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Ryerson University
Faculty of Arts
Department of English
Picture Perfect:
Representations of Maladaptive Perfectionism in Children’s Picture Books
Quentin Stuckey
ENG 904: Independent Research Paper
Supervised by Dr. Naomi Hamer
April 15th 2020
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Table of Contents
Section 1: Introduction
1.1 Dening Perfectionism (2)
1.2 Dening the Children’s Picture Book (4)
1.3 Dening Bibliotherapy (6)
1.4 Representing Perfectionism in the Children’s Picture Book & the
Therapeutic Potential (8)
Section 2: Analysis
2.1 Discussion of the Picture Book Selection (9)
2.2 Picture Book Theory (12)
2.3 Analyzing Three Representative Children’s Picture Books (12)
2.4 Socially Prescribed Perfectionism in The Good Egg (13)
2.5 Self-Oriented Perfectionism in The Girl Who Never Made Mistakes (17)
2.6 Other-Oriented Perfectionism in Too Perfect (21)
Section 3: Conclusions
3.1 The Representations of Maladaptive Perfectionism (25)
3.2 Bibliotherapeutic Potential & the Children’s Picture Book (26)
Appendix 1: Images (29)
Appendix 2: Complete Selection of Children’s Picture Books with a Focus on
Perfectionism (31)
Works Cited (32)
The images featured in this research essay are for educational
purposes only and thus are subject to Fair Dealing under Canadian
copyright law.
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Quentin Stuckey
Dr. Naomi Hamer
ENG 904
April 15th 2020
Picture Perfect: Representations of Maladaptive Perfectionism in Children’s Picture Books
Section 1: Introduction
1.1 Dening Perfectionism
One sits in a job interview; the employer asks you to name your worst quality. You
answer something akin to “I’m really hard on myself, a bit of a perfectionist. I want my work to
be flawless.” Perfectionism is regarded as a harsh but positive quality and why wouldn’t it be? It
appears to signal to others that one is striving to do the absolute best at all costs. The notion of
perfectionism as a positive personality trait has been contested over the years, as it has become
clear that it is highly maladaptive (Greenspon). An article in the Harvard Business Review from
2018 indicates that “there is growing evidence that the increase in psychological ill-health of
young people may stem from the excessive standards that they hold for themselves…[they] are
seemingly internalizing a pre-eminent contemporary myth that things, including themselves,
should be perfect” (Curran and Hill). This article articulates a psychological truth in that any
mental health issue does not exist in isolation. What we define as mentally healthy or mentally
unhealthy is partly determined by our sociocultural norms. The “contemporary myth” of
perfectionism as necessary or positive behavior is based in our Western culture and thus has
consequences for people embedded in this false narrative. For years, psychological researchers
have attempted to understand the motivations and impacts of an individual’s pursuit of
perfection. Perfectionism, as a personality trait or a behavioral schema, constitutes “the
unrelenting desire to be perfect” (Greenspon 266) involving “the typically unarticulated
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emotional conviction that perfection is the route to acceptability as a person” (267). The
prevailing “organizing principle…[consists of the belief] ‘If I can be perfect, I can be a part of a
coherent and predictable world in which I am acceptable, affirmed and valued’” (267). Thomas
S. Greenspon, a notable psychologist and family therapist, further indicates that the ill effects of
perfectionistic behavior do not necessarily stem from habits like “overcommitment, or over
organization” (267), “the problem of perfectionism is in what all of these personal qualities
reflect: the struggle for acceptance as a person” (267). A perfectionist’s unrealistic orientation
towards themselves and the social environment are efforts to attain universal existential desires
of acceptability, affirmation and value (267). What makes the trait maladaptive is the proclivity
towards the attainment of goals through extreme expectations which lead to unattainable ends:
being perfect is seen as the only acceptable way to exist in the world. Striving to be perfect in an
imperfect world is an alluring but futile prospect.
The trait is thought to originate in adverse early childhood experiences in combination
with biological personality dimensions, such as high levels of neuroticism and conscientiousness
(Hewitt and Flett). As children begin to form interpersonal relationships with family, peers and
authority figures, they become aware of “the evaluative reactions of others” and thus “their
actions take on meaning” (Greenspon 269). If a child’s sense of value from these relationships is
contingent on enacting “perfect” behavior, determined by caregivers for instance, the child is
likely to carry forward perfectionistic tendencies (Greenspon). Thus, people who are born more
responsive to negative emotions (neurotic), value organization (conscientious) and have
experienced some degree of emotional or physical adversity within their early life are more
likely to become perfectionists. Researchers Paul L. Hewitt and Gordon L. Flett link
perfectionism to negative health outcomes including “feelings of failure, guilt, indecisiveness,
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procrastination, shame, and low self esteem…alcoholism, anorexia, depression and personality
disorders” (456). Perfectionistic behavior may broadly seek the same outcome of acceptance,
value and affirmation (Greenspon), but the duo outlines three specific dimensions in which
people tend to orient this behavior. Self-oriented perfectionism is defined as “striving to attain
perfection in one’s endeavors as well as striving to avoid failures” (Hewitt and Flett 457). Other-
oriented perfectionism is directed towards “unrealistic standards for significant others, places
importance on other people being perfect and stringently evaluates others’ performance” (457).
Thirdly, socially prescribed perfectionism “entails people’s belief or perception that significant
others have unrealistic standards for them” (457). While extensive research literature continues
to be written on perfectionism and its treatment, the depiction of the trait in fictional literature
has yet to be adequately explored.
1.2 Dening the Children’s Picture Book
Picture books, as both a subgenre of children’s literature and a multimodal narrative, have
gained substantial academic inquiry over the last few decades. Multimodal narratives are defined
as “any text whose meanings are realized through more than one semiotic code” (Kress and van
Leeuwen 177). Texts operate through one “semiotic code” of linguistic signs forming words.
Picture books add an additional “semiotic code,” that of the visual depiction of illustrations.
These two semiotic codes embedded in a picture book story is a key example of narrative
multimodality. According to one of the most notable scholars in the study of Children’s
Literature, Perry Nodelman, words and pictures “are two different modes of expression, the
relationships of words and pictures are complex and demand much skill of viewers and readers”
(20). The Children’s Picture Book “is unusual as narrative in its supplementation of verbal
information with visual” (Nodelman 20-21). Although the Picture Book genre denotes
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associations with a “youthful” readership, Nodelman asserts that this readership implies “a vast
sophistication in regard to both visual and verbal codes…it is part of the charm of many of the
most interesting picture books that they so strangely combine the childlike and the sophisticated-
that the viewer they imply is both very learned and very ingenuous” (21). If a text is
characterized as “childlike” or “youthful,” various ideological assumptions surrounding
childhood are denoted onto the text (Nodelman). Picture books are often thought of as a lesser
genre given these dominant assumptions. But what on the surface appears to be an overtly
“childlike” narrative form in actuality is highly “sophisticated,” with the “implied reader”
requiring the capacity to create meaning from the interplay of the textual and the visual.
Lawrence R. Sipe further argues that “the total effect [of a picture book] depends not only on the
union of the text and illustrations but also on the perceived interactions or transactions between
these two parts” (99). Sipe speaks of these “interactions” or “transactions” as producing “the
total effect” of a picture book reading experience, attesting to the genre’s multimodality and its
inherent uniqueness. Meaning is derived from the words and the illustrations “interacting” with
one another. The words on their own carry one meaning, the pictures on their own carry another
meaning but allowing them to “interact” creates a third and ultimately substantial meaning or
“effect” (Sipe). From both of these theorists’ observations, the Children’s Picture Book is
evidently capable of more than meets the reading and viewing eye. Since picture books operate
via the combination of the textual (words) with the visual (illustrations), this leads to questioning
what specific stylistic choices might be made to portray psychological states in a given text.
What words are utilized? What illustrations are depicted? When both of these elements are
combined, how does the “interaction” produce the total effect of the picture book’s portrayal of
any given psychological entity?
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1.3 Dening Bibliotherapy
Children’s picture books are most certainly a modern staple of early reading experiences
in Western culture. For young readers, picture books transmit cultural signification and
ultimately help to shape a view of cultural reality (Nodelman). Picture books are not only
“sophisticated” in their multimodality, but they are equally as sophisticated in their presentation
of difficult subject matter. For example, picture books featuring characters with physical or
mental disabilities have gained traction, informing a young readership of these realities (Parker
and Ackerman qtd. in Mohammadzadeh et al.). Most significant to this research paper is the use
of picture books in bibliotherapeutic practices. Bibliotherapy, as “the use of books to help
patients understand their health problems and symptoms” (Crothers qtd. in Tielsch Goddard),
relies on the essential components of a narrative arc as applicable to an individual’s own life.
Traditional narratives broadly involve a character overcoming or failing to overcome a conflict.
Physical or mental health problems constitute a conflict, thus there is clear benefit in the practice
of bibliotherapy to heal or improve one’s life. Anna Tielsch Goddard has attested to the
mechanism behind this utilization in that “The reader…must become emotionally involved in the
story and finally have insight or a realization that the characters in the book worked through
solutions to their problems” (57). Bibliotherapeutic researchers found that when specific picture
books were read by children who had been bullied they “began to communicate their own
experience with bullying and have been able to develop coping strategies to deal with teasing
and harassment” (Tielsch Goddard 58). Picture books not only help to form a young reader’s
construction of reality (Nodelman), they can potentially offer solutions to real life conflicts
through the exposure to fictional conflicts.
Other visual narratives, like comics, also contribute to this utility as well. The
visual/textual nature of comics particularly, interspersed with other graphic features like speech
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bubbles and panel sequences, are useful for creatively expressing the fragmented nature of
traumatic experience (Chute qtd. in Kunka). Trauma comics, however, are targeted at an older
readership. The degree to which difficult subject matter is portrayed via the multimodal nature of
picture books is typically contingent on the implied readership: children. Although, there has
been considerable scholarship on controversial picture books and their depiction of difficult
content (Arizpe). These picture books call into question the assumption that child readers are
inherently “innocent” and need protection from darker themes or content (Arizpe). In the
introduction to Challenging and Controversial Picturebooks: Creative and Critical Responses to
Visual Texts, Evelyn Arizpe acknowledges that picture books can offer creative exposure to
adverse realities for the purposes of initiating difficult personal conversations. However, only
highlighting the “functionality” of these visual texts can detract from their value as an “aesthetic
object” for young audiences (Arizpe). Based off of Tielsch Goddard’s work and Arizpe’s
argument, there ought to be a balance between utilizing picture books to heal and their value as
engaging reading experiences for children. Picture books already have an early history of being
used as educational tools for young persons, advancing into the more entertaining visual
narratives we know and love today. There is a danger in only valuing picture books for their
instructional utilization, as this could further marginalize the already contested artistic, literary
and scholarly value of the genre, and furthermore Children’s Literature in general. Yet, it would
be disingenuous to not acknowledge how instrumental literacy is to shaping a person’s
worldview or exposing them to new ideas or perspectives. Picture books could offer
entertainment through education and education through entertainment.
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1.4 Representing Perfectionism in the Children’s Picture Book & The
Therapeutic Potential
The Children’s Picture Book bodes well for its visual/verbal elements creating both a
unique reading experience and the capacity to depict challenging subject matter. These depictions
can be useful in a bibliotherapeutic setting as it has been found that young readers learn to create
solutions to personal conflicts from this pictorial literacy (Tielsch Goddard). To depict difficult
content in a genre commonly associated with an “innocent” readership and to potentially utilize
them as healing tools casts these types of picture books as worthy of further analysis. There are a
variety of picture books which feature perfectionism as its main theme. These texts typically
focus on child or anthropomorphized protagonists negatively impacted by their pursuit of
perfection. As perfectionism is a maladaptive personality trait with a host of negative outcomes
(Hewitt and Flett), its presence in the genre of Children’s Picture Books constitutes a portrayal of
difficult subject matter. These books can be analyzed for their visual/textual merit and for their
potential instruction of young readers on the dangers of perfectionism. A total of fifteen
children’s picture books, which present representations of the personality trait, have been read
for this research. I have chosen three as individual case studies, each text falling under one of the
three dimensions of perfectionism. I analyze Jory John and Pete Oswald’s The Good Egg (2019)
for its portrayal of socially prescribed perfectionism, Mark Pett and Gary Rubinstein’s The Girl
Who Never Made Mistakes (2011) for its portrayal of self-oriented perfectionism and finally
Trudy Ludwig and Lisa Fields’ Too Perfect (2009) for its portrayal of other-oriented
perfectionism. This research paper seeks to investigate the visual/textual portrayal of any of the
three dimensions of perfectionism in these children’s picture books. I wish to answer the
following research inquiries: How does the visual/textual nature of the Picture Book genre depict
any of the three dimensions of perfectionism? What stylistic choices are made? How does the
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implied readership of children impact these stylistic choices? Are these texts worthy of
bibliotherapeutic use because of these portrayals? Does therapeutic utility detract or contribute to
the aesthetic reading experience of a children’s picture book? Through my analysis of these three
picture books, the three dimensions of perfectionism are sufficiently portrayed textually (through
the protagonist, the narrative itself and the inclusion of expert testimony) and visually (through
the colour, the illustrations and the subversion of the Picture Book format). The visual elements
primarily imply a young readership whereas the textual elements imply both a young and adult
readership. It is through their accurate portrayals of maladaptive perfectionism that these texts
can be useful for bibliotherapeutic uses, with some being more explicit than others like Too
Perfect. However, if the instructional nature of the picture book, in an effort to teach/heal
children about/from perfectionism, is too explicit it can take away the text’s value as an
aesthetically pleasing object/reading experience.
Section 2: Analysis
2.1 Discussion of the Picture Book Selection
I chose a total of fifteen picture books as a means of examining the similarities and
differences across texts and the representations of the three dimensions of perfectionism. I have
included the complete list for those interested (see Appendix 2). It is useful to briefly discuss
these differences and similarities across the selection, the three I have chosen as representative
examples are not in isolation. The three representative examples were chosen for their
differences. Each represented a dimension of perfectionism with contrasting textual/visual
choices, therefore the analysis will yield intriguing and diverse representations of the trait.
Thirteen of the fifteen picture books feature a child, animal or even writing utensil protagonist
inflicted with perfectionism. They suffer as a result and eventually come to the realization that
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embracing and enacting imperfect behavior is key for self acceptance and a happier life. Other
texts like, The OK Book (2007), feature a character embracing mediocrity or committing errors
rather than experiencing the pressure to be perfect. Self-oriented perfectionism was the most
prevalent dimension represented across the selection with The Girl Who Never Made Mistakes
(2011), Penelope Perfect: A Tale of Perfectionism Gone Wild (2015) and The Most Magnificent
Thing (2014) as key examples. All three depict young, female protagonists attempting to have
one or multiple aspects of their lives enacted perfectly. The unnamed girl in The Most
Magnificent Thing becomes overly frustrated by not inventing a “magnificent” or perfect object,
whereas Penelope Perfect and Beatrice obsess over making errors in their daily lives. The most
underrepresented dimension was other-oriented perfectionism, only truly depicted in Too Perfect
(2009). This is most likely because it is stylistically more effective to portray the self-oriented
dimension. A protagonist’s concern over their mistakes versus other people’s mistakes tends to be
more understandable. There is psychological rationale to this as well since people tend to score
higher in that dimension, compared to other-oriented and socially prescribed (Hewitt and Flett
459). If it is the most prevalent dimension located in the general population then it will likely be
overrepresented in our cultural texts. A common narratorial conflict featured in the texts is a
concern over the perfection of creative expression. Pencil’s Perfect Picture (2019), The Dot
(2003), Regina’s Big Mistake (1995) and ish (2012) all feature a protagonist concerned about
their ability to create a high-quality drawing. Colouring, drawing and painting are common
recreational activities for children, thus the inclusion of this artistic anxiety implies a child
readership. The concern over artistic expression is also demonstrated in texts adhering to a post-
modern sensibility. Post-modern picture books are typically characterized by non-linear
narratives, irony, playfulness, metacommentary on the picture book itself among other elements
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(Wu). In A Perfectly Messed-Up Story (2014), we have the character Louie constantly re-starting
his story because of the intrusion of jelly, peanut butter and crayon on the layout of the physical
pages. He becomes distraught, his visual expressions displaying shock, upset and frustration and
lamenting how he is “in a messy old book” (McDonnell 22). Barney Saltzberg takes a more
interactive approach in Beautifil Oops! (2010). The picture book is a collection of visual
mistakes, like a coffee stain or a hole in a paper, and physically demonstrates how these mistakes
can become something “beautiful” or useful. An example of this interactive visual/textual
dynamic occurs with the assertion that “Bent paper is something to celebrate” (Saltzberg 8-9),
with the following bent page utilized as the head of a penguin illustration. By depicting actual
spills, tears and gaps on the pages and how they enhance rather than detract from the text, these
two picture books utilize the self awareness characteristic of post-modern fiction (Wu) to depict
the value in imperfection. Some of these picture books also include the addition of expert
information/testimony following the end of the visual narrative. Too Perfect and Penelope
Perfect feature articles and discussion questions for parents and children written by certified
professionals. In these sections, the stories appear to be overtly utilized to initiate conversations
between adults and children about perfectionism. This is indicated by such probing questions as
“Why do you think Penelope’s routine and schedule are so important to her?” (Anderson) or “Do
you think kids who are hard on themselves tend to be hard on others? Explain” (Ludwig). It is
also worth noting that these two picture books are one of the few to include the term “perfect” in
their title. Perfectionism is clearly mentioned in these two picture books because they seek to
educate readers through literacy, whereas the other selections are more subtle in their
representation. Yet with their subtleties they still manage to inform the implied readership on the
consequences of the maladaptive trait. All of the picture books represent the multidimensional
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nature of perfectionism through words and illustrations, albeit with particular stylistic and
narratorial choices, which individuate them all. Therefore, all could be utilized for
bibliotherapeutic practices with Penelope Perfect and Too Perfect explicitly conforming to a
psychological utilization.
2.2 Picture Book Theory
In a chapter in the foundational picture book research text Words About Pictures, Perry
Nodelman notes that “words and pictures give us different insights into the same events, we
move from one to the other in terms of how the text forces us to go back and reinterpret the
pictures [and vice versa]…but without ever forgetting that picture and text are separate and
different from each other” (243). The text and the illustration reflect “the same events” yet the
reader is in a state of “reinterpretation” as the result of the two modes informing one another.
Nodelman highlights that text and pictures transform the reader’s deciphering of meaning based
on their interconnectedness, they are separate but they depend on each other. Sipe, once again,
asserts that the “interaction” between the two communicative modes produces a third meaning or
“total effect” of the picture book (Sipe 99). Sipe also stipulates that “picture books seem to
demand rereading; we can never quite perceive all the possible meanings of the text…the
pictures…the text-picture relationships” (101). He argues that the multiple modes inherent in the
genre (words, pictures, words with pictures) result in a constant “rereading” or inexhaustible
analyses. A picture is worth a thousand words and the meaning of the text transforms when
paired with a picture, thus interpretation of a visual narrative can truly be endless. However, the
reading of a visual narrative is also dependent on what parts are chosen for analysis and what
interpretive framework is adopted.
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2.3 Analyzing Three Representative Children’s Picture Books
The following analysis of The Good Egg, The Girl Who Never Made Mistakes and Too
Perfect examines the text and the illustrations as two separate modes of meaning, and when
brought together constitute the overarching or “total effect” of the picture book. This analysis
reveals how the text and the illustrations both separately represent any of the perfectionistic
dimensions, and how they represent any of these dimensions when combined for “the total
effect.” I will then evaluate how useful the selections may be for bibliotherapeutic practices, as
well as explore the problem of overemphasizing the Picture Book as an instructional tool or as an
aesthetically entertaining reading experience.
2.4 Socially Prescribed Perfectionism in The Good Egg
The Good Egg stood out for its portrayal of socially prescribed perfectionism through its
use of metaphor, its use of first-person narration, its reinforcement of modern self care routines
and its use of reoccurring visual motifs. As socially prescribed perfectionism entails the belief
that those around you are expecting perfection (Hewitt and Flett 457), this dimension is
represented through the textual and illustrative components of the picture book. Visually, the
Good Egg’s embodiment as a perfectionist is immediately established on the first two pages. He
is depicted rescuing a cat from a tall tree with his thin, black lined arms surprisingly able to hold
it above his head and steady himself on the trunk (John and Oswald 1). The corresponding page
abruptly portrays a cinematically inspired close up on the Good Egg, white stars sparkling in the
background as if signalling the extremity of his goodness (see Appendix 1 Figure 1). The Egg is
depicted as assisting characters like the Elderly Bacon, the Strawberry and the Slice of Toast (3-
4), all with a satisfying smile on his shell, signalling his feeling of satisfaction from performing
good deeds. A key visual example of the Good Egg’s perfectionism occurs when three of his
fellow misbehaving eggs are standing on each other’s shoulders holding a large target, another
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egg spraying ketchup and mustard into the air with another egg swinging from a chandelier (9).
In the centre amidst this chaos is the Good Egg: a laundry hamper in his left hand, a mop being
held by a gloved hand on his right and a frown on his shell. The corresponding page features the
same illustrative spread as page two, highlighting once again the extremity of the Egg’s “good”
or perfect identity (10). He is seen with cleaning supplies while the other eggs engage in deviant
behavior, obviously attempting to clean and thus achieve perfect surroundings. He appears
distressed by the maintenance of cleanliness on behalf of his fellow eggs, yet on the next page
we are given another extreme close up of his squeaky-clean smile. He is the only character in the
text depicted in close up, as if he is trying to convince the reader of his value.
As perfectionistic behavior inevitably leads to negative health outcomes (Hewitt and
Flett), the Egg’s shell quite literally begins to crack. Following the doctor’s diagnosis that he is
placing too much “pressure” on himself; the Egg realizes in another close up shot (which mimics
the reoccurring visual motif) that “Something had to change” (John and Oswald 14). The lack of
white stars pictured in the background visually signals the self-inflicted harm caused by this
extreme striving. The visible cracks at the top of his shell, a band aid placed near the crack and
his clear expression of anxiety demonstrates that his perfectionism has caused him more harm
than “good.” This realization prompts what is an intriguing sequence in the picture book: the self
care rituals/routines. The sequence is spread over two pages and features the Egg engaging in
walking, reading, floating on water, writing, meditating and painting (19-20), taking time to
himself rather than striving to be perfect for others. These activities equate to common, modern
discourses around the notion of “self care” especially the practice of meditation. The Egg must
learn to take care and, in a sense, rejuvenate himself before he can return to his life with the other
eggs. The picture book reinforces this discourse of self care rituals, possibly to appeal to a wider
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audience or to demonstrate that taking care of one’s self is vital to conquering perfectionism. The
reoccurring visual motif of the close up signalling his perfectionism and subsequent distress, his
obvious deeds for the benefit of the other eggs and other food like characters thus defines the
Good Egg as visually striving towards perfection. He is certain that his “good” or perfect identity
has to maintain perfection in the varying degrees of error caused by the characters in his social
world.
When the textual components of the picture book are combined with the visual, the result
is the Good Egg’s embodiment of the socially prescribed dimension of perfectionism. The trait is
textually represented primarily through the use of first-person narration. When rescuing the cat
on the opening pages, the text displayed just above states he was rescuing the animal “Know
why? Because I’m a good egg” (John and Oswald 1). The close up on his face features an
elaboration of the previous sentiment: “a verrrrrry good egg” (2). The excessive amount of “rs”
combined with the visual close up thus demonstrates the high level of “goodness” that the Egg
prides himself on possessing. It is alliterative and visually excessive. The Good Egg continues to
demonstrate his “goodness” or rather his perfectionism, by insisting that he’ll “carry your
groceries…water your plants…change your tires…paint your house” (3-4). He states in the
accompanying text on page nine “…I tried to take charge. I tried to fix their bad behavior. I tried
to keep the peace. Because I was a good egg” (9). The close up occurring again with the
assertion that he is not just good, but “a verrrrrry good egg” (10). The continued insistence that
he is not just “good” but “verrrrrry good” (2,10) equates to an obvious synonym for
perfectionism conveyed through the text paired with the visual motif. Although visually the
Good Egg extends these deeds onto featured characters like the Elderly Bacon, the Strawberry
and the Slice of Toast (3-4), the text utilizes the second person perspective by emphasizing that
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he will “carry your (emphasis added) groceries” (3). The inclusion of the second person
perspective thus lends a degree of intimacy between the Egg and the implied reader, as if he
wants to convince the reader of his perfection. Furthermore, the Good Egg expresses that he had
to “fix their [the other eggs’] bad behavior” (9) because he was “a good egg” (9). The Egg is
taking personal responsibility for the other eggs by “fixing” their negative habits, not because he
expresses a sense of duty but a sense of perfection. Rather than ask for assistance or delegate to
his fellow eggs, he takes it upon himself to “make sure everyone was as good as me” (13). No
explanation is provided to justify the Egg’s perfectionism, other than the sloppy behavior of the
other eleven eggs and his own self definition, thus it is implied that he anticipates others to
expect perfection from him because of their imperfections. Therefore, it is through first-person
narration, combined with the illustrations, that the Egg’s perfectionism is indeed socially
prescribed. He is not performing these deeds to attain his own acceptance or value, but because
he believes he has to be “good” for everyone in his social environment. The picture book also
utilizes metaphor as a means of representing socially prescribed perfectionism. The egg, as a
physical food source and animal by-product, is fragile and highly prone to breaking. The egg also
tends to symbolize new life or budding potential. By depicting an egg with thick black glasses (a
clear symbol to represent conscientiousness) as a perfectionist, whose shell begins to crack as a
result of perfectionism; the metaphorical significance of the egg becomes evident. Human beings
are also finite and fragile, prone to emotionally and physically breaking. If we, like the Egg,
place too much pressure on ourselves, our shells or psyches may too begin to crack. The Egg
learns that he must treat himself with adequate care, not perfect care towards others. The moral at
the end of the narrative is verily obvious, as indicated by the use of the colon when the Egg
declares “Here’s what I realized:” (30). He states that he has learned that no one can ever be
Stuckey 17
“perfect” and he’s “OK” with that (30). With the inclusion of modern self care type rituals, the
metaphorical depiction of egg characters, the use of first-person narration and the clear moral
lesson at the end, The Good Egg is an example of a picture book portraying one of the three
dimensions of perfectionism. The “total effect” of the words with the pictures offers explanation,
demonstrates negative aspects and ultimately comes to a morally sound solution.
2.5 Self-Oriented Perfectionism in The Girl Who Never Made
Mistakes
The dimension of self-oriented perfectionism entails the belief that one situates
themselves and their actions towards perfectionistic ideals (Hewitt and Flett). A person seeks to
attain a level of perfection in diverse areas of their life in order to be affirmed and valued
(Greenspon). When analyzing the visual elements of Mark Pett and Gary Rubinstein’s picture
book; illustration, colour and visual layout portray this particular dimension of perfectionism. On
the first double spread of The Girl Who Never Made Mistakes (Pett and Rubinstein 4-5), Beatrice
is greeted by a crowd of adoring fans, reporters, photographers and even a helicopter hovering in
the background. On the corresponding page, a portion of the large crowd is cut off by the
addition of a visual comic like panel: featuring Beatrice and her younger brother being chased
after by reporters and fans (see Appendix 1 Image 2). The crowd is presented in contrasting
colours: a light green as part of the double spread and a light purple in the visual panel. Beatrice,
in contrast, is depicted in full actualized colour yet when she is visually presented in the panel,
she is coloured as purple as the crowd chasing after her. Pett’s use of colour signifies Beatrice’s
worldview. Her label as “the girl who never makes mistakes” is represented by the full colouring
of the crowd, as she encounters this dichotomously coloured group because of her own
dichotomous way of being: she never makes mistakes and thereby it is not acceptable for her to
make any. The visual appearance of this crowd also could represent Beatrice’s own fantasy: she
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is admired by people for her perfectionism, yet it is a figment of her imagination considering the
green and purple appearance of the crowd. This is a significant stylistic choice since fully
realized illustrations of people are barely utilized. This utilization of green/purple colour
continues when her father is making her dinner before the talent show (13), he is depicted as
light green in the foreground, a strange stylistic choice considering this shade of colour was
previously used for background characters. This foregrounding of background colour once again
represents Beatrice’s orientation towards all or nothing perfectionism, as dichotomous colours
are visually seeping into the foreground of scenes just as in the foreground of her mind. This
colourization of characters within Beatrice’s life continues until she makes a mistake at the talent
show and embraces it (27). For the remainder of the text, this colourization is never depicted
again thereby signalling that Beatrice’s worldview has altered. No longer is she residing in a
world of dichotomous colour patterns, because she is no longer viewing herself in all or nothing
terms, a thinking pattern which is typical of perfectionists (Hewitt and Flett). It is as if Beatrice is
only witnessing impressions of the people around her, due to her own perfectionistic identity.
When Beatrice learns to embrace imperfection, the crowd disappears and so too does this binary
colourization. The visual layout of the moments when Beatrice comes close to or actually makes
a mistake are also instrumental in the visual depiction of self-oriented perfectionism. When
Beatrice slips and nearly falls on the floor while baking, it is depicted in a full-page illustration
with a fully coloured purple background (Pett and Rubinstein 9). She manages to catch the
falling eggs, utilizing her flat shoes and her mouth (10). Underneath the illustration is another
visual panel with her classmate apologizing for dropping rhubarb on the floor via speech
bubbles. The following illustration then features Beatrice’s anxious facial expression against a
fully coloured green background (11). Two panels are featured to the right of the illustration:
Stuckey 19
featuring scenes of Beatrice sitting in class and swinging from a swing set, not engaged because
of her “Almost Mistake” (11). When Beatrice eventually makes an error at the talent show, a full
page spread of her hamster sneezing in the air is depicted (18-19), demonstrating the magnitude
of “the girl who never makes mistakes” committing her first major error. When the soaked
hamster inevitably lands on her head, another panel is utilized to show the result of the preceding
action, initiating what Scott Mcloud refers to as “closure” (63), and we see Beatrice’s head get
soaked (Pett and Rubinstein 21). Therefore, as self-oriented perfectionism entails the pursuit of
perfection onto one’s self (Hewitt and Flett), the use of colour and visual layout, which borrow
from comics traditions, visually portrays the protagonist’s perfectionism. Beatrice’s
perfectionism, subjected to black and white thinking, is magnified by the uniform, dichotomous
purple/green colouring of the people she encounters. As the visual layout includes both panels
and speech bubbles, the inclusion of these comics traditions visually magnifies Beatrice’s fear of
making a mistake. Even her “almost mistake” is magnified by full page illustrations and features
scene within scene panels to illustrate her anxiety. Beatrice not only feels worried in the moment,
but her rumination over her “almost mistake” continues throughout the school day. Thus, as both
colour and visual layout serve to illustrate the extremism of Beatrice’s self-oriented
perfectionism, these are the ways in which the picture book portrays this dimension visually.
The textual elements, working collaboratively with the visual elements, further portray
this dimension within the picture book. Beatrice’s high achieving habits are outlined in the
opening morning routine: matching her socks, feeding her hamster and using “exactly the same
amount of peanut butter and jelly” on her sandwich (Pett and Rubinstein 2-3). It is also asserted
that “Most people in town didn’t even know Beatrice’s name. They just called her ‘the Girl Who
Never Makes Mistakes,’ because for as long as anyone could remember, she never did” (4). This
Stuckey 20
presentation of Beatrice’s perfect habits and her reputation not as a young person but as a young
girl “who never makes mistakes,” thereby asserts her perfectionism and the sense of validation
gained from the behavior. In contrast, her brother “Carl made lots of mistakes” (5) obviously
playing opposite to Beatrice’s identity as being devoid of error, thereby perfect in comparison.
However, after she nearly slips and falls while baking, Beatrice “could not stop thinking about
her Almost Mistake” (11). The capitalization emphasizes the severity of her not even completing
a mistake, rather “Almost” completing one. She expresses her anxiety to her father, fearing that
she will “‘mess up tonight’” (13). Her father dismisses her fear, asserting “‘You don’t make
mistakes!’” (13). Even when she ventures out on stage in front of the talent show audience, a
man exclaims “‘Oh! We know she’ll be perfect!’” (16). Beatrice’s flawless morning routine, her
habits standing in contrast to her brother, her anxiety surrounding her “Almost Mistake” and her
overall reputation casts her as a self-oriented perfectionist. Her sense of validation and
identification as a perfect girl is so severe, that she ruminates over the potential of an error rather
than an actual error. Her concern over making mistakes isolates her for the remainder of the
school day and shakes her sense of confidence at the talent show. This demonstrates the ill effect
of Beatrice’s self-oriented perfectionism: personal rumination resulting in social isolation.
However, upon making her first “big” mistake at the talent show, she responds by laughing (24).
The audience begins to laugh with her, all revelling in her mistake rather than in her
perfectionism (25). During the night, her sleep improves (26) and the following morning she
finds “no fans [to greet her]” (27). Beatrice embraces her new found ability to make and laugh at
her mistakes: putting on two different socks (27), putting peanut butter and jelly on the outside of
her sandwich (28) and slipping and falling on ice while skating with friends (29). The picture
book ends with “people no longer [calling] her the Girl Who Never Makes Mistakes. They just
Stuckey 21
call her Beatrice” (30). Her ability to make a mistake in spite of the previous rumination, her
embracement of unorganized or fun activities and the removal of her previous reputation
demonstrates the protagonist’s overcoming of perfectionism. As Beatrice’s sense of self was
contingent on her perfectionism, her ability to make mistakes and laugh at them allows her to
reclaim elements of her health (getting better sleep) and her identity (losing the marker as a girl
who never mistakes). Therefore, it is through the textual elements of narrative description and
dialogue that self-oriented perfectionism is represented. When both textual and visual elements
are combined, the full effect of the picture book is produced (Sipe), in which a self-oriented child
perfectionist learns to embrace the agency to make mistakes.
2.6 Other-Oriented Perfectionism in Too Perfect
Other-oriented perfectionism, consisting of the expectation that those in your social
surroundings orient themselves to perfect standards (Hewitt & Flett), is portrayed visually in Too
Perfect through the use of angles/perspectives and the general illustrative design. Lisa Fields’
illustrations are characterized by realistic skin tones, character designs, environments and an
overall colour scheme with earthy tones like blue, green and yellow. This illustrative design
designates a realistic fictional world, obviously attempting to mirror the Western world of the
implied reader. Although the narrative is told from the first-person perspective of Maisie, the
picture book presents Maisie as a witness to Kayla’s perfectionism. Maisie’s role as a witness is
visually portrayed through the use of angles in Fields’ illustrations. On the first full page spread,
Maisie is depicted in the lower right corner of the playground looking on at Kayla positioned in
the upper right corner with a group of girls (Ludwig and Fields 1). Kayla appears tall, dressed
confidently in a yellow polka dotted skirt, in contrast Maisie appears slightly hunched down with
only half of her clothing depicted (see Appendix 1 Image 3). This utilization of a wide angle,
Stuckey 22
across a full page spread, creates a visual hierarchy between Kayla and Maisie. Kayla is taller
whereas a shorter Maisie examines her admiringly from a far. Based off of Maisie’s gaze and the
contrasting appearances between the two girls, Maisie obviously admires Kayla for this depiction
of tall stature and physical attributes. This visual gaze continues on the following pages, with
Maisie gazing at Kayla with her hand raised high in the air, volunteering to answer a question in
the classroom (2). Maisie’s visual admiration of Kayla signals this portrayal of other-oriented
perfectionism. Her shorter position in contrast to the taller, confident appearance of Kayla creates
a visual character dynamic, in which Maisie fixates on the appearance of Kayla, assuming she
possesses perfect value. Maisie anticipates perfection from Kayla based off of her gaze combined
with Kayla’s confident appearance, suggesting that Maisie expects this girl in her social circle to
orient herself towards perfectionism. Kayla does indeed orient herself towards perfectionism
with her high expectations visually depicted by the illustrations and further use of angles. Maisie
offers Kayla a brownie, her harsh refusal presented with a facial expression of annoyance and a
flat hand angled towards the plate (6). Brownies, like other sugary foods, are often avoided by
those afflicted by perfectionism as they present imperfection in rigid eating patterns, this is why
the trait tends to be correlated with eating disorders (Greenspon). Therefore, Kayla’s visual
refusal of consuming an imperfect food asserts the representation of the additional dimension of
self-oriented perfectionism. Also, after missing an opportunity for a soccer goal due to an error
by a team member, Kayla visually scolds the players as presented from a high angle (Ludwig and
Fields 8). She stands there, one hand on her hip and a finger pointing at the girls, her mouth
frowning and her eye brows raised presenting anger or upset because of the players’ “imperfect”
performance. The choice of presenting the tense situation from a high angle further signals the
anger Kayla feels towards the players. We look down from high above the scene thereby
Stuckey 23
mirroring Kayla’s own high expectations. This reinforces other-oriented perfectionism since she
is lamenting the inability for the members of her team to enact perfect soccer skills, signaled by
the visual scolding and high angle perspective. The distress Kayla experiences from her
perfectionism is depicted when Maisie and her mother comfort a sobbing Kayla at their kitchen
table (12). Maisie places her hand on Kayla’s back, watching as she buries her face in her hands
thus avoiding Maisie’s onlooking. This is a significant illustration as both Maisie and Kayla
experience the emotional hardships of perfectionism. Maisie, visually attributing high ideals onto
Kayla, witnesses Kayla’s upset at not perfecting her homework, thus seeing her in an imperfect
state. Kayla, with her hands covering her face, is distressed from not attaining the high
expectations of her homework assignment. The emotional consequences of other-oriented and
self-oriented perfectionism are on full display in the illustration: Maisie witnessing perfect
Kayla’s imperfect reaction and Kayla reacting to her inability to meet her perfect standards. The
realistic design, the use of angles to exemplify emotional states and the depiction of the
protagonist’s gaze upon the “perfect” character thus visually portrays other-oriented
perfectionism, as well as some instances of self-oriented perfectionism.
Other-oriented perfectionism is additionally portrayed through the textual characteristics,
primarily via the use of first-person narration and dialogue. The opening narration,
accompanying the full page spread, introduces the voice of Maisie and her fascination with
Kayla: “Have you ever wished you could be somebody else? I have. I wished I was Kayla. Then
all my problems would go away like magic” (Ludwig and Fields 1). Maisie additionally asserts
that despite her mother’s contrary opinion “she didn’t know perfect. She didn’t know Kayla” (1).
As other-oriented perfectionism entails placing high ideals onto those within one’s social circle
(Hewitt and Flett), Maisie’s stated desire to be Kayla and have “all my problems go away like
Stuckey 24
magic” combined with equating Kayla to the ideal of being “perfect” establishes this dimension.
Maisie, partially out of her own desire to be perfect, implies that Kayla is conflict free because
she is perfect thus expecting perfection from an individual within her social domain. Maisie goes
on to state that “If I looked hard enough [at Kayla], maybe I’d find the secret to being perfect”
(Ludwig and Fields 3). Once again, Maisie equates her observations of Kayla with perfectionistic
ideals, cementing the textual presence of other-oriented perfectionism through first person
narration. Kayla also attributes perfectionism onto those on the soccer field, stating: “‘This is
your fault!’ Kayla hissed at Ana. ‘If you had passed the ball to me sooner, I would’ve had a
perfect shot.’” (8). The italicizing of the personal pronoun your emphasizes Kayla’s expression
of anger at her fellow team member, as well as the attribution of the error. It wasn’t Kayla’s
mistake but someone else’s mistake. The “hissing” from Kayla along with her insistence that she
missed her “perfect” shot because of Ana furthermore portrays other-oriented perfectionism. The
player’s error clearly goes against what Kayla expects of her team. This additionally
demonstrates her self-oriented perfectionism, given that she missed her “perfect shot.” She also
registers her distaste for her homework, claiming that “Everything” is wrong with her writing
(11). Her extreme assertion leaves no room for positive qualities, because “everything” is wrong
with it thereby implying nothing can be right with it. The emotional consequences of
perfectionistic behavior become clear to Maisie from observing Kayla’s distress: “‘Everything
Kayla does has to be perfect…too perfect if you ask me’” (13). Their teacher takes notice of
Kayla’s maladaptive perfectionism, consoling Maisie’s worry by insisting the school counsellor
will help Kayla (19). Maisie asks her mother if she would dislike her if she “wasn’t as thin,
smart, or pretty as [you’d] like me to be” (13). Her mother insists that she loves her for who she
is, rather than “‘who you think I want you to be,’” making some reference to the dimension of
Stuckey 25
socially prescribed perfectionism. Maisie comes to realize that assuming Kayla’s high quality of
life due to her perfection is inaccurate: “Kayla was as close to perfect as anyone I knew, but I
couldn’t think of one thing that made her happy” (18). Kayla’s being “close to perfect” yet not
presenting any discernable things which “made her happy” further attests to Maisie’s realization
that perfection is futile. Her mother not only offers her unconditional love, she also enacts
“Appreciation Time” giving Maisie a sense that imperfection “doesn’t mean I can’t do good
things” (24). Thus, the “total effect” of the picture book demonstrates solutions to maladaptive
perfectionistic behavior, as Maisie learns to embrace her ability to do “good” in spite of not
being “perfect.”
Section 3: Conclusions
3.1 The Representations of Maladaptive Perfectionism
As demonstrated from the preceding analysis of these three picture book texts, multiple
dimensions of perfectionistic behavior are indeed represented accurately. The multimodal nature
of the texts allows for the illustrations and the words to represent a specific dimension, and when
brought together they produce a “total effect” in which these stories present perfectionistic
behavior, its consequences and solutions to the behavior. These three texts visually imply a child
readership as evident through the use of bright colours and the depiction of child or food type
protagonists. Textually they imply both an adult and child readership, seen via the inclusion of
text speech bubbles in The Girl Who Never Made Mistakes and the expert testimony included at
the back of Too Perfect. These elements display a level of sophistication and complexity not
associated with the assumptions made of the Children’s Picture Book. The words themselves are
simply written, accessible to children and adults alike. This is useful to consider as these picture
books present an adverse personality trait known to carry harsh consequences, yet the
Stuckey 26
textual/visual content never gets too explicit with these consequences. The Egg’s shell cracks,
Beatrice isolates herself and Katie scolds a soccer player; none of them attempt suicide or abuse
substances because of their perfectionism. This also signals how the readership is implied to be
children, given the darker approach the picture books do not take in portraying negative health
outcomes. Yet, a text like Too Perfect includes factual psychologically backed research and
probing questions to encourage adults to use the story to initiate discussions about perfectionism.
So, while the implied child reader is influential in the visual/textual content, the implied adult
reader is also influential in determining what is included.
3.2 Bibliotherapeutic Potential & the Children’s Picture Book
All three texts are suitable for bibliotherapeutic practices given the accurate
representations and their general textual/visual merit. These three texts are demonstrative of how
the visual paired with the textual can represent a maladaptive personality trait in an accurate and
entertaining fashion. Their representations are suitable for bibliotherapeutic utilization; however,
this strict functionality can deter away from the picture book’s value as an “aesthetic object”
(Arizpe) if not properly balanced. Too Perfect may seem to have a higher degree of therapeutic
functionality given its encouragement of discussion following the story. The questions paired
with the testimony from psychological authorities make it explicit in its real world applications.
It can be used as a fictional tool to assist parents in their own child’s perfectionistic behavior. As
opposed to the other two texts which do not feature this kind of post-reading discussion. Children
may learn more about perfectionism without the inclusion of this kind of explicit pedagogy. For
example, a study conducted on the differences between teaching perfectionism through
bibliotherapy or animated programs found that “Students demonstrated greater learning of
perfectionism concepts along with more excitement and engagement using cartoons than
Stuckey 27
bibliotherapy. Humor captivated students’ attention in the cartoon condition in contrast to
observed and reported boredom or apathy during bibliotherapy lessons” (Zousel and Rule 213).
The researchers do point out that the rating of enjoyment was still relatively high for the use of
picture books in their study, although the cartoons appeared to be more effective because
students found them more enjoyable (213). One reason posited was the overemphasis on literacy
in public school systems: “Students may feel saturated with book-reading and therefore not as
interested in bibliotherapy as students of past decades” (212). Perhaps the cartoons were more
effective in teaching the dangers of perfectionism because these students were not used to
learning through this medium. They learned better because they were immersed in the visual
stories without any indication of adult oriented pedagogy. With this study in mind, a picture book
like Too Perfect may overemphasis the instructional component through the inclusion of expert
testimony targeted towards parents. Thus, the picture book may be useful to adults for the
information presented but that does not mean it is effective for children. The stories are strong
and impactful on their own in getting the message across to child readers. If every children’s
picture book concerning perfectionism were to include expert testimony, then it would cease to
be a pleasing reading experience for children, as the instructional side is geared towards an adult
readership. If picture books dealing with mental health become overly instructional, it can
disillusion the targeted reading audience of children. It can rob them of the aesthetic enjoyment
of the text and further marginalize the genre. Therefore, if picture books are to be utilized in
bibliotherapy without deterring from their value to child readers, there needs to be a balance
between the instructional nature and the visual/textual enjoyment. This is not to state that all
picture books need to be rid of additional expert information. The inclusion needs to be carefully
considered, as the textual/visual content can entertain and inform the young readership all on
Stuckey 28
their own. Perhaps, words and pictures can teach and heal more effectively without a set of facts
or discussion questions following the story. Picture books have always had the capacity to be
entertaining and educational. Further pedagogical and psychological research needs to be
conducted on achieving this balance between narrative art and education/healing. These
functions need to co exist in harmony to be mutually effective on the individual person seeking
to heal through narrative. When properly balanced between the pleasing reading experience and
the therapeutic utility, picture books present more than multimodal narratives. They are
multipurpose narratives. They are comprised of text, images, text-image relationships and
utilized to entertain, to teach, to heal and to foster personal/societal understanding for the benefit
of the child reader. This research paper, I believe, reflects the fascinating intersection between
psychological states and cultural texts, the utility/merit of Children’s Literature, the future
prospects of bibliotherapy and the importance of narrative in our collective and personal well
being. If a fictional cultural text, like the Children’s Picture Book, can portray a
multidimensional personality trait effectively, I believe this means that portrayals of mental
health in fiction are not as strictly problematic as other researchers posit. They can be narratively
useful. Children need fictional stories to bring meaning, understanding, compassion and cohesion
to their own life stories. We never stop needing stories.
Stuckey 29
Appendix 1: Images
1.
A scene of visual perfectionism from Jory John and Pete Oswald’s The Good Egg. This Egg is not merely good but
“verrrrrry good,” the stars flashing in the background signalling this desire for perfection.
Stuckey 30
2.
Beatrice is greeted by her adoring fans on this “perfect” morning in Mark Pett and Gary Rubinstein’s The Girl Who
Never Makes Mistakes.
3.
Maisie watches Kayla hoping to uncover the secret of her perfection in Tracy Ludwig and Lisa Fields’ Too Perfect.
Stuckey 31
Appendix 2: Complete Selection of Children’s Picture Books with a Focus on Perfectionism
Amato, Max. Perfect. Scholastic Press, 2019.
Anderson, Shannon and Katie Kath. Penelope Perfect: A Tale of Perfectionism Gone Wild. Free
Spirit Publishing, 2015.
Arnold, Marsha Diane and Romana Kaulitzi. Badger’s Perfect Garden. Cherry Lake Publishing,
2019.
DiPucchio, Kelly and Eric Wight. Everyone Loves Cupcake. Farrar, Straus and Giroux, 2016.
John, Jory, and Pete Oswald. The Good Egg. Harper Collins, 2019.
Ludwig, Trudy and Lisa Fields. Too Perfect. Tricycle Press, 2009.
McDonnell, Patrick. A Perfectly Messed-Up Story. Little, Brown Books for Young Readers,
2014.
McKay, Jodi and Juliana Motzko. Pencil’s Perfect Picture. Albert Whitman & Company, 2019.
Moss, Marissa. Regina’s Big Mistake. HMH Books for Young Readers, 1995.
Pett, Mark and Gary Rubinstein. The Girl Who Never Made Mistakes. Sourcebooks
Jabberwocky, 2011.
Reynolds, Peter H. The Dot. Candlewick, 2003.
Reynolds, Peter H. ish. Walker Books Ltd., 2005.
Rosenthal, Amy Krouse and Tom Lichtenheld. The OK Book. Harper Collins, 2007.
Saltzberg, Barney. Beautiful Oops! Workman Publishing Company, 2010.
Spires, Ashley. The Most Magnificent Thing. Kids Can Press, 2014.
Stuckey 32
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Anderson, Shannon and Katie Kath. Penelope Perfect: A Tale of Perfectionism Gone Wild. Free
Spirit Publishing, 2015.
Arizpe, Evelyn. “Introduction.” Challenging and Controversial Picturebooks: Creative and
Critical Responses to Visual Texts, edited by Janet Evans, Routledge, 2015.
Curran, Thomas, and Andrew P. Hill. “Perfectionism Is Increasing, and That’s Not Good News.”
Harvard Business Review.org, Harvard Business Review, 26 Jan. 2018,
hbr.org/2018/01/perfectionism-is-increasing-and-thats-not-good-news.
Greenspon, Thomas S. “Making Sense of Error: A View of the Origins and Treatment of
Perfectionism.” American Journal of Psychotherapy, vol. 62, no. 3, 2008. Ryerson
University Library and Archives, https://search-proquest-
com.ezproxy.lib.ryerson.ca/docview/213136100?pq-origsite=summon.
Hewitt, Paul L., and Gordon L. Flett. “Perfectionism in the Self and Social Contexts:
Conceptualization, Assessment, and Association With Psychopathology.” Journal of
Personality and Social Psychology, vol. 60, no. 3, 1991. Ryerson University Library and
Archives, https://hewittlab.sites.olt.ubc.ca/files/2014/11/Hewitt-Flett-1991-
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John, Jory, and Pete Oswald. The Good Egg. Harper Collins, 2019.
Kress, Gunther, and Theo Van Leeuwen. “Modality: Designing Models of Reality.” Reading
Images: The Grammar of Visual Design, Routledge, 1996, pp. 154–177.
Kunka, Andrew J. Autobiographical Comics. Bloomsbury Publishing, 2017.
Ludwig, Trudy and Lisa Fields. Too Perfect. Tricycle Press, 2009.
McDonnell, Patrick. A Perfectly Messed-Up Story. Little, Brown Books for Young Readers,
2014.
McKay, Jodi and Juliana Motzko. Pencil’s Perfect Picture. Albert Whitman & Company, 2019.
Mohammadzadeh, Behbood, Hatice Kayhan, and Çelen Dimililer. "Enhancing Disability
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Moss, Marissa. Regina’s Big Mistake. HMH Books for Young Readers, 1995.
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University of Georgia Press, 1990.
Pett, Mark and Gary Rubinstein. The Girl Who Never Made Mistakes. Sourcebooks
Jabberwocky, 2011.
Reynolds, Peter H. The Dot. Candlewick, 2003.
Stuckey 33
Reynolds, Peter H. ish. Walker Books Ltd., 2005.
Rosenthal, Amy Krouse and Tom Lichtenheld. The OK Book. Harper Collins, 2007.
Saltzberg, Barney. Beautiful Oops! Workman Publishing Company, 2010.
Sipe, Lawrence R. “How Picture Books Work: A Semiotically Framed Theory of Text-Picture
Relationships.” Children's Literature in Education, vol. 29, no. 2, 1998. Ryerson
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Spires, Ashley. The Most Magnificent Thing. Kids Can Press, 2014.
Tielsch Goddard, Anna. "Children's Books for use in Bibliotherapy." Journal of Pediatric Health
Care: Official Publication of National Association of Pediatric Nurse Associates &
Practitioners, vol. 25, no. 1, 2011, pp. 57-61.
Wu, Shuxuan. “Negotiation of Narratives in Postmodern Picture Book.” Theory and Practice in
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Zousel, Miranda L., and Audrey C. Rule. “Teaching Primary Grade Students Perfectionism
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