Picture Book Analysis – Don’t Let the Pigeon Drive the Bus!
IS 571 – Dr. Cindy Welch
Becca Tedesco
Don’t Let the Pigeon Drive the Bus!, written and illustrated by Mo Willems, is a
Caldecott Honor book that tells the story of a small pigeon who desperately longs to drive a bus.
After the driver of the bus leaves the scene and requests that the reader watch his bus,
specifically declaring that the Pigeon can’t drive it, the Pigeon immediately appears and tries to
convince the reader to let him take the bus for a quick spin. Despite continuous pleading and
reasoning from the Pigeon, the bus driver eventually returns to the scene and is pleased to learn
that the Pigeon did not sway the reader to let him drive the bus. On the surface, this book may be
perceived as a story about a pigeon trying to get his way. However, upon closer inspection, it is
clear that this story is a tool to teach children how to keep promises and how to determine right
from wrong.
The crucial component of this book’s ability to achieve the desired pedagogy is the
relationship that it creates with the reader. While most books have a defined narrator, this book
breaks a barrier and allows characters to directly speak to readers, involving them to such a
degree that they feel as though they will actually have an effect on the outcome of the story. As
the story progresses, the reader becomes a character and even a co-narrator of the story. In fact,
without the reader, this story wouldn’t work – the Pigeon would be left to his own devices and
would most likely succeed in his bus-driving endeavors. For this reason, it is vital to transform
the reader into a dynamic reader who is fully invested in the outcome of the story and is
dedicated to keeping his promise to the bus driver. Willems achieves that necessary concern and
rapport through his illustrations and enriching text.
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The implied reader of this story is a young child ranging from two to six years-of-age.
Willems uses his artistic style to immediately connect with that reader, creating a child-like
setting through minimalistic illustrations and a dull color palette. The main objects throughout
the story – the Pigeon, the bus driver, and the bus – are all drawn using basic two-dimensional
shapes of circles, triangles, and squares and are all outlined in thick, dark crayon. These simple
stylistic elements combine to give the impression that a child the same age as the implied reader
could have created the illustrations. Not only does this make the images instantly relatable to the
reader, but it also gives the reader the impression that he could easily draw the characters
himself, further emphasizing the idea that he is a co-narrator of the story.
From the cover, it is evident that this book will take a unique approach to conversation.
The title, Don’t Let the Pigeon Drive the Bus!, is featured in a large speech bubble, suggesting
that it is meant to be interpreted by the reader as a direct command. Since the only character
featured on the cover is the very Pigeon who the command is regarding, it can be assumed that
the command is directed at the reader. The back cover of the book sends a similar message by
displaying the Pigeon begging in various poses and suggesting that the reader can say “no” to
him, concluding with the question, “Will you let him drive?” ultimately suggesting that it is up to
the reader to decide. The reader is again pulled into the storyline on the title page, as the bus
driver appears on the verso page and asks in a speech bubble if “you,” which, again due to the
lack of other characters, implies the reader, can watch the bus for him until he returns. He then
specifically instructs, “Don’t Let the Pigeon Drive the Bus” which appears on the recto page and
is also in a speech bubble, alluding to what will be a consistent pattern of conversational speech
bubbles being used throughout the book. Since the eyes tend to look from left to right, and the
bus driver appears prominently in the far left corner of the verso page, he is the first thing that
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the reader sees on these pages. He is also depicted as the largest and closest image, suggesting
that he is extremely important. Due to his size and implied importance, which are replicated on
the next two pages, the reader feels a strong responsibility to honor the driver’s request to watch
the bus and not to let the Pigeon drive it.
The asymmetrical orientation of the illustrations and text continue throughout the book as
the Pigeon attempts various methods to convince the reader to let him drive the bus. Throughout
the majority of the book, pages 4-26, the Pigeon and his speech bubbles are the only items
depicted on the pages, emphasizing his interaction with the reader. Ample amounts of the dullcolored background are featured on each page, which, because he is so invested in the story,
invoke the reader’s imagination and allow him to envision other elements that may be unfolding
in the scene. Most importantly, the open background space allows the reader to find room for
himself to be inserted in the story, possibly standing next to or behind the Pigeon, in order to
respond to the many persuasive campaigns the Pigeon employs.
Although the bus driver is depicted as the largest character, the Pigeon grows in size after
his initial introduction, increasing his importance to the reader. On page nine, the illustrations
zoom in close to the Pigeon’s face and show him with the end of his wing cupped around his
mouth as though he is whispering, conveying the idea that the Pigeon is drawing the reader in to
share a secret, creating a connection with him. His exceptionally expressive nature enhances the
connection with the reader and creates the perception that a rather exasperating conversation is
taking place between the two. The minimalist illustrations and heavy use of outlining against the
soft background colors draw attention to the Pigeon’s body language, which he is employing in
order to try to persuade the reader to let him drive the bus.
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Particular notice is given to his large eye, which is often the first thing the reader notices
on the page and can immediately express the feelings of the Pigeon at that specific moment.
Despite the simple illustrations, the Pigeon comes to life with a few shifts of his eye, the
movement of his wings, and the overall body posture that he displays. When the Pigeon is
frustrated because the reader has denied his requests to drive, he is shown with his wings on his
hips, his eyelid partially closed in a glaring position, and a dark cloud drawn over his head (pg.
12). Similarly, when he is communicating his sorrow over not being able to drive the bus, he is
shown with his neck curved toward the ground, his wings hanging loosely to the side, and his
posture slumped, suggesting that he feels completely dejected (pg. 16). The various depictions of
the Pigeon used throughout the book give the reader the impression that the Pigeon is
experiencing an emotional roller coaster, which, due to the previously established connection
between the two, creates sympathy for the Pigeon. It is because of this relationship that the
Pigeon is actually a challenge for the reader. Although he is aware of the reader’s promise to the
bus driver, he is testing the reader’s commitment to that vow, hoping to employ sympathy,
bribery, or idealism to get his way. Without the emotional connection that is created by the
expressive illustrations, the reader would not be forced to contemplate the importance of his
promise and would not have to examine concepts of right versus wrong.
Even with the expressiveness of the Pigeon, the message of the book would not be as
effective without the text to enrich the storytelling. The texts adds depth to the illustrations by
enhancing what is being conveyed on each page. From the wide eye, fully open mouth, and
quick flapping of the Pigeon’s wings shown on page 17, it is obvious that he is excited.
However, it is not entirely clear why until the reader examines the text “Hey, I’ve got an idea.
Let’s play ‘Drive the Bus,’” which communicates that the Pigeon is excited because he has
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thought of another way to try to trick the reader into letting him get his wish. The format of the
text also enhances the emotions portrayed through the illustrations, as on page 23, when the
Pigeon is throwing a temper tantrum, as demonstrated by the series of him jumping, flailing, and
rolling on the ground, and the text is much larger than it is on other pages, is in all capital letters,
and is drawn with extremely thick, dark black crayon, suggesting exasperation and anger.
The book comes to a close when the bus driver returns and leaves a dejected looking
Pigeon in the trail of the bus’s dust cloud. This illustration communicates a sad message and
could leave the reader feeling conflicted about his role in the Pigeon’s failure to drive the bus.
However, on the next page the Pigeon is shown with an excited expression as a large semi-truck
appears behind him. The back endpaper of the book shows a dreamy looking Pigeon with a
thought bubble full of images of him driving a semi-truck. This imagery parallels that of the
front endpaper, which shows a similar scene of the Pigeon dreaming about driving the bus,
suggesting to the reader that the Pigeon will approach his new aspiration with the same fervor
and single-mindedness as before. Instead of feeling sad that the Pigeon wasn’t able to drive the
bus, the reader leaves the story proud of his commitment to his promise to the bus drive and
imagining his role in the Pigeon’s attempt to drive the semi-truck.
The reader’s imagination and connection to the story of Don’t Let the Pigeon Drive the
Bus!, is critical to the book’s success. What appears at first glance to be simplistic illustrations
and text are actually complex and brilliant devices to involve the reader in the story. The
decisions that Willems made were all focused on one goal: transforming the passive reader into a
dynamic reader who becomes a character and co-narrator of the book. The illustrations, text, and
compositions found throughout the pages come together in perfect harmony and leave the reader
hoping for another chance to interact with the Pigeon.