Browne, Anthony 1946- (Anthony Edward Tudor Browne, Edward Tudor)

PERSONAL:

Born September 11, 1946, in Sheffield, England; son of Jack Holgate (a teacher) and Doris May Browne; married Jane Franklin (a violin teacher), July 26, 1980; children: Joseph, Ellen. Education: Leeds College of Art, B.A. (with honors), 1967. Hobbies and other interests: Reading, swimming, music, theater, films, tennis, squash, cricket.

ADDRESSES:

Home and office—Birchington, Kent, England. E-mail—aetb@btinternet.com.

CAREER:

Writer, artist, illustrator, and designer. Victoria University of Manchester, Manchester, England, medical artist at Royal Infirmary, 1968-70; Gordon Fraser Greeting Cards, London, England, designer, 1971-88; author and illustrator of children's books, 1975—. Exhibitions: Illustrations from Alice's Adventures in Wonderland have been exhibited at the Barbican, London, England, 1988. Other work represented in exhibitions in Mexico City and Guadalajara, Mexico; Caracas, Venezuela; Bogota, Colombia; Paris, France; The Hague, Netherlands; and in Japan.

AWARDS, HONORS:

Kate Greenaway Medal commendation, British Library Association, 1982, and International Board on Books for Young People honor list, 1984, both for Hansel and Gretel; Kurt Maschler/"Emil" Award, 1983, Kate Greenaway Medal, 1984, New York Times best illustrated children's books of the year citation, 1985, Boston Globe-Horn Book honor book for illustration, 1986, Child Study Association of America children's books of the year citation, 1986, Horn Book honor list, 1986, and Silver Pencil Award (Netherlands), 1989, all for Gorilla; Deutscher Jugendliteratur Preis (German Youth Literature Prize; with Annalena McAfee) and National Council for Social Studies/Children's Book Council notable children's trade book in the field of social studies citation (with Annalena McAfee), both 1985, for The Visitors Who Came to Stay; Parents' Choice Award, Parents' Choice Foundation, 1988, for Look What I've Got; Kurt Maschler/"Emil" Award, 1989, for Alice's Adventures in Wonderland; Silver Pencil Award, 1989, for The Tunnel; Kate Greenaway Medal, 1992, for Zoo; silver medal, Society of Illustrators, 1995, for King Kong; Kurt Maschler/"Emil" Award, 1998, for Voices in the Park; Hans Christian Andersen Award, 2000, for services to children's literature; Kate Greenaway Medal shortlist and Horn Book/Boston Globe Award Honor Book, both 2004, both for The Shape Game.

WRITINGS:

SELF-ILLUSTRATED CHILDREN'S BOOKS

Through the Magic Mirror, Hamish Hamilton (London, England), 1976, Greenwillow (New York, NY), 1977.

A Walk in the Park, Hamish Hamilton (London, England), 1977.

Bear Hunt, Hamish Hamilton (London, England), 1979, Atheneum (New York, NY), 1980.

Look What I've Got! MacRae (London, England), 1980, Knopf (New York, NY), 1988.

(Reteller) Jacob Grimm and Wilhelm Grimm, Hansel and Gretel, MacRae, 1981, F. Watts (New York, NY), 1982.

Bear Goes to Town, Hamish Hamilton (London, England), 1982, Doubleday (New York, NY), 1989.

Gorilla, Knopf (New York, NY), 1983, revised edition, 1991.

Willy the Wimp, Knopf (New York, NY), 1984.

Willy the Champ, Knopf (New York, NY), 1985.

Piggybook, Knopf (New York, NY), 1986.

(Reteller) Lewis Carroll, Alice's Adventures in Wonderland, Knopf (New York, NY), 1988, Walker (London, England), 2003.

The Little Bear Book, Hamish Hamilton (London, England), 1988, Doubleday, 1989.

A Bear-y Tale, Hamish Hamilton (London, England), 1989.

I Like Books, Knopf (New York, NY), 1989.

Things I Like, Knopf (New York, NY), 1989.

The Tunnel, Knopf (New York, NY), 1989.

Changes, MacRae, 1990, Knopf (New York, NY), 1991.

Willy and Hugh, Knopf (New York, NY), 1991.

Zoo, Knopf (New York, NY), 1992.

The Big Baby: A Little Joke, MacRae (London, England), 1994.

Willy the Wizard, Knopf (New York, NY), 1995.

Willy the Dreamer, Candlewick Press (Cambridge, MA), 1997.

Voices in the Park, Dorling Kindersley (New York, NY), 1998.

Willy's Pictures, Candlewick Press (Cambridge, MA), 2000.

My Dad, Dorling Kindersley (New York, NY), 2000.

The Shape Game, Farrar, Straus and Giroux (New York, NY), 2003.

Into the Forest, Walker Books Ltd. (London, England), 2004.

My Mum, Doubleday (London, England), 2005, published as My Mom, Farrar, Straus, and Giroux (New York, NY), 2005.

Silly Billy, Candlewick Press (Cambridge, MA), 2006.

My Brother, Farrar, Straus and Giroux (New York, NY), 2007.

ILLUSTRATOR:

Annalena McAfee, The Visitors Who Came to Stay, Hamish Hamilton (London, England), 1984, Viking (New York, NY), 1985.

Sally Grindley, Knock, Knock! Who's There? Hamish Hamilton (London, England), 1985, Knopf (New York, NY), 1986.

Annalena McAfee, Kirsty Knows Best, Knopf (New York, NY), 1987.

Gwen Strauss, Trail of Stones (young adult poems), Knopf (New York, NY), 1990.

Gwen Strauss, The Night Shimmy, Knopf (New York, NY), 1992.

Ian McEwan, The Daydreamer, HarperCollins (New York, NY), 1994.

Janni Howker, The Topiary Garden, Orchard Books (New York, NY), 1995.

ADAPTATIONS:

Bear Hunt was adapted for a filmstrip by Weston Woods, 1982.

SIDELIGHTS:

Regarded as one of Britain's most accomplished authors of picture books, Anthony Browne imbues his inventive works and colorful illustrations with symbolism, surrealism, and visual puns. Browne presents a unique mixture of fantasy and reality in his humorous illustrations, which often address more serious themes about personal relationships and social customs. "Browne uses the juxtaposition of the improbable in his pictures to jolt the reader into wide-eyed attention," pointed out Elaine Moss in her Picture Books for Young People, 9-13. "Most of his books are visually hilarious but their underlying messages about values and personal relationships are serious." In 1981 Aidan Chambers asserted in Horn Book that Browne is "one of our younger artists for children most worth watching and valuing."

Browne was born in Sheffield, England, where his parents operated a pub called the Brinkcliffe Oaks Hotel. While he was still young, they moved to another pub, The Red Lion, which was in Wyke, a relatively rough area in northern England. "I was a kid with terrors— people coming after me, things under the bed, in the wardrobe," Browne confessed in an interview for CA. "We had a lot of dark furniture which looked very menacing to me. I was terrified of circuses and was carried screaming from the movie of Pinocchio when I was two or three. Looking back, I was quite the wimp." Books were not an important part of Browne's childhood, but in his CA interview he recalled that the "radio was something of a ritual. One of our favorite bedtime programs was Journey into Space. My brother and I would get into bed, turn out the lights, and my father would come and listen with us."

When Browne reached the age of seven, the family moved away from a pub environment, and his father pursued a career as a sales representative. They moved only a few miles from the pub but resided in what Browne calls "a proper house." He and his brother enrolled in a private school, transferring to the Church of England School only a year later. "The schools I went to in the industrial north of England were fairly tough," explained Browne in his CA interview, "and it could have been quite difficult for a boy who was small, didn't speak with the very broad local dialect, and who liked drawing and writing poetry. Being good at sports saved me from being bullied; the hours of playing games and fighting with my brother had paid off." Throughout this time Browne was drawing endlessly. "Battles, as much as anything, I used to fill the pages with lots and lots of battles—and lots of little figures with plenty of what would now be called surrealistic jokes," stated Browne in a Books for Keeps interview with Chris Powling. "Things like a disembodied head with a speech-bubble coming out saying ‘Aaargh!’ In those days I'd use arrows to point out something that was going on in the background and write a label in case I hadn't drawn it clearly enough—such as ‘An Invisible Man,’ that kind of thing."

Since Browne's father had been a frustrated painter for most of his own life, when his son announced he was going to art college straight from high school there were no objections. "During the first year of art school," described Browne in his CA interview, "they tried to make us forget everything we had learned. We were not permitted to draw the way we had in the past. For one thing, we had to use big, black brushes. One exercise went on for three weeks and consisted of drawing matches. We had to drop a handful of matches and draw them in exactly the position they'd landed. Whatever you did, the tutor wouldn't accept. At first this was exciting and challenging, but then became hopelessly boring." It was at this point that Browne started visiting galleries and discovered the work of Francis Bacon, which "totally bowled" him over.

Partway through the same year, Browne's father died. "It was a great shock to me, an incredible shock," Browne told Powling. "This God-like figure I thought would live forever, who I never dreamed would not be there, was suddenly gone." In addition to affecting his personal life, the experience also had an effect on his art work. "My own work was morbid," revealed Browne in his CA interview, "no doubt in response to my father's death. I spent a lot of time in life-drawing classes, because I enjoyed painting women with no clothes on, and later making grotesque images based on the insides as well as the outside of the human body. I was reacting against the ambiance of the graphic design department in which I was formally enrolled," continued Browne. "The students there wore white shoes and jackets—like real graphic designers. I made a point of looking like a ‘painter,’ working in oil and charcoal. There were no ‘happy mediums’ in my work. I went from massive oil paintings to tiny pencil drawings, nothing in between."

Browne eventually realized that he didn't belong in graphic design and traveled to London to look into other art schools. Finding nothing, he returned home to live with his mother and spent a lot of time in the local library. It was in a book on careers for girls that Browne first learned of medical illustration; and when he discovered that a hospital in London taught a course in it, he applied. Although he was rejected for the class, one of the members of the panel that had interviewed him told Browne of an opening for an assistant medical artist in Manchester. He applied and got the job. "I learned to tell stories in pictures," remembered Browne. "An operation is a mess—all blood, instruments, and hands. Much is hidden, and a medical artist has to clean all this up, make clear what is muscle and what is fat, what is artery and what is vein—to tell the story of the operation—to decide what to show and what to leave out, what can be explained in pictures and what to explain in words—just like a picture book."

After a while, Browne felt imaginatively stifled, and moved on. He worked briefly as a teacher and in a friend's advertising agency. He also worked on a collection of greeting cards, which he eventually sent to Gordon Fraser, a large card manufacturer. "Gordon Fraser became very important to me," pointed out Browne in his CA interview. "I liked being part of the publishing world, and seeing my cards in shops was a tremendous thrill. Gordon was a gentle and highly intelligent man. He was a patron, really." When Browne began thinking about doing books, Fraser gave him the names of some children's publishers. Asked by Hamish Hamilton to try a picture book, Browne claimed in his CA interview that "everything" about his first attempt "was wrong—wrong shape, size, colors, etc. I was handed over to editor Julia MacRae who explained to me the ins and outs of dummies, and the basic thirty-two-page layout. The obvious things. But they were interested in ‘talent,’ not slick appeal, so I was extremely fortunate. Another publisher would have said good-bye."

Browne's first published book, Through the Magic Mirror, tells the story of Toby's journey through a mirror, which he enters out of boredom. Once he is in this new world, Toby encounters a number of surreal images—a large dog leading a man on a leash, a dark sky filled with flying choir boys, and mice chasing cats. "A strange world indeed," observed New York Times Book Review contributor George A. Woods, "but one that children will want to visit only once in these pages that serve mainly—the text being so thin—as a showcase for Mr. Browne's bold, pictorial style." Even Browne expresses criticism of his first book: "In a way it was a fake book," he suggested to Powling. "It began with images and was linked with words afterwards. They should both come together ideally."

A Walk in the Park, Browne's next book, came from a project he originally began in art school. The story deals with class structures through two different trios. Working-class Mr. Smith visits the park with his daughter and mongrel dog at the same time middle-class Mrs. Smythe is there with her son and pedigreed dog. It doesn't take long for the dogs to bridge the social gap, and the children eventually follow their example. The adults, though, remain divided, at separate ends of a park bench, for the duration of the book. A Walk in the Park is a "very clever book," remarked M. Crouch in Junior Bookshelf, but the pictures are filled with "irrelevant jokes." However, Aidan Chambers, in his Horn Book review of the book, claimed that "each detail, seemingly arbitrary, actually carries significance for one of the book's themes: language, social class, the nature of childhood, and the spiking of socially hindering conventions which are not only out-of-date but injuriously silly. We are being asked to think about and to look at all those subjects," continued Chambers, "and we are being asked to do so in linguistic and pictorial codes children can, with a little help from one another as much as from adults, probe and puzzle out for themselves. As with all modern forms of literature, the reader is being asked to contribute as much to the book as the author gave to it."

The first book written by someone else that Browne illustrated was Hansel and Gretel. "I did it in fifties dress, a style of my own childhood, I suppose," recounted Browne in his CA interview. "I felt very vulnerable with this book, because so many fine illustrators had had their crack at it. I wanted each picture to be a painting in its own right. And I wanted to illustrate what was between the lines, so to speak. Early on I adopted an image of a black triangle: the witch's hat, the shadow behind the stepmother's head, the church steeple, the mouse hole. This book earned me some of my best and some of my worst reviews."

In his subsequent books, Brown continues to fill his drawings with symbolic and surrealistic images. His 1983 work, Gorilla, which won him the Kate Greenaway Medal, tells the tale of lonely little Hannah. Because her father is too busy with work to pay attention to her, Hannah becomes obsessed with gorillas, drawing them, reading about them, and watching them on television. When she asks for a gorilla for her birthday, she is extremely disappointed to receive a mere toy; and that night she dreams it turns into a real gorilla and takes her out to a variety of places. Her fantasy ends the next morning, but her father offers to take her to the zoo and becomes a loving and sensitive man instead of the cold and unfeeling one he originally appeared to be. "This highly symbolic story comes to life through Browne's unique full-color pictures. The stark shapes and unusual perspectives depict Hannah's loneliness and isolation," pointed out Ilene Cooper in Booklist. And School Library Journal contributor Trev Jones concluded that Gorilla is "an exuberant story of a lonely little girl and a winsome ape."

Willy the Wimp, Willy the Champ, and Piggybook continue Browne's focus on animals. The two "Willy" stories feature a gentle and intelligent young chimp, first trying to build up his body, and then defeating the local bully with his mind. In Piggybook, Browne presents a family in which the two children and father do not appreciate the mother. They are slobs, and when she can no longer take it she leaves; during her absence the three males are literally transformed into pigs. "Spare use of carefully selected detail, crisply rendered, and witty characterization of the miscreants and their unwilling drudge, make this another on Browne's growing list of picture books that comment on the human condition with perception and originality," remarked a Kirkus Reviews contributor.

Willy the Wizard finds chimp Willy playing his favorite sport, soccer. However, he is unable to afford boots, and so the bigger, better players refuse to ever pass the ball to him. When a mysterious stranger gives Willy a fine pair of magical practice boots, his soccer-playing skills increase significantly, and the other players are in awe of his amazing ability. On the day of the big game, however, Willy forgets his boots, but still plays like a champion, demonstrating that his soccer ability did not originate from the boots, but was within him all along. "With admirable subtlety, Browne delivers a beneficial message to all youngsters—soccer-playing or not," commented a Publishers Weekly reviewer. Hazel Rochman, writing in Booklist, called Browne's art "so astonishing that you get drawn right into the world of this anxious, lonely chimp" and his various troubles and triumphs.

In Willy the Dreamer the charming little chimp is portrayed in a variety of settings and costumes as characters from his vivid dreams. In one painting, he is dressed like famous rock and roll singer Elvis Presley; in others, he is a sumo wrestler, a dancer, and a superhero. Sometimes Willy is not dressed in a specific costume; instead, he is depicted in a background that evokes the distinctive styles of artists such as Dali and Winslow Homer. "What's most compelling here isn't Willy's state of mind; it's how Browne parodies well-known works of art to celebrate the world of possibilities that await the chimp," stated Joanna Rudge Long in Horn Book. The story does not have a particular plot, but "children will enjoy the superbly illustrated book for its imaginative and humorous artwork," noted Booklist reviewer Lauren Peterson. A Publishers Weekly contributor called the amiable picture book "fresh, funny, and full of surprises."

With Into the Forest, Browne "considers the links between childhood fears and the imagination," commented Rudge Long in another Horn Book review. A young boy is startled awake by a loud noise, which may be thunder, and when he tries to find out what's going on, he discovers that his father is gone. The boy is unable to discover why his father is absent. Soon, his mother sends him out with a cake for his ailing grandmother, warning him not to take the shortcut. Wanting to finish his chore as quickly as possible so that he can be home when his father returns, the boy disregards his mother's instructions. Instead of taking the safe path through the forest, he decides to set off down a more menacing and dangerous shortcut. There, he meets numerous characters from folklore and fairy tales, including Red Riding Hood, Goldilocks, pre-beanstalk Jack, and Hansel and Gretel. Eventually, he makes his way through the forest to his grandmother's house where, to his relief, he finds that her health has improved. Even better, the boy's father is there, safe in grandma's house and ready to take the boy back home. "The power of the story is in the fearful detail that reveals the child's nightmare of being forsaken," commented Booklist reviewer Hazel Rochman. In the end, observed Robin L. Gibson in School Library Journal, "it is possible to go into the forest of dreams/the imagination and emerge even stronger." A Kirkus Reviews critic deemed the short tale a "fine, unsettling evocation of emotion" in an anxious youngster.

A younger boy's admiration for his older sibling propels the story in My Brother. To the younger boy, his brother is as cool as they get; he can run fast, kick a soccer ball, sing and dance, read books, write stories, whistle, and stand up to bullies. To his younger sibling, everything he does is exceptional, fantastic, and brilliant. Sometimes the younger boy gives his brother more fanciful attributes, as when the older boy climbs the side of a building while legendary ape King Kong looks on in dismay. Ultimately, the love and respect between the two brothers manifests itself in the smallest of details, from their mutual haircut to the same type of sandals they wear. Browne "takes this universal theme of sibling idolatry and interprets it visually with economy and verve," commented Carolyn Phelan, writing in Booklist. A Kirkus Reviews critic concluded that "this straightforward tribute to brothers is energetic, heartwarming, and a pleasure to read."

Browne offers a tribute to another important family member in My Mom. "With simple verse, he reveals the absolute wonder, bordering on hero-worship, with which children regard their mothers," commented a Kirkus Reviews contributor. At the start of the book, the pleasant but overworked mom is nice but nondescript. As the book progresses, the unnamed child narrator praises mother's skills as a cook, gardener, juggler, and more. The narrator's mother is the strongest woman in the world, demonstrated by her ability to lug heavy grocery bags into the house. In other illustrations, the mother is seen in a professional office setting, playing music, relaxing, and looking as glamorous as a movie star. Browne's book "offers unadulterated affection and adoration" for mothers everywhere, remarked Wendy Lukehart in School Library Journal. The "honesty of the narrator's emotions and Mom's devotion shine through" Browne's painted illustrations, observed Booklist critic Ilene Cooper.

Joseph, the young protagonist of Changes, anticipates dramatic alterations in his life after his father tells him that things were going to change around home. In the boy's anxious imagination, he sees fanciful transformations in the once-familiar objects around him. The teakettle turns into a cat; a soccer ball sheds its spots and turns into an egg, from which a bird emerges; the sink faucet becomes a huge nose. Soon, however, Joseph realizes what his father meant and meets the source of the changes: his new baby sister. Young readers "will not be disappointed as Joseph's anxieties are resolved satisfyingly," commented Diane Roback and Richard Donahue in Publishers Weekly.

The title character of Silly Billy is a constant worrier, courting anxiety about clothing, the weather, animals, and other things he knows about but may not be able to control. Though his parents try to reassure him, Billy continues to worry. During a visit to his grandmother's house, Billy gets some relief from his overwhelming worries when his grandmother gives him a set of Guatemalan worry dolls. The dolls are intended to take on their owner's troubles. At first, Billy is able to turn his worries over to the dolls and get some sleep, but soon he is troubled again: maybe he's given the dolls too many worries for them to handle. Billy then applies some inspired creativity to solve the problem of worry for himself and his dolls. A Kirkus Reviews critic called the book a "sweet acknowledgement that all kids have fears that plague them," and noted that the story offers a "wonderfully childlike solution" to their worries. School Library Journal contributor Kate McClelland noted: "Children will appreciate that Billy's problems are solved both through the efforts of encouraging adults and through his own resourcefulness."

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Chevalier, Tracy, editor, Twentieth-Century Children's Writers, 3rd edition, St. James Press (Detroit, MI), 1989.

Children's Literature Review, Volume 19, Gale (Detroit, MI), 1990.

Moss, Elaine, Picture Books for Young People, 9-13, 2nd edition, Thimble Press (Stroud, Gloucestershire, England), 1985.

Townsend, John Rowe, Written for Children: An Outline of English-Language Children's Literature, 3rd edition, Lippincott (Philadelphia, PA), 1987.

PERIODICALS

Booklist, January 15, 1986, review of Gorilla, p. 754; May 15, 1994, Hazel Rochman, review of The Big Baby: A Little Joke, p. 1682; September 1, 1994, Hazel Rochman, review of The Daydreamer, p. 43; April 1, 1995, Hazel Rochman, review of The Topiary Garden, p. 1388; May 15, 1996, Hazel Rochman, review of Willy the Wizard, p. 1590; April, 1998, Lauren Peterson, review of Willy the Dreamer, p. 1319; February 1, 1999, Isabel Schon, review of Willy the Dreamer, p. 981; November 15, 2004, Hazel Rochman, review of Into the Forest, p. 580; March 1, 2005, Ilene Cooper, review of My Mom, p. 1201; October 15, 2006, Ilene Cooper, review of Silly Billy, p. 54; March 1, 2007, Carolyn Phelan, review of My Brother, p. 87.

Books for Keeps, May, 1987, review of Look What I've Got!, p. 20.

Economist, November 26, 1994, review of The Daydreamer, p. 102.

Horn Book, December, 1981, Aidan Chambers, review of Hansel and Gretel, p. 706; May-June, 1985, Ann A. Flowers, review of Willy the Wimp, p. 299; January-February, 1986, Kenneth Marantz, review of Gorilla, p. 46; May-June, 1995, Ann A. Flowers, review of The Topiary Garden, p. 333; May-June, 1998, Joanna Rudge Long, review of Willy the Dreamer, p. 328; January-February, 2005, Joanna Rudge Long, review of Into the Forest, p. 71.

Junior Bookshelf, October, 1977, review of A Walk in the Park, p. 272; August, 1980, review of Look What I've Got!, p. 167; December, 1982, review of Bear Goes to Town, p. 218; August, 1983, review of Gorilla, p. 152; August, 1986, review of Willy the Champ, p. 139.

Kirkus Reviews, January 15, 1977, review of Through the Magic Mirror, p. 42; March 1, 1985, review of Willy the Wimp, p. J2; August 15, 1986, review of Piggybook, p. 1288; September 15, 2004, review of Into the Forest, p. 911; May 1, 2005, review of My Mom, p. 535; October 15, 2006, review of Silly Billy, p. 1066; March 1, 2007, review of My Brother, p. 217.

New York Times, December 2, 1985, Christopher Lehmann-Haupt, review of Gorilla, p. 21; December 4, 1986, Christopher Lehmann-Haupt, review of Piggybook, p. 25.

New York Times Book Review, May 1, 1977, George A. Woods, review of Through the Magic Mirror, p. 9.

Publishers Weekly, February 23, 1990, Diane Roback, review of Trail of Stones, p. 219; July 13, 1990, Diane Roback, review of Bear Hunt, p. 53; February 22, 1991, Diane Roback and Richard Donahue, review of Changes, p. 218; August 2, 1991, review of Willy and Hugh, p. 71; February 3, 1992, review of The Night Shimmy, p. 80; April 25, 1994, review of The Big Baby, p. 75; July 11, 1994, review of The Daydreamer, p. 79; December 19, 1994, review of The Topiary Garden, p. 55; December 18, 1995, review of Willy the Wizard, p. 54; February 2, 1998, review of Willy the Dreamer, p. 89; August 9, 2004, "Carnegie, Greenaway Medals in England," p. 126; October 18, 2004, review of Into the Forest, p. 64; October 16, 2006, review of Silly Billy, p. 51.

Reading Today, August 1, 2004, "Horn Book/Boston Globe Awards Announced," p. 23.

School Library Journal, August, 1982, Patricia Dooley, review of Hansel and Gretel, p. 98; May, 1985, review of Willy the Wimp, p. 68; September, 1985, Trev Jones, review of Gorilla, p. 113; August, 1986, Carolyn Noah, review of Willy the Champ, p. 79; October, 1986, Kathleen Brachmann, review of Piggybook, p. 157; November, 2004, Robin L. Gibson, review of Into the Forest, p. 92; June, 2005, Wendy Lukehart, review of My Mom, p. 106; November, 2006, Kate McClelland, review of Silly Billy, p. 84; March, 2007, Marianne Saccardi, review of My Brother, p. 152.

Times Literary Supplement, December 14, 1979, review of Bear Hunt, p. 129; November 26, 1982, review of Bear Goes to Town, p. 1305; November 28, 1986, review of Piggybook, p. 1345; August 3, 1990, review of The Tunnel, p. 833.

Tribune Books (Chicago, IL), April 14, 1991, review of Changes, p. 6.

Washington Post Book World, November 5, 1989, review of Bear Goes to Town, p. 25.

ONLINE

Walker Books Web site,http://www.walkerbooks.co.uk/ (August 5, 2007), biography of Anthony Browne.