Since the dawn of literature, authors have hooked readers’ attention through engaging and dramatic blurbs on book jackets. Conversely, A Series of Unfortunate Events author Lemony Snicket defies this traditional way by cautioning readers in the very first novel about the Baudelaire orphans’ pitiful life after their parents’ death: “I’m sorry to say that the book you are holding in your hands is extremely unpleasant” (The Bad Beginning). Snicket’s message spawns a head-spinning conundrum— why would audiences pick up his book while aware of the tragic tales soon to come? Despite this ominous forecast, the greater purpose of the series lies in recognizing the bittersweet reality of life — there’s not always a happy ending.
Avid reader Alex Garcia (11) commented on the reverse psychology effect in Snicket’s snark: “Human nature, especially adolescent – the target demographic for the most part— likes to go against what you’re told. It feels like a dare.” Pretending Snicket does not want us to read the book simultaneously captivates readers to open the book while seeming oddly amusing. It is an unorthodox method to start a story, but one that hooks the reader into reading about the three protagonists’ upcoming misfortunes.
The plot revolves around three siblings, Violet, Klaus, and Sunny – each possessing diverse talents. This seemingly cliche plot is well-executed in Snicket’s writing as the siblings must apply their talents to escape the iniquitous fortune-stealing plans of the wicked Count Olaf. The orphans are often presented with different scenarios and must brainstorm new ideas each time, ultimately requiring creativity and patience.
While most young protagonists of children’s books possess assistance in the form of wizardry, friends, or even time travel, Snicket sharply illustrates the brutal reality where these children must rely solely on their intellect to survive. Fellow Snicket reader Adora Ly (11) observed how the Baudelaire children’s notable lack of resources made for an interesting plot point: “The siblings in the series have nothing but themselves to overcome obstacles…it feels authentic only having your brains, talent, and wits to navigate yourselves.” Snicket’s open rejection of including the conventional “mentor figure” in the hero’s journey is unique yet effective in drawing more attention to the trio’s ingenuity and adaptability.
Snicket also nests a lighter undertone throughout the series by including definitions of unfamiliar words for young readers. For example, Snicket describes, “The word ‘standoffish’ is a wonderful one, but it does not describe Count Olaf’s behavior towards the children. It means ‘reluctant to associate with others,’ and it might describe someone who, during a party, would stand in a corner and not talk to anyone” (Snicket, 74). Snicket’s witty commentary adds humor to the story, an effective strategy to maintain the reader’s attention. Ly lamented how “sometimes, [readers] don’t bother to take the time and search up what specific words mean” but noted that these lessons “are useful for younger audiences” as a consequence. Coupled with vocabulary lessons, Garcia enjoyed how “the writing style is breaking the 4th wall all the time.” (This is a phenomenon in which the narrator directly speaks to the reader.) “The story is literally talking to you,” she beamed.
Apart from bursts of vocabulary lessons and the unique connection between the stage and the audience, the series also exposes the brutal nature of unreliability in the Baudelaire children’s world, a striking parallel to the chaos in our universe. The series paints adults as distracted and oblivious to what is openly wrong, a paradox to the general conception of maturity. “Kids love seeing adults being silly or stupid because usually, it’s the other way around,” Garcia noted. Snicket paints a reality where adults are too dismissive of their children and their voices are not completely heard. As a result, the adults’ blindness to reality empowers the children to question adults’ authority and rely on their instincts instead.
While A Series of Unfortunate Events is categorized as a children’s series, its tone is anything but childish. Apart from the brilliant narration techniques, sharp humor, and educational vocabulary lessons, the plot holds much more than a typical youth adventure story— the Baudelaire children don’t carry the world’s weight on their shoulders, nor do they save the day with magical wands. Rather, the story is about understanding life’s unpredictability. According to Garcia, the author’s purpose is not to encourage pointless world-hating cynicism, nor “to crush spirits,” but to recognize that “it takes a long time to reach your goals.” As Ly succinctly stated, “Not everything goes as planned and you won’t always win.”
Above all, I admire how Lemony Snicket shows the world through a different lens – one that portrays the world beyond the classic theme of good overcoming evil. The series taught me that everyone should learn to leverage resources from a young age — whether it’s education, the library, or any other source, as they can come to use throughout the turbulent journey we call life. The sooner we grasp this message, the more likely we’ll be able to withstand the winds of change that life blows our way.
