All her life Tillie the mouse has wondered what lies on the other side of the wall. Imagining all sorts of fantastic possibilities, she digs a tunnel to get to the other side, where she discovers . . . other mice, just like her! Together, Tillie and her friends work to bring down the wall and unite mouse-kind. Written just before the fall of the Berlin wall, this seemingly simple fable has a powerful message for all children—and all people.
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Editorial Reviews
From Publishers Weekly
Some mice take the wall for granted, never speaking of itin fact, never even seeing it. But for Tillie, a mouse who believes that the grass (and scenery) on the other side must be not only greener, but fantastic and beautiful, the lure of the wall proves impossible to ignore. When her glorious visions of the other side prove too much to bear, Tillie tunnels under. Her reception on the other side is a warm oneidentical mice to the ones left behind greet her, and then follow her back home. There, she is a hero, and forever after the mice pass freely back and forth from one side to the other. The mice will look familiar to readers of Lionni's other works, but this storylike all his othersnever falls to formula. His philosophical playfulness is in full force, and Tillie's visitation may be, after all, a circular one, with ambiguities to pore over and be delighted by. It's a journey worth repeating. Ages 3-7.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From School Library Journal
Kindergarten-Grade 2-- It is reassuring to be in the company of Lionni's mice again. These inquisitive, clever animal characters prove once more the value of the fable as storytelling device, especially when it is simply told and beautifully illustrated. Tillie, one of a band of mice, is confined, not unhappily, to a meadow behind a long, high wall. Although there is companionship and plenty to eat, Tillie longs to discover the unknown world beyond the wall. In her reveries she creates an imaginary place peopled with fantastic creatures, giving Lionni an opportunity to display his coloristic artistry. It takes all of Tillie's determination and resourcefulness to overcome the complacency of her companions and eventually to find a way to the other side of the wall. The fact that Tillie is the youngest mouse, and a female, lends substance to the message that strength of character and leadership qualities will surface when a challenge arises. The simplicity of line and shape in the full-color collage illustrations enhance the mood of the text. This integration of art and prose, and the message that both convey, provide children with a superior picture book that can be enjoyed on several levels. Invite Tillie and her friends to join other Lionni favorites on the picture book shelves. As with Lionni's other books, this one should be a perennial favorite for primary grade story hours. --Martha Rosen, Edgewood School, Scarsdale, N.Y.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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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
2 of 3 people found the following review helpful:
5.0 out of 5 stars
A Really, Really Good Book!,
By Lynn Ellingwood "The ESOL Teacher" (Webster, NY United States) - See all my reviews (VINE VOICE) (REAL NAME)
This review is from: Tillie and the Wall (Read to a Child!: Level 2) (Paperback)
It's amazing how one can forget how really good a child's book can be written, until you read a truly great book. Leo Lionni is a great writer of children's books and this is a great book. You too, could be the mouse who dreams beyond the wall and discovers what is on the other side.
5.0 out of 5 stars
curiosity, tenacity, and leadership,
By cambridge reader "cambridgearea" (cambridge, ma United States) - See all my reviews
This review is from: Tillie and the Wall (Read to a Child!: Level 2) (Paperback)
The mice who live near the wall never question it except for Tillie. A book about the importance of qualities like curiosity, tenacity, and leadership, made even more perfect by the fact that the main character is female. Beautifully crafted pictures. Short enough to keep the attention of a two-year old all the way to the end.
5.0 out of 5 stars
Another Leo Lionni masterpiece,
By CalBearFan "TeacherMama" (Bay Area, California) - See all my reviews
This review is from: Tillie and the Wall (Hardcover)
When I was an elementary school teacher, Leo Lionni was my favorite authors to study. Of his vast works, Tillie and the Wall ranks up there for me. Lionni tells the story of a mouse's quest to venture beyond a wall that she has known all her life. His language is sophisticated (not watered down for young readers) and his collage artwork gives a feel of real movement and emotion, yet the story is simple enough for little ones to appreciate.I highly recommend this book and other Leo Lionni titles. Almost all of Leo Lionni's children's books deal with conflicts that kids can relate to (trying hard, being different, loneliness, fear, teasing) and they carry messages about individuality, dreaming big, or helping others.
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Inside This Book
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Citations (learn more)
5
books
cite this book:
- Leo Lionni: A Passion for Creativity by Leo Lionni on page 10, Back Matter (1), and Back Matter (2)
- Once upon a Heroine: 450 Books for Girls to Love by Alison Cooper-Mullin on page 43, and page 98
- More Reading Connections: Bringing Parents, Teachers, and Librarians Together by Liz Knowles on page 131
- Literature of Delight: A Critical Guide to Humorous Books for Children by Kimerly Olson Fakih on page 77
- Books Kids Will Sit Still For: A Read-Aloud Guide Second Edition by Judy Freeman on page 186
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