Duck, Death and the Tulip

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Cuter as a child-narrated video, but the message is worthy enough to justify this less-evanescent medium.

Tender and direct, it is an excellent tool for helping to explain and talk about death, dying and bereavement with children The character of Death is depicted as a dressing-gown clad figure with a stylised skull for a head. Obviously any representation of a skull comes heavily loaded with our pre-conceived baggage that we hang on this symbolism, but the look of the character is softened by the rest of the figure who looks like they are perpetually ready for bed or haven’t bothered to get dressed for the day. Partial to Bitcoin? You can beam some bit-love my way: 197usDS6AsL9wDKxtGM6xaWjmR5ejgqem7 CANCEL MONTHLY SUPPORT She is scared stiff but as they talk, visit the pond and climb trees, her initial fear gives way to acceptance and friendship as her life moves inevitably towards its end. The second thing the reader notices is the extraordinary courage of the book – the uncluttered nature of its graphics, the uncompromising excellence of its design and production and its honest message that `Death is always with us’.John: In the story and the illustrations we’ve got this life-affirming message about death. How’s that work? Wolf Erlbruch is a celebrated and inimitable German author and illustrator. He has received many awards, including the 2006 Hans Christian Andersen Medal for Illustration and the 2017 Astrid Lindgren Memorial Award.

TKSST is an unprecedented collection of 6,000+ kid-friendly videos, curated for teachers and parents who want to share smarter, more meaningful media in the classroom and at home. And it's free for everyone. From award-winning author and illustrator, Wolf Erlbruch, comes one of the world’s best children’s books about grief and loss. Voted one of the 100 greatest children’s books of all time by the BBC.Esta pequeña historia tiene todo lo que un cuento necesita para robarme el corazón: ilustraciones sencillas pero delicadas, un argumento que, aún llendo al grano, encuentra espacio para pequeñas bromas y detalles exquisitos, personajes tiernos y entrañables pero sin rozar siquiera lo cursi, una historia que cabe en menos de 20 páginas pero te hace abrazar el libro al terminar y simplemente permanecer así durante 10 minutos, en silencio, pensando en por qué es tan simple y tan bueno al mismo tiempo... guy says Death is envious of Life and I like the idea that they were kind of companions, in sort of conflict a lot I have so many thoughts on this book I don’t know where to start. I’m not a crier, but it had me teary. I like to think I’m quite brave, but it had me unsettled. The most conflicting part of all for me: this is a children’s picture book…It’s not something I like to make a habit of thinking about, but brushing the idea of dying to one side until it’s suddenly brought into sharp focus can’t be the way to go. Maybe a children’s picture book is a good starting place after all? I appreciate that this book presents death as a normal part of life. I repeat—normal! Simple. Real. An ending. Both pathos and wry humor. I could see using it as a book club selection; also as a way into discussions about dying and death with family members, even children. From award-winning author and illustrator, Wolf Erlbruch, comes one of the world’s best children’s books about grief and loss.

NL: Dit is zeker weten een van mijn favoriete prentenboeken. Het is kort, lief en de illustraties zijn prachtig. Ik denk dat dit boek enorm handig kan zijn als je aan een kind moet uitleggen dat iemand overleden is, of ze vragen hebben over de dood. Het boek voelt enorm vredig en dat lijkt mij de perfecte manier om dit natuurlijke proces uit te leggen zonder onnodige angst in te boezemen. but it’s a picture book for all ages. Graphically it’s the most beautiful book. There’s so much courage in the This is the final installment of Aprils’s My Take/Your Take. To follow the whole conversation, start with Cry, Heart, but Never Break, followed by What’s Your Story? and Samira and the Skeletons. array(9) {I used the story this fall in discussions with undergraduate students. I also read it with my fourteen-year-old son and it led to a conversation about whether we would live forever if we could choose to do so. He said that he thought if we didn’t have death we’d have “no incentive to do anything” and that it would be hard to get older and weaker and never die. I asked him what he would do if he could choose to live forever at a certain age and stay that age always. We agreed that without change life would seem lifeless. We then talked about what happens when you die, whether the body’s death means the end of all consciousness and whether it’s possible that there are planes of existence beyond our ability to imagine. Kate: Its greatest service is [that] it makes us consider the fact that we’re with death all the time and when it Wolf Erlbruch was a German Illustrator, writer and Academic. He was born on June 30, 1948, in Wuppertal, Germany. He attended the Folkwang Hochschule (1967-1974) and studied graphic design. As a student he worked in advertising. He also worked as an illustrator for magazines, which included Stern and Esquire. In 1985, he illustrated, Der Adler, der nicht fliegen wollte by James Aggrey. He continued to write and illustrate many books. He is best known for his illustrations in, The Story of Little Mole Who Knew It Was None of His Business by Werner Holzwarth. Erlbruch was a professor at several universities, Fachhochschule Düsseldorf (1990-1997), University of Wuppertal (starting in 1997), and Folkwang University of the Arts (2009-2011). He received many awards and honors for his work. He received the 2006 Hans Christian Anderson Award. He was given the 2014 E. O. Plauen Prize. In 2017, he was presented the Astrid Lindgren Memorial Award. Wolf Erlbruch died on December 11, 2022. He was 74. Death is our friend precisely because it brings us into absolute and passionate presence with all that is here, that is natural, that is love,” Rilke wrote in contemplating how befriending our mortality can help us feel more alive. Nearly a century later, John Updike echoed this sentiment: “Each day, we wake slightly altered, and the person we were yesterday is dead. So why, one could say, be afraid of death, when death comes all the time?” And yet however poetic this notion might be, it remains one of the hardest for us to befriend and reconcile with our irrepressible impulse for aliveness. How, then, are those only just plunging into the lush river of life to confront the prospect of its flow’s cessation?