and went on to sell more than 500,000 copies. It was translated into ten languages. Juba MacRae believes it 'changed the thinking of a generation of readers.
The book was swiftly translated into other media. It became an animated film with the voices of Jim and Hilda spoken by John Mils and Peggy Ashcroft. Peter Sallis and Brenda Bruce took the roles in Briggs's own radio adaptation, which won the Broadcasting Pres Guild award for the best radio programme of 1983. And then it became a West End play.
Just after the conflict, [the Falkland’s] in July 1982, Briggs contributed to a publication called Authors Take Sides on the Falklands, involving 100 mainly British authors. Briggs argued as follows: "If the Falklands are so important to the British, it would be interesting to know why the Falkland Islanders lost their British nationality under the 1981 Nationality Bill; why they have no MP: why they are not entitled to a British pension; why they get all their major education in Argentina; and also, if the regime is so bad, how is it that several thousand British people have chosen to live there? If the regime is so corrupt why have the British, for years, been selling them arms and training their servicemen?
"This issue was not worth the sacrifice of one single life. Now there is the irony that the Argentines did not harm a single Falklander, but three have died, all killed by the British....... These three deaths are mentioned in Briggs's book. 'Nobody! it says, with heavy irony, 'was to blame. The three were killed accidentally by British fire.
His final frame: 'And the families of the dead tended the graves! contains the classic Briggsian device of figures, including a small boy, drawn from the back - so much more expressive of grief than full-face agony....... The book was in the Sunday Times bestseller list for eleven weeks, the first four weeks at number one.
"Raymond's parents are with him every day of his life, says Julia MacRae. They, and the world they lived in, recur in his work, and when his record of his parents life together, Ethel and Ernest, was published it felt like a key to all that had gone before. One critic identified it as 'the book Briggs was always trying to write'.
It is a tender and moving personal tribute, and also a social history of the 1920s-1970s. chronicling changing attitudes and habits, domestic details,
technological developments and political events. It is, as the critic Philip Hensher put it, 'Briggs using his art not just to entertain but to instruct. Ethel and Ernest's particular experience illuminates the times they live through.
One of the book's dominant themes is class, and social aspiration.
Ethel is thrilled to have a bathroom, a son who goes to grammar school and, eventually, her own (humble) office job, as these are markers of social standing.
Social and political attitudes are interwoven with national and international events: growing unemployment, the rise of Hitler, IRA bombs in England in 1939, the outbreak of war, evacuation of the children (heartbreaking for Ethel), the bombing of the Docklands (the horrors that Ernest witnesses are incompletely articulated, but his tears say everything), VE Day, Hiroshima, the Korean War, postwar rationing; the Cold War, the moon landing, decimalization. Each of these events is made vivid by Ethel and Ernest's personal and particular reactions.”
I find it fascinating that such a mild-mannered illustrator has had such an impact on the world. Though he is not unique. I compare his work with the political work of the Japanese Artist Chihiro Iwasaki and the homespun biographical work with Latt, the wonderful Malaysian cartoonist/book writer. Probably there are many others. I think, the whole series: “ xxxx for dummies” and “xxxxx made simple” (where xxxx ranges from Karl Marx to organic chemistry)........ does something of the same. They use pictures or visual cartoons to get a powerful message across.
Suffice to say, I really liked this book. It seems to capture Raymond Briggs, the man and his world exceptionally well. And also has a great coverage of his illustrations and stories. I also learned about a lot of other Briggs material that was previously unknown to me. The text blends smoothly with the illustrations and I’ve included a number of extracts below.....mainly as memory joggers for me. Anyway, an easy five stars from me.
“Raymond Briggs's favourite judgement about himself was uttered by the his partner. Liz’s granddaughter at the age of three. She said: 'Raymond is not a normal person?....He wants this, he says, on his gravestone.
He is perhaps more normal than he cares to think. His greatest eccentricity is that he does not vaunt his success. He does not live as others might do if they had an international reputation, book sales in six figures, and rights sold in many different countries.
Briggs broke with his own habit in 1998 and enjoyed himself much more than he expected when he went to Japan with half a dozen other illustrators whose work was included in an exhibition of English picture books.
Briggs was bowled over by the hospitality and enthusiasm he encountered. They were queuing round the block for him at one appearance, says his editor, Julia MacRae, who was among the party.
'Raymond looked at the crowd and said, "Who is this for?"'
Author and editor first met at a lunch, both of them very nervous' about cach other. It was the beginning of a productive collaboration that encompassed Father Christmas, Fungus the Bogeyman, The Snowman, Gentleman Jim and When the Wind Blows, before MacRae went her own way in 1979 to set up Julia MacRae Books. Briggs, loyal to his long-standing association with Hamish Hamilton, stayed with his publisher for The Tin-Pot Foreign General and the Old Iron Woman and the Wally books, but missed MacRae's editorial scrutiny and decided in 1991 to rejoin her. She edited The Man and The Bear before her retirement, and co-edited Ethel and Ernest afterwards.
By the time Raymond Briggs published Father Christmas he had already won a Kate Greenaway Medal for The Mother Goose Treasury. but this was the book that guaranteed his immortality.
It is Briggs's favourite of his own picture books because of its connection with his father. Ernest Briggs was a milkman who, like Santa, had a delivery round in all weathers. When Briggs re-imagined Father Christmas, he put the emphasis on Father, and portrayed a working man who has to go out in the cold, and is glad to come back to his humble but cosy home.
Helped by the television screening of the animation, Briggs's Father Christmas achieved iconic status. The image of the patron saint of Christmas would never be the same again. Briggs created a landmark in his evolution.
The Snowman (1978).... The Snowman is drawn and coloured in pencil crayon, which gives it a light, soft-focus quality compared to the gooier texture of Fungus's watercolour. It develops with a perfectly readable logic, despite the complete absence of text, each frame imparting just as much information as is needed to further the story....The animation of the snowman has been shown on TV every year bar one since 1982 and millions of copies of the video have been sold. So...pretty successful.
Everyone has to do a bear book, sooner or later. It's compulsory, says Briggs. The time had to come when he wrote his. With it he reverted to the soft pencil crayon of The Snowman, creating another nursery classic in a medium that expressed gentleness.
The huge bear that comes in one night through Tilly's bedroom window is the softest, whitest, shaggiest creature, and as Tilly says, 'He's the cuddliest thing in the whole world. But, being a Briggs character, he is not just cuddly. He is also real and wild.
He has big black claws, and vast yellow teeth which he bares in what Tilly interprets as a yawn. Yet there is never a moment when the child is frightened, right from the beginning when he licks her awake with his big black tongue, and she says 'Hello.
Raymond Briggs’s characters are remarkably various. And yet there is common ground between Fungus the Bogeyman who lives underground and revels in muck, Gentleman Jim, the lavatory cleaner who aspires to a more exciting life, Unlucky Wally, who is pimply and unattractive and unsuccessful, the Man, the miniature vagrant who shows up in the bedroom of a middle-class boy, and Ug, the Stone Age boy who hankers for something softer to wear than his stone trousers.
It is not only that all these characters speak to an adult audience.
Nor only that (with the exception of Wally, who is not drawn as a cartoon strip) they all demonstrate why, as Briggs vehemently believes, comic strips should be generally thought of as a subtle and expressive literary and visual form, as they are elsewhere in Europe...... Certain themes recur in all these books. A Briggs hero is always limited by his background and circumstances, but has some unfulfillable inkling of greater possibilities.
Briggs characters are held back by being ill-equipped for the world. When Ethel and Ernest was published it seemed to be a kind of key to all these books, illustrating a theme they all touched upon: the gulf between education and a lack of it, as expressed in Briggs's own experience of moving into a world which his parents, for all their innate intelligence, did not really understand. Briggs explores the gap between generations, but also the gap between the aesthete and the
Fungus was invented, says Briggs, partly in reaction to the prissyness of children’s books at the time. I wanted to show the petty nastiness of life-slime and spit and dandruff. All this awful stuff which is slightly funny because it detracts from human dignity and our pretensions. [Well when a friend gave a copy to my kids, I was horrified.....We’d been teaching them not to be afraid of noises in the night etc ...and here was a book teaching them that a monster was actually walking around the roof breaking off tiles etc. Plus all the other nasties that Fungus got up to....And we actually DID have loud thumpings on the roof ...so much so that I was convinced that we had someone stomping on our roof.....It was actually possums but can those guys make a racket!!........Of course the kids absolutely loved it].
The Oxford University magazine, Isis, was particularly delighted with Fungus when he appeared in 1977: ‘A figure to tower above such cultural colossi as Albert Camus, T. S. Eliot and Johnny Rotten. One name and one alone will reek throughout the endless corridors of eternity - that of Fungus the Bogeyman’. The choice of comparable icons shows that Fungus was perceived as a figure who had something to say about alienation and disaffection. He was a suitable hero for an age of punk, when propriety or 'niceness' was the enemy:
Although Briggs worked on this book intensively for two years, he had no real confidence that it would ever be published. 'I just had to do it, he says. 'It became an obsession. He doubted its future not so much because he thought it shocking, but because he feared it was too long-winded and tedious' to find general approval.
Jim and Hilda Bloggs are drawn as the protagonists in “When the wind blows” from Gentleman Jim, published two years carlier, in which a lavatory cleaner's aspirations for a more exciting life are thwarted by red tape. Once again the couple are victims of officialdom and
authority: they follow the preposterous government guidelines for what to do in the event of a nuclear strike, and those guidelines are criminally inadequate. All the official instructions in When the Wind Blows came from real government documents, which eye-opening and distressing fact gives the book its political bite....... The book was immediately a bestseller, however, and went on to sell more than 500,000 copies. It was translated into ten languages. Juba MacRae believes it 'changed the thinking of a generation of readers.
The book was swiftly translated into other media. It became an animated film with the voices of Jim and Hilda spoken by John Mils and Peggy Ashcroft. Peter Sallis and Brenda Bruce took the roles in Briggs's own radio adaptation, which won the Broadcasting Pres Guild award for the best radio programme of 1983. And then it became a West End play.
Just after the conflict, [the Falkland’s] in July 1982, Briggs contributed to a publication called Authors Take Sides on the Falklands, involving 100 mainly British authors. Briggs argued as follows: "If the Falklands are so important to the British, it would be interesting to know why the Falkland Islanders lost their British nationality under the 1981 Nationality Bill; why they have no MP: why they are not entitled to a British pension; why they get all their major education in Argentina; and also, if the regime is so bad, how is it that several thousand British people have chosen to live there? If the regime is so corrupt why have the British, for years, been selling them arms and training their servicemen?
"This issue was not worth the sacrifice of one single life. Now there is the irony that the Argentines did not harm a single Falklander, but three have died, all killed by the British....... These three deaths are mentioned in Briggs's book. 'Nobody! it says, with heavy irony, 'was to blame. The three were killed accidentally by British fire.
His final frame: 'And the families of the dead tended the graves! contains the classic Briggsian device of figures, including a small boy, drawn from the back - so much more expressive of grief than full-face agony....... The book was in the Sunday Times bestseller list for eleven weeks, the first four weeks at number one.
"Raymond's parents are with him every day of his life, says Julia MacRae. They, and the world they lived in, recur in his work, and when his record of his parents life together, Ethel and Ernest, was published it felt like a key to all that had gone before. One critic identified it as 'the book Briggs was always trying to write'.
It is a tender and moving personal tribute, and also a social history of the 1920s-1970s. chronicling changing attitudes and habits, domestic details,
technological developments and political events. It is, as the critic Philip Hensher put it, 'Briggs using his art not just to entertain but to instruct. Ethel and Ernest's particular experience illuminates the times they live through.
One of the book's dominant themes is class, and social aspiration.
Ethel is thrilled to have a bathroom, a son who goes to grammar school and, eventually, her own (humble) office job, as these are markers of social standing.
Social and political attitudes are interwoven with national and international events: growing unemployment, the rise of Hitler, IRA bombs in England in 1939, the outbreak of war, evacuation of the children (heartbreaking for Ethel), the bombing of the Docklands (the horrors that Ernest witnesses are incompletely articulated, but his tears say everything), VE Day, Hiroshima, the Korean War, postwar rationing; the Cold War, the moon landing, decimalization. Each of these events is made vivid by Ethel and Ernest's personal and particular reactions.”
December 2, 2023
Very interesting review of Briggs’s life and works.
March 9, 2013
Not recommended in some ways for anyone who dreams of being an illustrator. The story of how the curmudgeonly Briggs almost fell into the life by a series of accidents and good fortune is sure to make wannabe illustrators more than a little jealous.
Great book, beautifully illustrated, though a little cramped compared to the beautiful john Burningham volume. It would have benefited from more space.
Great book, beautifully illustrated, though a little cramped compared to the beautiful john Burningham volume. It would have benefited from more space.
December 15, 2022
A beautiful and fascinating history of Raymond Briggs and his immortal books. Includes insights into his early life as an illustrator and features full colour extracts from books such as The Snowman, Father Christmas and Fungus the Bogeyman.
One of my favourite authors and illustrators since childhood, I really enjoyed reading about Briggs and his brilliant talent for drawing. This book is even more poignant since his death earlier this year.
One of my favourite authors and illustrators since childhood, I really enjoyed reading about Briggs and his brilliant talent for drawing. This book is even more poignant since his death earlier this year.
Displaying 1 - 4 of 4 reviews