While Shannon gives David the purposeful look of a child's crude drawings, his background settings (the kitchen sideboard, a toy-littered TV room) are fully rendered, effectively evoking the boy's sense of displacement. Meanwhile, all those timeless childhood phrases echo in the background: "Come back here!" "Be quiet!" "Not in the house, David!" and most vigorously-"No!" Shannon's pen whisks over the double-page spreads in a flurry of energy, as he gains perspective on an image of a bare-bottomed David cavorting down a quiet suburban street or closes in on the boy's face as he inserts a finger into his triangle nose, his button eyes tense with concentration, and perfectly round head looming larger than the pages.
In this boisterous exploration of naughtiness, Shannon (How Georgie Radbourne Saved Baseball) lobs one visual zinger after another as David, a little dickens, careens from one unruly deed to the next-coloring on the walls, tracking mud all over the carpet, jumping on the bed in red cowboy boots.
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