A young snail dreams of having the biggest house—or shell—in the world. Then one day, his wise father tells him the story of another snail with the same dream. He grew and grew, adding bright colors and beautiful designs, until he found that his house came at a terrible cost. The young snail decides that a small, easy-to-carry shell might be best for a life of adventure and exploration.
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"This honor-winning book elicits special praise from the art critic." —The Horn Book Magazine
"The translucent color of the pictures and the simplicity of the text make a perfect combination." —Book World.
"The translucent color of the pictures and the simplicity of the text make a perfect combination." —Book World.
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Illus. in full color. A young snail realizes that a big house might be a disaster for him.
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More About the Author
author spotlight
"From time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge."--Leo Lionni
Leo Lionni wrote and illustrated more than 40 highly acclaimed children's books. He received the 1984 American Institute of Graphic Arts Gold Medal and was a four-time Caldecott Honor Winner--for Inch by Inch, Frederick, Swimmy, and Alexander and the Wind-Up Mouse. Leo Lionni died in October of 1999 at his home in Tuscany, Italy, at the age of 89.
ABOUT THE AUTHOR
"Of all the questions I have been asked as an author of children's books, the most frequent one, without doubt, has been 'How do you get your ideas?' Most people seem to think that getting an idea is both mysterious and simple. Mysterious, because inspiration must come from a particular state of grace with which only the most gifted souls are blessed. Simple, because ideas are expected to drop into one's mind in words and pictures, ready to be transcribed and copied in the form of a book, complete with endpapers and cover. The word get expresses these expectations well. Yet nothing could be further from the truth.
"It is true that, from time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge. The sense of instant recognition with which we pull this image into the full light of our consciousness is the initial impulse of all creative acts. But, though it is important, it produces no more than the germ of an idea. Each book, at the birth of its creative history, has such a moment. Some are fortunate enough to have, from the outset, a strongly identified hero, one with an inescapable destiny. Others are blessed with a promising beginning, or perhaps with the vision of an ending (which means working backwards to a surprise opening). Others stem from a clearly articulated conflict situation. Sometimes, I must admit, the motivations of a book may be found in a sudden, unreasonable urge to draw a certain kind of crocodile. And it may even happen that in the dark of our minds there appears, out of nowhere, a constellation of words that has the bright, arrogant solidity of a title. Only last night I was jolted out of a near-slumber by the words the mouse that didn't exist. I am sure that, temporarily tucked away in my memory, they will eventually become the title of a story for which as yet I have no idea.
"To shape and sharpen the logic of a story, to tighten the flow of events, ultimately to define the idea in its totality, is much like a game of chess. In the light of overall strategy, each move is the result of doubts, proposals, and rejections, which inevitably bring to mind the successes or failures of previous experiences.
"Inspirational raptures may happen, but most books are shaped through hard, disciplined work. Creative work, to be sure, because its ingredients come from the sphere of the imaginary. But the manipulation of these ingredients requires much more than mere inclination or talent. It is an intricate process in which the idea slowly takes form, by trial and error, through detours and side roads, which, were it not for the guidance of professional rigor, would lead the author into an inextricable labyrinth of alternatives.
"And so, to the question 'How do you get your ideas?' I am tempted to answer, unromantic though it may sound, 'Hard work.' "
Leo Lionni has gained international renown for his paintings, graphic designs, illustrations, and sculpture, as well as for his books for children. He was born in Holland in 1910 of Dutch parents, and although his education did not include formal art courses (in fact, he has a doctorate in economics from the University of Genoa), he spent much of his free time as a child in Amsterdam's museums, teaching himself to draw.
Lionni's business training gradually receded into the background as his interest in art and design grew. Having settled in Milan soon after his marriage in 1931, he started off by writing about European architecture for a local magazine. It was there that he met the contacts who were to give him a start as a professional graphic designer. When he moved to America in 1939, Lionni was hired by a Philadelphia advertising agency as art director. Later he became design director for the Olivetti Corporation of America, and then art director for Fortune magazine. At the same time, his reputation as an artist flourished as he began to exhibit his paintings and drawings in galleries from New York to Japan.
Lionni launched his career as an author/illustrator of books for children in 1959. Originally developed from a story he had improvised for his grandchildren during a dull train ride, Little Blue and LittleYellow was the first of what is now a long list of children's picture books, including four Caldecott Honor Books.
"From time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge."--Leo Lionni
Leo Lionni wrote and illustrated more than 40 highly acclaimed children's books. He received the 1984 American Institute of Graphic Arts Gold Medal and was a four-time Caldecott Honor Winner--for Inch by Inch, Frederick, Swimmy, and Alexander and the Wind-Up Mouse. Leo Lionni died in October of 1999 at his home in Tuscany, Italy, at the age of 89.
ABOUT THE AUTHOR
"Of all the questions I have been asked as an author of children's books, the most frequent one, without doubt, has been 'How do you get your ideas?' Most people seem to think that getting an idea is both mysterious and simple. Mysterious, because inspiration must come from a particular state of grace with which only the most gifted souls are blessed. Simple, because ideas are expected to drop into one's mind in words and pictures, ready to be transcribed and copied in the form of a book, complete with endpapers and cover. The word get expresses these expectations well. Yet nothing could be further from the truth.
"It is true that, from time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge. The sense of instant recognition with which we pull this image into the full light of our consciousness is the initial impulse of all creative acts. But, though it is important, it produces no more than the germ of an idea. Each book, at the birth of its creative history, has such a moment. Some are fortunate enough to have, from the outset, a strongly identified hero, one with an inescapable destiny. Others are blessed with a promising beginning, or perhaps with the vision of an ending (which means working backwards to a surprise opening). Others stem from a clearly articulated conflict situation. Sometimes, I must admit, the motivations of a book may be found in a sudden, unreasonable urge to draw a certain kind of crocodile. And it may even happen that in the dark of our minds there appears, out of nowhere, a constellation of words that has the bright, arrogant solidity of a title. Only last night I was jolted out of a near-slumber by the words the mouse that didn't exist. I am sure that, temporarily tucked away in my memory, they will eventually become the title of a story for which as yet I have no idea.
"To shape and sharpen the logic of a story, to tighten the flow of events, ultimately to define the idea in its totality, is much like a game of chess. In the light of overall strategy, each move is the result of doubts, proposals, and rejections, which inevitably bring to mind the successes or failures of previous experiences.
"Inspirational raptures may happen, but most books are shaped through hard, disciplined work. Creative work, to be sure, because its ingredients come from the sphere of the imaginary. But the manipulation of these ingredients requires much more than mere inclination or talent. It is an intricate process in which the idea slowly takes form, by trial and error, through detours and side roads, which, were it not for the guidance of professional rigor, would lead the author into an inextricable labyrinth of alternatives.
"And so, to the question 'How do you get your ideas?' I am tempted to answer, unromantic though it may sound, 'Hard work.' "
Leo Lionni has gained international renown for his paintings, graphic designs, illustrations, and sculpture, as well as for his books for children. He was born in Holland in 1910 of Dutch parents, and although his education did not include formal art courses (in fact, he has a doctorate in economics from the University of Genoa), he spent much of his free time as a child in Amsterdam's museums, teaching himself to draw.
Lionni's business training gradually receded into the background as his interest in art and design grew. Having settled in Milan soon after his marriage in 1931, he started off by writing about European architecture for a local magazine. It was there that he met the contacts who were to give him a start as a professional graphic designer. When he moved to America in 1939, Lionni was hired by a Philadelphia advertising agency as art director. Later he became design director for the Olivetti Corporation of America, and then art director for Fortune magazine. At the same time, his reputation as an artist flourished as he began to exhibit his paintings and drawings in galleries from New York to Japan.
Lionni launched his career as an author/illustrator of books for children in 1959. Originally developed from a story he had improvised for his grandchildren during a dull train ride, Little Blue and LittleYellow was the first of what is now a long list of children's picture books, including four Caldecott Honor Books.
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Most Helpful Customer Reviews
6 of 6 people found the following review helpful:
4.0 out of 5 stars
Great pictures, great fable,
By Maisy fan (Missouri) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: The Biggest House in the World (Paperback)
Two warnings: 1) the snail in the fable part of the story dies for lack of food, which could be a little too sad for very little kids; and 2) on one of the pages there is lots of text describing the pictures on the next page, and the next page has no text at all because the illustration takes up all the room. You have to memorize the last part of the text on the one page and then go ahead and turn the page and then recite it to your child-- it gets easier by the tenth or eleventh time. :)In this book, the little snail tells his father he wants to have the biggest house in the world. The father tells his son that is silly, that he should keep easy to carry. The father says once a little snail grew a house as big as a melon, added pointed bulges and bright colors, and was admired by butterfiles and frogs. But he and the other snails ate up the cabbage on which they lived. The other snails moved to the next cabbage, but the snail with the big house was stuck, and "faded away." His house crumbled into nothing. The son decides to follow his father's advice and keep his house small. One day he goes on to see the world-- ferns, pebbles, lichen, trees, flowers-- and the little snail was very happy. The moral could be not to weigh yourself down with big purchases or large debts-- like Dave Ramsey says. Or that you should be content with what you have. Or that possessions are temporary but experiences aren't. It's a book I've loved for years, my kids love it now, the illustrations are beautiful, and the story makes a good fable.
8 of 10 people found the following review helpful:
4.0 out of 5 stars
The Biggest House in the World,
By A Customer
This review is from: The Biggest House in the World (Paperback)
This is another great story from Leo Lionni! In this book, a snail wishes that his house would be the biggest house in the world, but he finds out that there are consequences to having the biggest house. The moral of the story is "be careful what you wish for, it might come true." A great read!
3 of 3 people found the following review helpful:
5.0 out of 5 stars
One of Life's Big Lessons,
By Luis de Camoes (Portugal) - See all my reviews
This review is from: The Biggest House in the World (Paperback)
GREAT BOOK!! Moral of the story - travel light in every respect and you will be free to go wherever you want, whenever you want. Don't let yourself become bogged down by material possessions and the greed to have more and more because one day you'll be so weighed down (by responsibility and debt), that you will eventually die, in spirit and body, and it won't matter then how pretty you look on the outside. A fine tale for today's economic woes!Parents, buy this book, and read it to your kids as I read it to mine! Leo Lionni's books are great for children as well as adults!
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Inside This Book
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First Sentence:
Some snails lived on a juicy cabbage. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
little snail, biggest house New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | First Pages | Surprise Me!
Some snails lived on a juicy cabbage. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
little snail, biggest house New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | First Pages | Surprise Me!
Citations (learn more)
This book cites 3
books:
15
books
cite this book:
See all 15 books citing this book
- Matthew's Dream by Leo Lionni in Back Cover
- LET'S MAKE RABBITS by Leo Lionni in Back Cover
- Tillie and the Wall by Leo Lionni in Back Cover
- Leo Lionni: A Passion for Creativity by Leo Lionni on page 10, Back Matter (1), and Back Matter (2)
- Using Stories to Make Art: Creative Activities Using Children's Literature by Wendy M.L Libby on page 99, page 101, and Back Matter
- The Girl with the Brown Crayon: How Childen Use Stories to Shape Their Lives by Vivian Gussin Paley on page 49, and Back Matter
- Discovering Nature with Young Children: Part of the Young Scientist Series by Ingrid Chalufour in Back Matter
- Little Hands Sea Life Art & Activities: Creative Learning Experiences for 3- To 7-Year-Olds (Little Hands Book) by Judy Press on page 85
See all 15 books citing this book
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