When I was in eighth grade civics, my class watched the British animated film adaptation of George Orwell’s “Animal Farm” that the CIA partly funded back in the 1950s to fight communism. I remember being haunted by this story about beasts of burden throwing off the yoke of their neglectful farmer, only to set up a despotic regime run by pigs that was far worse than life under human rule had ever been. When the horse, Boxer, was sent off to the glue factory, I wanted to cry.
Although I was deeply moved by Orwell’s tragic fable, I understood little of its allegorical message about communism until our teacher explained the meaning to us afterwards. Even then, it was only when I read the book as an adult that I really understood what Orwell was trying to say. Several years later, I found myself in the opposite role when, as a substitute teacher, I found myself teaching the book to a middle-school class.
Fables have peculiar qualities that make them stories suitable for all ages. On the one hand, using animals as stand-ins for human characters is a device we associate with children. The stories are typically short and written in a simple prose style, with clear plots that make them accessible to young readers. They also tend to reflect universal themes about common human foibles that teach moral lessons like honesty and kindness.
On the other hand, if the story’s underlying message is not explicitly stated, as in the end of Aesop’s Fables, it might fly over the heads of adolescents—like “Animal Farm” initially did with me. Orwell did not market his novella as a children’s story, but for the reasons listed above, many people mistake it for one. While its continuing presence in educational curricula proves that adolescents can benefit from reading it, most need the help of an adult to guide them.
A Modern Orwellian Story
“The Sphinxing Rabbit” trilogy, written by Pauline Chakmakjian and illustrated by Nilesh Mistry, is a book series in this Orwellian vein. It blends fable with allegory, presenting an apparently simple story that employs an array of animals to explore complex themes like surveillance, personal independence, class distinctions, and the health problems and isolation widespread in modern society.In “Her Sovereign Majesty,” the first book in the trilogy, readers are introduced to the Sphinxing Rabbit, a character who embodies wisdom and independence after a piece of fruit from the mythical Tree of Life falls on her head. She lives in a world run by “Masters” employing “loyal dogs” who get beaten if they do not faithfully do their bidding.
Hidden Symbolism
“Sphinxing” is the key word here. The real uniqueness of this book series is the way that Chakmakjian’s story is reflected in the enigmatic artwork of Nilesh Mistry. Chakmakjian came up with image concepts that Mistry skillfully executes. Pages are full of hidden symbolism and allusions to art history, making the series a bit like an intellectual version of the game “I Spy Eagle Eye.”While the story is certainly presented in a way that children can enjoy, fully understanding the book would require an educated adult standing over the child’s shoulder and pointing everything out. Really, it’s a book of ideas for adults who like deciphering hidden patterns.
In “Her Sovereign Majesty,” The Sphinxing Rabbit finds herself surrounded by floating eyeballs on several pages—seemingly a reference to the “Eye of Providence,” the masonic symbol most famously found on the back of the one-dollar bill. The symbol doubles as a representation of the book’s theme about living in a surveillance society where technology allows authorities to easily spy on its citizens.
Art History
There are also numerous references to art history, and here I did better. In this second volume, “The Book of Hours, the Sphinxing Rabbit finds herself bored in a society dulled by technological convenience and a lack of intellectual engagement. She travels back in time to Medieval Europe using a time machine and encounters the Duc de Bunny—a long-eared version of the historical John, duke of Berry (1340–1416), brother of King Charles V of France. The Sphinxing Rabbit converses with the Duc de Bunny on class distinctions, serfdom, and the potential of technology to democratize and educate.
Convivial Sociability
The final volume, “Clubs and Societies,” explores the consequences of societal excess. The Sphinxing Rabbit returns to the present with the Duc de Bunny, only to find that all the other rabbits in her autonomous society have become obese from loafing around and overeating. The aristocratic Duc de Bunny is not surprised at this modern condition, since the rabbits no longer “toil away weight gain” by working in fields. The Sphinxing Rabbit, however, is horrified.
The pair travels to visit the salon of Madame Budgie Dots, a songbird who lived in a gilded cage until she hopped on the finger of “a mysterious man wearing a skull ring,” who showed her freedom. The Sphinxing Rabbit and the Duc de Bunny are introduced to the customs of Freemasonry, and it’s suggested that societal clubs may represent an antidote to modern loneliness.
The layered storytelling approach of Chakmakjian and Mistry allow readers to engage with the narrative on multiple levels, from simple fable to deep critique of contemporary social issues. In essence, “The Sphinxing Rabbit” serves as both a mirror and a lamp—reflecting society’s pitfalls and shining the way towards wisdom, truth, and beauty.
’The Sphinxing Rabbit 2: Book of Hours‘ Markosia Enterprises Ltd., Jan. 22, 2024 Hardcover: 66 pages
