His images reflect the human psyche some are eerie (Edvard Munch's 'The Scream' appears in the want ads a burning tree provides the backdrop for mother and son's silent exit from the park), others uplifting. In the succeeding page, Browne cleverly frames a shift in Charles's mood with an illustration divided by a lamppost: threatening clouds and bare trees give way to blue skies and blossoming branches when a smiling, pigtailed (anything but rough-looking) Smudge on the sunny side of the park bench invites Charles to play on the slide. The matriarch similarly describes Charles's newfound friend as 'a very rough-looking child.' Through Charles's eyes, readers watch the tops of lampposts, gray clouds and a leafless tree take on the shape of his mother's large chapeau, as her hat-dominated figure casts a shadow over the boy. Browne sets up the tension by starting off with Charles's stylishly dressed mother, who lets her 'pedigree Labrador,' Victoria, off the leash and then scoffs at 'some scruffy mongrel'(Smudge's dog).

Yet Browne reinvents and overlays the scene as each parent and child in turn describes their version of the events, altering light, colors and words. What transpires factually is simple: the two children play together, their dogs do the same, the adults keep to themselves. The author of King Kong and the Willy stories again features anthropomorphic chimps, who provide four unique perspectives: an uppity, overbearing mother and her glum son, Charles and an unemployed fellow and his cheerful daughter, Smudge.

Browne again proves himself an artist of inventive voice and vision as he creates perhaps his most psychologically complex work to date via a commonplace experienceAa brief sojourn to a city park.

Voices in the Park by Anthony Browne