“Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule.” STEPHEN KING
Painting: “Pressurized Diabolics” by Edward Ruscha (1976)
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Some years back, I wrote a children’s novel that featured a girl named Anna, a dog named Otto, and lots of wordplay — as evidenced by the main characters’ names, spelled the same backward and forward. In the book, Anna, an amnesiac, sets out with Otto to learn her identity — and along the way meets a range of unusual characters and encounters a variety of wacky situations.
For a time, I shopped Anna & Otto to publishers in New York and received positive response (but no offers). One editor compared the novel’s emphasis on language to the wordplay found in The Phantom Tollbooth by Norton Juster — a book (shame on me) that I had never read.
That day, I visited my local Border’s (RIP) and purchased a copy of The Phantom Tollbooth, a novel first published in 1961. I went home and read the book in one giant gulp — a huge smile on my face the whole time.
Excerpt from The Phantom Tollbooth: “In this box are all the words I know…Most of them you will never need, some you will use constantly, but with them you may ask all the questions which have never been answered and answer all the questions which have never been asked. All the great books of the past and all the ones yet to come are made with these words. With them there is no obstacle you cannot overcome. All you must learn to do is to use them well and in the right places.”
The book’s jacket copy advises, “Readers of all ages will find much wit and wisdom in Norton Juster’s beguiling, offbeat fantasy about a boy named Milo…[who] meets some of the most logically illogical characters ever met on this side or that side of reality, including King Azaz the Unabridged, unhappy ruler of Dictionopolis.”
The New York Times gave The Phantom Tollbooth a rave, noting: “Most books advertised for ‘readers of all ages’ fail to keep their promise. But Norton Juster’s amazing fantasy has something wonderful for anybody old enough to relish the allegorical wisdom of Alice in Wonderland and the pointed whimsy of The Wizard of Oz.”
Now whenever I see a copy of The Phantom Tollbooth in one of my used-book haunts, I snap it up — and pass it on to someone I know would love this marvel of a book. (I’ll admit that I don’t often find The Phantom Tollbooth at thrift stores — people hang onto their copies of this brilliant novel.) Highly recommended! A Must Read!
Illustration: The cover illustration is by Jules Feiffer, whose witty, spot-on drawings fill the 256-page book (Knopf hardcover edition). At left is Feiffer’s drawing of the Terrible Trivium, “…demon of petty tasks and worthless jobs, ogre of wasted effort, and monster of habit.”
“The great advantage of being a writer is that you can spy on people. You’re there, listening to every word, but part of you is observing. Everything is useful to a writer, you see – every scrap, even the longest and most boring of luncheon parties.”
GRAHAM GREENE
Drawing by Francesca (franvisions), ALL RIGHTS RESERVED
Silver Birch Press 