What Future Presidents Read: Little John Quincy Adams and “Giles Gingerbread”

Portrait of John Quincy Adams, 5th president of the USA.In  What The Presidents Read, Liz Goodenough and Marilyn Olson wondered:

A childhood book is much more than just a story—for presidents, it may represent a turn in the course of history.  Did John F. Kennedy’s early love of Billy Whiskers, a goat who roved the United States bashing down doors and anyone in uniform, help pave his road to Camelot?  The favorite readings of presidents can shape a generation, rising in stature like national legends or be completely forgotten.

Almost completely forgotten is the penny pamphlet Renowned History of Giles Gingerbread, a little Boy Who Lived on Learning, a particular favorite of our fifth president, John Quincy Adams.  It was first published in London by John Newbery in 1767.  Perhaps five London editions issued between 1764 and 1782 exist; the survival rate is a little higher for reprints by provincial and American printers. The text was illustrated with sixteen wood cuts–one every other page, which was very generous for such a cheap pamphlet—and they illustrated specific passages in the text.  The publisher’s binding would have been Dutch floral gilt wrappers.  The pretty paper branded those books as appropriate for younger readers.

Title page spread of the penny pamphlet for children The Renowned History of Giles Gingerbread with a frontispiece of the character Gaffer Gingerbread holding up a gingerbread hornbook.Abigail Adams, the mother of the future sixth president, John Quincy Adams,  said he could recite it from memory.   We don’t know how old her boy was when he performed this feat because she mentioned it in a letter written when John was grown up.  The anecdote is still solid gold because evidence about the reading of very young children is hard to come by, even in families in which the parents were highly involved in their children’s education. The Adamses thought a lot about their boys’ reading and Abigail sent amusing stories about their progress.  John might write back with a message, like this one for John Quincy: “Tell him I am glad to hear he is so good a Boy as to read to his Mamma for her Entertainment and to keep himself out of the company of rude children.”

For an easy reader, The Renowned History of Giles Gingerbread was rather unusual and it seemed peculiarly suited to make an impression on John Quincy.  Its contents were miscellaneous, but not divided up into sections of instruction and reading passages.  In fact, it contained no direct instruction such as syllablaries.  Could certain ideas in the bookseller’s preface caught Abigail’s eye?

The Reader perhaps may be so unreasonable as to expect an Account of the Birth, Parentage and country of our Hero.  If he does, I can assure him he will be disappointed.  There are circumstances which he has no Right to be informed of; for a good Man may be born any how; and anywhere; of any Parents, and in any Country…If a Man is a good Man and an honest Man, it is no Matter where he was born, and if those we have lately made such a Noise about Country and Party to Gaffer Gingerbread, he would have knocked their Heads together for being such boobies.Little boy hitching a ride on the rear wheels of a coach with a man riding inside.The pamphlet’s heart is the exemplary story of Gaffer Gingerbread’s son Giles.   When the little ragged boy jumps on the back of Sir Toby Thompson’s coach. his father calls him over, not because it was dangerous but because “You want to get up to the coach, but you are climbing at the wrong place, Giles; you should endeavor to get in at the door.” But poor folks can’t do that, protests Giles. Not true, says his father: “A poor man or a poor boy may get a coach, if he will endeavor to deserve it.  Merit and Industry may intitle a Man to anything.

He explains to tells Giles how little Toby rose above his station. through hard work, strict honesty, and attention to his master’s interests to become a wealthy man with a fine coach Two jockeys riding horses in a race. (this is an example of John Newbery’s “coach and six morality).  When the merchant Mr. Goodwill saw how carefully Toby babysat his siblings, while his mother was off working, he sent him to school to learn to read and write, then brought him to London as a servant. Unfortunately, Mr. Goodwill paid more attention to race horses than his business and left himself open to fraud.  After Giles discovered that a fellow servant had robbed their master, he informed Goodwill in an anonymous letter because it was his duty towards the man who had been a second father to him.  When Giles revealed himself as the letter’s author, Goodwill was so grateful that Toby was made his business partner and heir to his fortune.

With the story ringing in his ears, Giles begs his father to teach him to read so he too can become a great man.  Being the son of a gingerbread baker who sold useful knowledge by the pound, he had easy access to the traditional educational aides of gingerbread alphabet letters and hornbooks mentioned in works by Matthew Prior, Thomas Tickell, and Tobias Smollett. Gaffer Gingerbread giving his son Giles a reading lesson under a tree. Perching Giles on his lap, Gaffer Gingerbread took out of his pocket a gingerbread alphabet. To draw Giles into the task, his father exclaims that “all the Words in the World” can be made with these 24 letters.  When Giles laughs in disbelief, his father demonstrates the truth of the proposition by spelling a short and a long word, then letting Giles try his hand.  Giles gleefully runs through the letters in a little alliterative prose poem: “Mr. B, I should be a Blockhead if I did not know you—C, C, C, I shall know you Mr. C indeed, and so will every Boy that loves Custard—D, D, D, Drum and Dumpling will make me know you Mr. D.—E, E, E, Eggs and Eel Pye forever.” When Giles named the gingerbread letter, his father gave him permission to eat and that is how he “lived on learning.”

Giles Gingerbread walking outside reading from his gingerbread hornbook.Obedience, not rewards of food, was Giles’ true motivation to learn.  His father’s wish was his command, whether it was putting the escaped pig back in the style or learning the lesson set for him. This, the narrator observes, was critical to his subsequent success. With his feet set on the right path by his gaffer, Giles soon attracts the attention of Sir Toby Thompson, who takes him to London in his coach.  “We have heard nothing of him,” says the narrator, but his father declares that he is sure Giles will behave so well as to get Coach of his own.” Gaffer the small businessman understood as clearly as John Adams the value of education.  The child who learned to read, acquired the habits of obedience, hard work, and scrupulous honesty would accumulate a degree of merit that would inspire confidence and trust in worthy people.

In spite of the disparity in social circumstances, littIe John Quincy may have identified more closely with Giles than Dick Whittington, thrice lord mayor of London.  With no father to guide him, the orphan Dick, knew to obey his master and the cruel cook who ordered him perform the dirty work in the scullery. But luck was a more powerful factor in Dick’s rise than love of learning or hard work.  He gives his only possession, the cat who has kept the vermin population down in his room, hoping to make a return on the investment when his master’s ship comes home. It was the steward’s bright idea to present Puss to the foreign king and queen to destroy all the vermin which overran their dinner every night, there being no mousers there.  The royals pay the steward handsomely for the cat and he turns over the money to Dick.  Would he have been more displeased than delighted by Perrault’s  Master Cat, who pulls strings so that his penniless owner marries the king’s daughter without proving anything beyond he was very handsome.

At age ten, John Quincy gave his opinion of the picaresque novel Bamfylde Moore Carew to his father.  The rogue Moore was a hero to many boys, but not John Quincy–what he liked best was the travel writing.  He had internalized his father’s high-mindedness by scorning injustice, ingratitude, cowardice, and falsehood.   John Quincy was a chip off the “old iceberg” and of old Gaffer Gingerbread.

 

Shrek’s Friends: More Thoroughly Modern Ogres

Gustave Dore’s rendering of the ogre’s discovery of little Thumb and his brothers.

The Oxford English Dictionary succinctly defines an ogre as “a man-eating monster, usually represented as a hideous giant” in folklore and mythology.  It comes from the French via Perrault’s fairy tales (its mate is an “ogress” and their offspring an “ogrichon” according to Mme d’ Aulnoy).   No ogre is welcome when scouring the countryside for its next meal, whether it happens to be a good supply of baby belly buttons, which by oni, the ogres of Japan, relish, or a brace of fat boys rolled in bread crumbs and fried in butter, the favorite dish of the giant Snap-‘em up in Uncle David’s nonsensical story from Catherine Sinclair’s Holiday House (1839).  The ogres I’ve found in picture books from the last ten years seem to belong to an altogether different subspecies.The title of Michael Morpurgo’s The Ogre Who Wasn’t (2023) gives fair warning.  A somewhat forced reinvention of Grimms’ The Frog Prince is odd place to invoke the presence of a monster.  Motherless Princess Clara discovers a teeny tiny ogre in the garden and stows him under the bed in a hot pink character shoe.  Because her father is away most of the time, the disagreeable servants try to constrain her but she defies them by keeping  an extensive  menagerie in her room and running wild barefoot in the garden in dirty shorts with uncombed hair. One evening she confides her pain to her best friend the loyal little ogre, who reveals that he is really the Toad King and has magical powers, which can be put at her service.  He grants her wishes to scrap the help and give her a stay-at-home dad with a nice new wife.  There is nothing more for the new racially blended family to do in this sweetly vapid story but live happily ever after.The creature in Peter McCarty’s 2009 picture book Jeremy Draws a Monster is quite satisfying–big, blue, and bulky with multiple horny protrusions, pinpoint eyes, big nostrils and bare earholes (funny preparatory drawings turn up on the endpapers).  But things go awry almost immediately.  It wants a sandwich, when it ought to threaten Jeremy, a much more substantial mouthful.  It wants consumer goods to help pass the time, including a television so it can watch the game.  Wearing a dandy red hat, it goes out on the town and hogs the single bed when it gets back very late. That is the last straw.  Jeremy draws a suitcase and one-way bus ticket and escorts the big blue pest to the station in the morning.  Then he joins the neighborhood kids in games for the first time.  Obviously the ogre is a projection of Jeremy’s imagination, which probably explains why his creation won’t eat him and goes without putting up a fight.  If it isn’t real and only looks dangerous, then the story deflates without any conflict between the two unequal characters. Even if the point were that monsters are all in your head, of which I’m unconvinced, the imagination demands the possibility of them being real.Leave it to David Sedaris to think up Pretty Ugly (2024), a typically weird story, the last to be illustrated by the late Ian Falconer.  Dedicated to Tiffany, Sedaris’s sister who committed suicide, he also pays tribute to the ability of sister Amy to make ghastly faces. Whenever the adorable little ogrichon Anna is awful, she is so good that her parents and grandmother coo that she really is “something.”  Her bad habit of making dreadful faces–adoring gran starts at the fuzzy bunny gran–prompts her mother to warns her quite correctly that if she doesn’t stop it, she’s going to be sorry.  Anna dismisses her concern, until the features of her most horrible face of all (shown to the left) cannot be reversed.  Even a medical intervention fails to restore her face to its original loveliness. While her loving family can live with their little monstrosity in a new guise, her peer group has no problem reminding how her how hideous she is now.  After secluding herself in the wood shed for a miserable three days, Anna remembers her grandmother’s consoling words about true inner beauty and sticks her hand down her throat to turn herself inside out, which solves the problem (below).  There is nothing traditional about this ogre story, but if they ever start creating picture books about family life, they could do worse than take Sedaris as their literary model. I’m not sure why authors and illustrators who have been busy reinventing Western folklore’s traditional baddies have smoothed off most of their rough edges. As monsters go, an ogre is terrifying, but otherwise uncomplicated. It stomps around, uses brute force to capture people, and devours them, sometimes with guests. Maybe it tosses the bones into a large, grisly, untidy heap outside its dwelling place. Still, a  brave and quick-thinking child like Little Thumb  has a shot at defeating one.  But perhaps the classic stand-off between big and small compares unfavorably with old and modern stories about Japanese yokai and requires big injections of horror and violence to hold its own in today’s media environment.  Time to clap if you believe in ogres?