No keyword in children’s literature could be quite as fluid in its application as the one-word _picturebook_ or the two-word _picture book_. The cultural medium to which this locution refers is itself quite malleable and can be stretched to include nonprint pictorial media for children or adults on the internet, picture-book “format” or “a type of visual encyclopedia,” and humorous simulacra for adults such as Adam Mansbach’s _Go the Fuck to Sleep_ (2011). Or it can simply be a book with pictures in it, as Henry James in 1900 called his illustrated travel book _A Little Tour in France_ (1883–84) a “picture-book,” a hyphenated form recognized by the _OED_ and defined as “a book consisting wholly or partly of pictures, esp. for children.” Barbara Bader’s definition of the picture book in 1976 still stands as comprehensive, making room for the child reader’s experience while acknowledging the book’s physicality (“an item of manufacture”) and exchange (“a commercial product”) and historic value (“a social, cultural, historical document” [1976, 1]). Bunching together the words _picture_ and _book_, after _Bilderbuch_, some academic specialists (e.g., Bader 1976; Nikolajeva and Scott 2000; Moebius 1986) have attempted to zero in on a particular configuration or historical modality...