Winnie-the-Pooh, the book that introduced the lovable, affable and not-too-bright stuffed bear to the world, was first published in 1926. That book, lovingly written by A.A. Milne and illustrated by E.H. Shepard, remains a treasure a century later and should be read in its original form by anyone who loves children's classics.

However, the stories and Milne's anthropomorphic characters -- Pooh, Piglet, Owl, Eeyore, Rabbit, Kanga and Roo -- entered the public domain in 2022, paving the way for the use of those characters in any number of new ways. While that creative freedom sadly led to a dark series of Hundred Acre Woods slasher films in the Winnie-the-Pooh: Blood & Honey series, it also opened the door to Winnie-the-Pooh: The Graphic Novel, which -- in my humble opinion -- is a much better use of the source material.

(In case this isn't clear, Walt Disney's animated version of Winnie the Pooh, sans hyphens, first appeared in 1966 and remains under copyright protection. Thus, the red-shirted Pooh and other visual cues tied to the Disney production won't be turning up in other media any time soon. Bouncy Tigger, who first appeared in a later book, is also off limits for the time being.)

Winnie-the-Pooh: The Graphic Novel is a new take on the original classic. Adapted by Kevan Chandler and Joe Sutphin, it retains the basic storyline and, most importantly, the voice of Milne's original adventures. Sutphin also illustrated the book in a style reminiscent -- but not identical to -- Shepard's original artwork. (Although Sutphin most definitely reproduced some scenes very closely matching the originals.) Also, where Shepard's work was in black and white, Sutphin's uses a muted color palette that suits the stories more, in my opinion, than Disney's garish color scheme.

(Not that I don't enjoy Disney's Pooh cartoons, which I have always thought were very well done. It says something that, after all the years, I always hear Milne's characters speaking in those familiar Disney voices!)

The story, too, faithfully mirrors Milne's prose, although there are some edits and shortcuts and a few minor changes. For instance, when Pooh is stuck hanging from a balloon in close proximity to a honey-filled beehive, Christopher Robin in Milne's version freed him with a well-aimed (on his second try) shot from a popgun. In this modern version, he uses a slingshot instead.

The graphic novelization retells all 10 stories found in Milne's first collection, including Pooh's attempt to raid a bee hive disguised as a storm cloud, Pooh's raid on Rabbit's honey supply and his subsequent obstruction of Rabbit's front door with his ample girth, Pooh and Piglet's attempt to track a Woozle, Eeyore's lost (and found) tail, Pooh and Piglet's attempt to trap a Heffalump, Eeyore's birthday, the arrival in the woods of Kanga and Roo (who did not receive at first a universal welcome from the residents), Christopher Robin's "expotition" to find the North Pole, the floodwaters that surrounded Piglet's tree and the clever means by which Pooh and Christopher Robin rescued him, and a farewell party.

The book was released to much fanfare this month celebrating the 100th anniversary of the original publication. Chandler and Sutphin's charming adaptation is a treat for existing fans of those stories, but it's also a delightful introduction to the series for anyone who, somehow, has overlooked Pooh for all these years.

It's also a reminder that Milne's subtle wit still endures, helping to keep Pooh alive and relevant for a new generation. These days, I think we could all use a bit more Pooh and Piglet in our lives.