He runs off and Snufkin sits, pondering, as does the reader, this parable about identity and existence. Here he finds Teety-woo and discovers that, now he’s got a name, he is making up for lost time and running round experiencing everything for the first time as Teety-woo! In fact, he’s far too busy living to listen to Snufkin who, only yesterday, he sought out all timid and shy: now he is the brave confident Teety-woo. Next morning Snufkin, still irritated at this intrusion into his solitude, sets off north but can’t get the little creature’s babbling chatter out of his head and eventually turns round and walks back to the woods to find him. A bit irritated, Snufkin names him Teety-woo after birds he can hear singing in the treetops.
He stops to camp by a stream but a little woodland creature plucks up the courage to speak to him, then comes over and starts a nattery conversation and, when he finally leaves, Snufkin discovers to his frustration that the idea for the new song has been completely driven out of his head.īut that’s not all, the little creature had heard of the famous traveller Snufkin, and before he left asked if he could give him a name.
Thus in the first story Snufkin is happy walking alone through the woods on the verge of creating a new song. Instead of carefree childhood adventures – as the previous books – they investigate what are essentially adult psychological states. They are all more elliptical and serious than in the previous books. Gallery of illustrations from Tales from Moominvalley.Judge for yourself how rough-hewn, primitive and unfinished they look, compared with the earlier style.
Here’s a gallery of illustrations from the book. Snufkin talks to a forest creep in Tales From Moominvalley (1963).Snufkin discovers Little My in Moominsummer Madness (1954).Why? Are they early works saved up for this relatively late publication (1962)? Is this her late style? Or did she make a conscious decision to explore a rougher, more sketchy style? In some of the illustrations the familiar Moomin characters barely look themselves. where one precise line did the job in earlier books, here they take multiple lines to sketch out a character’s outline or other objects, giving a far rougher, hastier, smudgier appearance to the pictures and to the entire page. The most obvious thing about this book is the quality of the illustrations: in contrast to the crystal clear, crisply drawn illustrations of all the previous books, the pictures in Tales from Moominvalley are rough and sketchy i.e.
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