Tuesday
by David Wiesner
Summary
On a Tuesday evening around eight o'clock, frogs across a wetland begin rising into the air on their lily pads and drift over a sleeping town. They peer in on a man eating a late snack, glide silently through a backyard, and a small group floats straight into an elderly woman's living room, where they commandeer her television remote while she dozes in her chair, unaware. Near dawn a dog gives futile chase to a low flying frog before the entire fleet drops back into the pond as the sun rises, leaving nothing behind but a scatter of abandoned lily pads that baffled townspeople find scattered across streets and yards the next morning. Told in barely six words total, mostly timestamps, the book is almost entirely wordless, and its final page jumps forward to "next Tuesday," where pigs are shown lifting off a farmyard, implying the whole strange event is about to happen again to someone else entirely.
David Wiesner paints in richly detailed, realistic full color spreads, playing an ordinary, precisely rendered town against the sheer absurdity of levitating frogs, and he varies perspective constantly, close on a single frog's face one page, a wide aerial view of the whole town the next.
Since there is almost no text, this is a book a child narrates back to an adult as much as one read to them; it works from around age three up precisely because no reading level is required, and repeated readings reward children who start noticing recurring visual jokes, like a cat watching the whole spectacle in open disbelief.
Historical Context & Significance
Tuesday won the 1992 Caldecott Medal, the first of David Wiesner's three medals, later joined by The Three Pigs in 2002 and Flotsam in 2007, a record matched only by Marcia Brown's earlier three wins. The only Honor Book that year was Faith Ringgold's Tar Beach.
Tuesday also won the Japan Picture Book Award in 1992, an unusual international recognition for a Caldecott winner in the same year it took the American medal. The Caldecott committee's chair, Mary Lou White, praised Wiesner's "masterful use of light and dark, alternating perspectives, and variation in page design," and the book has become a frequently cited example of how a nearly wordless picture book can still control pacing as tightly as a fully written narrative, the timestamps alone doing the work an ordinary story would give to full sentences.