chapter  4
At the Height of Pinocchio' s Renown, Change Intrudes, Pretenders Emerge, and Imposters Seize His Identity: 1930–1940
Pages 35

At that very time in the United States when people lost hope for the future and became most disheartened-the Great Depression-Pinocchio's popularity surged to yet greater heights than earlier. Never before-and never since-was Collodi's story so celebrated as during the 1930s. Publishers printed or reissued, on average, twelve releases annually; a significant leap over the 1920s high-water mark of eight or nine. Moreover, most of the sixteen publishers continuing the novel from the preceding decade did so in multiple series, spreading its appeal across different price levels. And some of them even reconfirmed their commitment to the puppet by introducing new art. Lippincott, for example, took its Gift Edition with lime green block border prints by Maria L. Kirk, and offered an alternate edition, beginning in 1930, that replaced Kirk's full color plates with ten, somewhat abstractly designed, color plates by Jack Tinker,! while still continuing to reprint the original version with Kirk's color illustrations. And Grosset & Dunlap, which never offered the puppet much in the way of pictures at all, relying almost solely on Folkard frontispieces familiar from other publishers, introduced its Thrushwood Edition in 1939, sumptuously illustrated in both color and black and white by Helene Carter.2