The Marginalian
The Marginalian

The Velveteen Rabbit, Reimagined with Uncommon Tenderness by Beloved Japanese Illustrator Komako Sakai

“Life and Reality are not things you can have for yourself unless you accord them to all others,” Alan Watts wrote in his exquisite 1950s meditation on becoming who you are. But as is the case with life’s most enduring perplexities, this wisdom was best delivered three decades earlier, not by a philosopher but by a children’s book author. “Real isn’t how you are made… It’s a thing that happens to you,” Margery Williams wrote in 1922 in what would become one of the most beloved children’s books of all time, part of the canon that contains such masterworks as The Little Prince, Winnie the Pooh, and Where the Wild Things Are.

This quiet aliveness of truth and tenderness is what Japanese illustrator Komako Sakai brings to a bewitching and unusual adaptation of The Velveteen Rabbit (public library) nearly a century later — the loveliest take on the Williams classic since Maurice Sendak’s little-known 1960 illustrations.

Timeless as the book may be, it is also one of extraordinary timeliness today — a story that speaks to our deepest anxieties about the effects of technological progress on our humanity.

A soft stuffed rabbit is given to a little boy at Christmas, enjoyed for a fleeting moment, then quickly ignored in favor of other gifts far more modern and mechanical — wind-up toys that move like the real-life objects they miniaturize.

And yet when the wise old Skin Horse — the oldest toy in the nursery — assures the rabbit that toys are made real by children’s love, and the rabbit is emboldened by this notion despite feeling at a grave disadvantage compared to the modern toys, we too are reminded that however the cultural odds are stacked, our imperfect humanity is not merely the thing that makes life livable but the only thing that makes it worth living.

After the little boy’s Nana gives him the humble toy one restless night, the Velveteen Rabbit grows to be his most beloved companion.

They become inseparable — the boy even brings his soft friend into the woods behind the house, where one day the Velveteen Rabbit meets a pair of wild rabbits. Perplexed by his stiffness, they tease him about not being “Real” — he can’t even hop! — but although the taunting hurts him, the Velveteen Rabbit takes comfort in knowing that the little boy thinks he is Real, and loves him, and that’s realness enough.

Ever so gently, another subtle and profound undercurrent emerges — the finitude of childhood and the impermanence of life itself.

When the boy falls ill, the Velveteen Rabbit is by his side as doctors and parents hover anxiously. And when the boy recovers, the doctor instructs the boy’s mother to burn all of his belongings — books, toys, and especially that bedraggled stuffed rabbit — that may have been infected during his illness.

As the Velveteen Rabbit awaits his heartbreaking fate in a sack at the end of the garden, drowned in wistful reminiscence about all the joyful moments he and the little boy shared over the years, one very real tear rolls down his cheek and drops to the ground.

Why should it all end like this for someone who had been loved so much and become Real?

And then something magical happens — a flower emerges from the ground where the tear had fallen, and it blossoms to reveal the beautiful nursery fairy, who takes care of the most beloved toys after their children outgrow them.

With one kiss on the nose, the fairy transforms the Velveteen Rabbit into a Real rabbit — real not only to the boy who loved him, but real to the world, to all who judge the realness of others.

The seasons turn and when spring arrives again, the little boy treks back into the woods, where he has a strange and wonderful encounter with a wild rabbit that looks remarkably like his beloved lost toy. The rabbit looks at the boy, and the boy at the rabbit, they are elevated in a quiet moment of recognition — the mutual beholding of another’s realness of which all love is made.

Sakai’s take on The Velveteen Rabbit comes from Brooklyn-based independent powerhouse Enchanted Lion, maker of some of the most intelligent and imaginative children’s books of our time — including such endlessly rewarding treasures as The Lion and the Bird, The River, Little Boy Brown, Mister Horizontal & Miss Vertical, The Jacket, and Wednesday.

Published February 23, 2015




Filed Under

View Full Site

The Marginalian participates in the and affiliate programs, designed to provide a means for sites to earn commissions by linking to books. In more human terms, this means that whenever you buy a book from a link here, I receive a small percentage of its price, which goes straight back into my own colossal biblioexpenses. Privacy policy. (TLDR: You're safe — there are no nefarious "third parties" lurking on my watch or shedding crumbs of the "cookies" the rest of the internet uses.)