Before the book’s publication, Anne Carroll Moore, then the most powerful children’s librarian, declared “The Velveteen Rabbit” the best Christmas story in years and predicted that it was “destined to live in the remembrance of every child.” She was right.
Margery Williams’s book, about a stuffed animal who yearns to be real, is as simple and straightforward as a traditional fairy tale. Nothing
Her father, Francesco, did not allow her to alter a sketch, and she never used an eraser. If a drawing disappointed her, Pamela just threw it away. Francesco, a dashing young Italian bibliophile, knew Pablo Picasso and showed the painter Pamela’s pictures at dinner one night at the Bianco apartment.Pamela told me she was an unusually timid child. “I was very frightened and shy and terrified of the school,” she said. She so hated it that her mother took her out one day and never sent her back.
The show was a hit. The Tate Gallery, the South Kensington Museum and the National Gallery of Ireland all competed for Pamela’s drawings. Only three of the 79 went unsold. mother and daughter. Margery had written three novels before marrying, but they did not sell well and she had abandoned her literary career to raise her two children. “Father suggested she write something for me to illustrate,” Pamela told me. “I wanted to write again,” Margery once recalled, “but I disliked everything I had written before. I wanted to do something different, but did not know what it should be.
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