The materiality of silence. The curious cases of Munari, Charlip and their picturebooks with no pictures

Silence, as a narrative and aesthetic device, holds profound significance in children’s literature, particularly in picturebooks that eschew traditional visual storytelling for blank spaces and minimalist design. This study critically examines how Bruno Munari’s Little White Riding Hood (1981) and Remy Charlip’s It Looks Like Snow (1957) transform white, seemingly empty spaces into groundbreaking visual narratives. By doing so, these authors redefine the boundaries of storytelling, crafting works that challenge conventional modes of engagement and encourage readers to actively participate in meaning-making. The essay situates these innovative picturebooks within the broader historical and cultural context of children’s literature, highlighting their role in exploring themes of silence, imagination, and introspection. Through the interplay of white spaces, sparse text, and narrative minimalism, Munari and Charlip invite a critical engagement with the text, prompting readers to contemplate the unseen and reinterpret the ordinary. This analysis underscores the aesthetic and narrative significance of silence, revealing its ability to disrupt traditional storytelling norms while offering new avenues for visual and imaginative exploration in children's literature.