It’s the Olympic Games Season—Flip Your Back…or These Pages!

To celebrate the 2026 Winter Olympics, Special Collections presented a pop-up exhibition of Olympic-related materials on opening day. Items on display ranged from the discus (Princeton University Archives AC053 Box 58) that Robert Garrett, Class of 1897, threw at the first modern Olympic Games in 1896 [1], along with the laurel branch (AC053 Item 21) he received—to historical photographs, posters, and other ephemera. In this post, I highlight two items from the Cotsen collection.

Flip Your Back…or These Pages!

奥运之星 [Stars of the Olympics, no. 8] / text by Meng Fu; illustrated by Xu Liyuan. Tianjin, China: New Buds Publishing House, 1984. (Cotsen 71748)

This miniature flip book was published in China in October 1984, only a few months after the Summer Olympics concluded that August. Although the People’s Republic of China (PRC) was founded in 1949, its athletes were largely absent from the Olympic Games for more than three decades. (The PRC was invited to participate in the 1952 Summer Olympics, but the Chinese delegation arrived in Helsinki ten days late; the self-sabotaging political reasons behind this curious delay warrant a separate explanation.)

When Chinese athletes, representing the PRC’s first full participation in the Olympics, began winning medals in Los Angeles in 1984, the nation elated with immense pride.

Part of the series Stars of the Olympics, this flip book features the 21-year-old gymnast Li Ning. Having secured six medals (three gold, two silver, and one bronze), he ranked first in total medals won by any individual athlete at the 1984 Summer Olympics and became one of China’s most decorated Olympians.

Stars of the Olympics, no. 8 (Cotsen 71748)

Stars of the Olympics, no. 8 (Cotsen 71748)

The flip book contains two animated sequences. One side, titled “Men’s Pommel Horse,” opens with a brief introduction to Li Ning’s achievement (though it omits that he tied with American gold medalist Peter Vidmar in the pommel horse event). After a photograph of Li wearing half-a-dozen medals around his neck, the animation depicts a gymnast performing a full routine, including double-leg circles, single-leg swings, and scissors, before dismounting with perfect steadiness.

It is worth noting that in 1984 most Chinese families did not own a television—let alone a color set. By 1985, there were 17.2 color television sets per 100 urban households nationwide; in rural areas, ownership was under one percent (National Bureau of Statistics, 2008). For many children, this flip book would have served as a decent visual substitute for televised Olympic coverage.

Stars of the Olympics, no. 8 (Cotsen 71748)

The reverse side of the miniature book reenacts the raising of three national flags during a medal ceremony. China’s flag occupies the highest position, with those of the United States and Japan at equal height below. The scene may reference the men’s vault competition, won by another Chinese gymnast, Lou Yun. That event produced the only four-way tie in Olympic history. Li Ning received one of the silver medals; the remaining three silvers went to two Japanese athletes and Mitchell Gaylord of the United States.

Pick a Winning Team for 2000!

奥运赛场游戏棋 [An Olympic Board Game]. Wenzhou, China: between 1992 and 2000. (Cotsen 92091)

An Olympic Board Game (Cotsen 92091)

In this undated game produced in China, players compete in five sports—long-distance running, diving, soccer, vault, and swimming—at the 2000 Summer Olympics. Participants may represent one of six teams: the United States, Italy, Japan, China, North Korea, or the Commonwealth of Independent States (CIS).

An Olympic Board Game (Cotsen 92091)

Strategically, the CIS would not be an unreasonable choice. Formed after the dissolution of the Soviet Union in 1991, the CIS initially included former Soviet republics such as Belarus, Russia, and Ukraine. The CIS competed as a “Unified Team” only in the 1992 Olympics. In Barcelona, it finished first in both the overall medal standings and the gold medal count, while the United States placed second in both categories.

An Olympic Board Game (Cotsen 92091)

The game can be lengthy. Completing the diving competition, for example, triggers a seven-step retreat (Head back to square no. 14, please!).

An Olympic Board Game (Cotsen 92091)

If another player lands on the square you occupy, a “collision” occurs—but only you are injured and must lose one turn in the hospital.

An Olympic Board Game (Cotsen 92091). Uncut medal cards assign 10 points for gold, 8 for silver, and 6 for bronze.

 

An Olympic board game (Cotsen 92091). Uncut referee cards.

After winning a medal, a player draws a referee card. Card no. 3 awards five bonus points for breaking a world record. Some cards impose penalties. If you draw card no. 7, your medal is revoked, because…sorry, you have been caught doping.

Update

Now I don’t know about you who might be fortunate enough to live in warmer regions of the Earth, but here in the Northeastern United States, I have participated in an occasional heavy winter sport: snow shuffling. After the blizzard that started Sunday, I secured fourth place as the earliest person on my corner of the neighborhood to unveil my car from beneath 12.5 inches of snow–just missing the medal podium.

[1] You may want to look up the famous story of how Garrett, in preparation for the Olympics, made a practice discus weighing seven times as heavy as that of the actual ones used for competition and nearly gave up the event.

How to Dress the Emperor in His New Clothes

This is a delicate issue for any illustrator of Hans Christian Andersen’s sly tale, now so deeply embedded in the culture that it often passes as an anonymous folk classic.  To what extent should young readers be protected from the sight of the emperor’s nakedness?  But if they are shielded from any peep at the vain ruler’s embarrassing condition, can the story make an indelible impression?

Here are four radically solutions to the problem.

From Ardizzone’s Hans Andersen: Fourteen Classic Tales (1978) Cotsen 37999.

Edward Ardizzone drew him fully clothed in long woolly underwear, a full-bottomed wig, and bare feet at the head of a very long procession. It is hard to think of another outfit that undercuts royal majesty more ridiculously and also very conveniently spares the illustrator from answering awkward questions from the publisher.

Des Kaisers neue Kleider. Illustrated by Karl Lagerfeld (1992) Cotsen 19998.

Karl Lagerfeld, the celebrated fashion designer and longtime creative director of Chanel (aka “Kaiser Karl”) dressed his emperor in transparent underthings that cruelly expose his aging, stout body.  He could hardly be more repellent undressed.  The elderly Lagerfeld himself flamboyantly concealed the ravages of the years with outsized sunglasses, high starched collars, and fingerless gloves, topped by a mane of snow white hair.

Andersen Kalendar. Illustrated by Heinrich Lefler and Joseph Urban (1910). Cotsen 951.

Frequent collaborators Heinrich Lefler and Joseph Urban had their cake and ate it too in their sumptuous color illustration.  The splendidly dressed courtiers and attendants in the foreground nearly conceal their royal master, whose profile dominated by an outsized chin and Adam’s apple is at the dead center of the plate.  His straight black hair streaked with gray is covered by an enormous gold and scarlet imperial helm.  That is all he has on.  The ghostly pale shoulders and torso of the foolish old man beguiled by the trappings of his office, are thrown into relief by the robust young men surrounding him.

The Emperor’s New Clothes. Illustrated by Angela Barrett (1997) Cotsen 34676.

Angela Barrett breaks with tradition by representing the emperor as a young dandy.  Head held high, he marches down the street, with just a bit of bare chest showing.  He and his attendants may be engulfed by the tittering crowd, six or seven spectators deep, but almost nothing is left to the imagination because suspended overhead is an oval portrait of the striding monarch taken from behind.  Is the tall, slim man in elegant slippers a closet exhibitionist, or is he making the best of the situation in which he has landed by forging ahead instead of fleeing?

Each of the artist’s solutions to illustrating the emperor’s humiliation is so satisfying that it is difficult to say if one if better than the other three.  Why choose?