In celebration of Tove Jansson’s 105 birthday on 9th August, we decided to join Paula Bardell-Hedley in her quest to revisit Tove Jansson’s books and art. Jansson was an accomplished writer and a professional artist, but her main legacy, which captured the hearts of young and old alike – remains within the covers of books describing the wonderful world of Moomins. While initially classified as children literature, the Moomin books and comics hold an everlasting appeal for readers of all ages.
This blog post, in a shorter and slightly altered version, previously appeared on Re-Enchantment on 31 March 2016.
I was enchanted by the Moomins a long, long time ago, and the enchantment still holds, even when I read the books in question aloud, infecting the curious minds of a next generation with these wise, infectiously joyful and nostalgic tales. We’re talking about books here, mind you – not that dreadful Japanese-European animated series, nor the gloomy Polish puppet animated show (although I still remember the Groke from this show – with a memory of lingering terrified fascination).
Tove Jansson wanted to be a painter; she studied art in Sweden, Finland and France, and she painted intermittently throughout her life, both commissioned and private works. The images of the Moomins and the whole Moomin world were also created by her – apparently the prototype for Moomin was Jansson’s caricature of Immanuel Kant. She drew “the ugliest creature imaginable” on the toilet wall and named it Kant after she lost a discussion about the philosopher with her brother. Fortunately, the final image of the Moomin is much more friendly and blobby, with a big, round nose, a big, round belly, short, fat arms and legs, and a thin, slightly incongruous tail. Tove Jansson’s illustrations form the world of Moomins as much as the text – and they are in perfect harmony with each other.