books where the author tried to impart outside values on the child reader. Pastoral theologian Herbert Anderson has written that the child's perspective of reality in Mulberry Street can be challenging and seem subversive to an adult. He argues that Marco's internal story of what happened on his walk was not dishonest or rebellious, but a natural "openness to constructing a world". The child's untruthful response that he had not seen anything interesting on Mulberry Street is not out of disrespect to the parent, but is Marco's attempt to reconcile his perspective with the authoritative, adult one of his father. Verse style Nel notes that Geisel makes heavy use of anapestic tetrameter in Mulberry Street and many of his later books, citing the rhythm and draw of the books' language as a main reason for their appeal. Thomas Fensch also notes the rollicking rhythm of the verse in Mulberry Street and Geisel's other books, writing: "Children can read the lines; they can sing the lines; they can SHOUT! the lines; they can dance to the lines". Fensch marks Mulberry Street as the start of what he calls "escalating sequences or escalating action", a technique Geisel used in most of his books, in which the action builds with each page. As Fensch put it: "The rhythm gallops—the pictures move from left to right, toward the next page and the action builds". Artwork Geisel's drawings formed a part of the narrative, bordering on the blending of text and image found in the much-denigrated comics medium. The artwork in children's literature before Geisel's appearance was much more restrained than Geisel's, and relegated to a lower status than the text it illustrated. By linking text and image, the book helps children follow the story even if they cannot read every word of the text. By encouraging children to explore the page, the drawings allow them to use their imaginations to fill in gaps in the text. The details shown in the pictures but not explained in the text creates a tension between them that leads the reader to think and imagine further. In the case of Mulberry Street, Philip Nel writes, readers might be moved to ask questions such as "Why is the elephant blue?" or "Where did the airplane come from?" In bold colors Geisel illustrated the surreal scenery and strange human and animal characters of the book with the strong, loose, energetic