copyright 2015 Tony DiTerlizzi. Reproduced with permission from Hyperion.
copyright 2015 Mo Willems and Tony DiTerlizzi. Reproduced with permission from Hyperion.
copyright 2015 Tony DiTerlizzi. Reproduced with permission from Hyperion.
Paris dans mon cœur
How do adults address this weekend’s carnage in Paris? (Do we?) How much information have our youngest ones already heard, and how much of it do they actually understand? Forbes magazine, France 24, and plenty of other outlets are devoting columns to the topic, where the general consensus among psychologists is not to discuss it (or any other such atrocities) with children under age six. Children attending elementary school will likely hear rumors on the playground or teachers discussing it in class, and parents should prepare for a conversation. In light of media over-saturation, parents will find themselves decoding and filtering information, and should avoid projecting their own anxieties and fears. Easier said than done, but providing reassurance is crucial. It is so easy for a child to see traumatizing images without context, and the images coming out of Paris are frightening–places children visit, like soccer stadiums and restaurants, have been turned into scenes of devastation and death. Parents and educators must be willing to “prendre la relève” or take up the burden, of providing strength and love in such uncertain times.
But for the littlest ones, why not spark a lifelong love for this beautiful city and its people by offering them The Story of Diva and Flea, by power-duo Mo Willems and Tony DiTerlizzi (Hyperion Press; $14.99, October 2015). It’s a story about an unexpected friendship, but at it’s core, this is a love song to Paris. Willems realized a lifelong dream of living in the city while writing the book, and DiTerlizzi’s illustrations remind us that the people, places, and creatures of Paris are beautiful, strong, and resilient. Vive Paris.
sketch from David Macaulay’s ZOO BREAK. Reproduced with permission from DK Books. Copyright 2015 David Macaulay.
The Comedy of Physics
How Machines Work: Zoo Break! by David Macaulay; DK Books, $19.99, 30 pages, ages 6-10.
A sloth and his rodent pal Sengi are attractions at the zoo, but one fateful day they decide their enclosure too boring. They hatch an escape plan, employing simple machines like a wedge, a lever, and a pulley. Will the critter successfully catapult themselves to freedom, or will they remain forever behind bars? David Macaulay continues to dominate the world of elaborate show-and-tells in this latest volume by expertly combining witty storytelling, sly humor, and smart science. Jemma Watson’s paper mechanisms bring Macaulay’s drawings to life, and the entire cover is a working gear, the manipulation of which either saves or sinks Sloth into a piranha-filled pond. Zoo Break! is an excellent introduction to Macaulay’s world, with plenty of simple machines to encourage scientific inquiry and motor-skill practice.
Alice in Wonderland continues to receive the red-carpet treatment, and Puffin Books recently published a 150th anniversary edition with illustrations by artist and Rifle Paper Company founder Anna Bond. In 2014, Bond illustrated Penguin’s reissues ofAnne of Green Gables, A Little Princess, Little Women and Heidiandbrings her whimsical, instantly recognizable style to Alice and her Wonderland cohorts. This edition would make a wonderful gift for Alice fans and design enthusiasts who may be more familiar with Bond’s stationery and gift business.
The busy new mother spoke with me recently about tackling the book, her work process, and her plans for the future.
1. What drew you to Alice in Wonderland?
Alice is not only a
classic but it’s also one of the most fantastical stories. I was drawn
to being part of something iconic. This project totally allowed
me to be creative with the illustrations.
2. Did you read the story as a child?
I never
read the book or even saw the original Disney movie as a child. Even
so, I knew so many things about the story just because it’s one of the
most beloved books – the characters are so
prevalent in our culture too. However, I read the book before I started any of the
design process. I was surprised by how funny it is.
3. How did you choose which scenes to illustrate?
I worked with Puffin
Books to decide which scenes would be illustrated as well as whether
they would be full pages, spreads or spot illustrations. We wanted to be
sure that the iconic scenes were illustrated
larger, and that each chapter had a mix of styles. There ended up being
some sort of illustration on nearly every page.
4. What’s your
medium? Could you talk a little about your design/artistic process? Were
you involved in selecting the type and font?
I paint with gouache
on watercolor paper and then scan and edit the illustrations on the
computer (for color corrections, moving things around, and so on). For
this project I rough-sketched every illustration
with pencil before I began painting to be sure I was on the same page
as the publisher. I then worked with their team to make sure the
interior was matching my vision. I couldn’t find a font for the chapter
titles and drop caps that I really felt matched
the story so I ended up hand-painting an alphabet.
5. After 150 years, there have been plenty of variations in art for the book; what’s it like tackling such a legacy?
It was both exciting
and challenging. I love the original illustrations by John Tenniel so
much, especially because they were created with input from the author.
I think they are Lewis Carroll’s vision and nothing
will replace them, but I loved the opportunity to create my own spin.
The originals were printed in black and white
so I felt like I had a great opportunity to showcase my use of color.
6. From a design
perspective, it looks like you’ve taken the whimsical approach to
illustrating Alice, very much in the vein of your work at Rifle Paper
Company. Do you see the story as a charming trip down
the rabbit hole? (I’ve spoken with illustrators who see nothing but a
tripped-out nightmare in Alice, and illustrated it accordingly.)
It definitely reads
like a dream but I personally don’t consider it a nightmare. Alice is
strong and witty and fearless. I think that saying it’s a nightmare is
discrediting her character, because she navigates
that world in such a beautiful way as she rolls through each scene.
Wild things happen all around her, but just like in dreams, they seem like reality. I tried to create a beautiful, magical world where the
imagery doesn’t necessarily always fit what’s happening
around her.
7. Your Alice is a
blond in a blue dress. Are you referencing Disney’s version from the
1950s? If so, what made you go this route? (If not, what was your
inspiration?)
Disney solidified the
blue dress as Alice’s look and I think now it’s become so iconic that I
felt like it was too risky to change. However, I wanted to make her a
little more modern and less girly. I think
she has a bit of an edge to her, so I made her hair more natural, put
her in strong button-up boots, and made her dress more simple. The story
was written in the Victorian era so I kept the pinafore, the dress
style and boots.
8. Your artwork for
Rifle Paper is impeccably curated, and though many pieces are unique,
they all have a distinct and cohesive look. How would you describe your
artistic aesthetic?
Thank you! I work
hard to create a cohesive look for the brand. It’s whimsical, timeless,
and has a distinctively vibrant color palette. Everything is painted
with gouache which gives it a vibrant and velvety
look.
9. Do you have any designers or artists you reference in your work?
I’ve been inspired by
so many artists and designers over the years. I tend to be drawn to
very bold and colorful illustrators such as [longtime Disney illustrator] Mary Blair but overall, I am drawn to
very clean, minimal and muted design. I like
to think that my work has a bit of both of those aspects to it. It’s
bold and playful but also refined. I’m always striving
for that balance.
10. You recently
welcomed a baby boy into your family. Do you think you’ll illustrate
more children’s books now? Are you working on any such projects?
It’s possible. I’ve
collected children’s books for years and always thought I would love to
write and illustrate one someday. Right now I’m working on lots of new
products for Rifle Paper Co. that go beyond
paper. I’m really excited about what’s to come over the next year or
two.
11. What kinds of children’s books do you collect?
I
have a lot of classics such as the Babar series as
well as a range books where I simply love the illustrations. However, I think most of the books in my collection were published in the ‘50s and ’60s.
Alice in Wonderland, by Lewis Carroll, illustrated by Anna Bond; Puffin Books, $30.00, 192 pages, ages 10 and up.
Coloring books have reached the zenith of sophisticated stress-release and mindfulness for adults – one need look no further than the pricey pattern tablets offered with creamy Faber-Castel colored pencils – but coloring books for kids offer inexpensive, portable, and decidedly screen-free ways to relax and pass the time. The following three selections are the best of the pack:
I Heart Cute Coloring, by Jess Bradley; Price, Stern, Sloan, $9.99, 128 pages, ages 6-9.
Yes, this chunky tablet delivers exactly what the title promises: page after page of unicorns, reindeer and bathing penguins. The vaguely anime style lend the book an air of cool no pre-tween can resist. Rather than swipe your kid’s copy, adults can pick up the companion volume, I Heart Coloring, by Felicity French.
64 pages of puzzles, mazes, seek and finds, and a pull-out poster all starring the global phenomenon Hello Kitty. Does it matter that the illustrations are Christmas-themed? Not in the least. If you have more than one Hello Kitty fan at home, better get two copies.
Harry Potter Coloring Book, Scholastic; $15.99, ages 9-14. (release date: November 10, 2015)
This coloring book cast a spell on me; filled with all the magical creatures and places from the film series, it will enchant Harry Potter buffs, too. The final 16 page spread includes fully-colored illustrations of emblems as well as photo stills from all the movies. Aparecium!
Today I’m excited to share my Q&A with Maggie Thrash, whose emotional graphic novel, Honor Girl (Candlewick Press, $19.99, 272 pages), chronicles a fateful summer when the author first fell in love while at an all-girls sleepaway camp in the South. Thrash, also a writer for Rookie Magazine, spoke with me about accepting and embracing her sexuality, her years at Hampshire College, sleepwalking, the mental demands of riflery, and recognizing that pivotal moment when you realize you’ve grown up.
What moved you to write Honor Girl at this point in your life?
I needed to say this before I could say anything else. This book is the Maggie Thrash starting point. So much about my life– the way I think, the way I deal with love– all traces back to how I handled this summer. It was the first time in my life that I was faced with real, intense, adult emotions. Before this summer, I was a kid, and afterwards I was not—and there was no going back.
Why did you decide to write a graphic novel instead of a traditional book? Honor Girl focuses on a very specific period in your life – your discovery/acknowledgement of your sexuality, and your first love. Was it difficult reliving your adolescence? Was this book your way of coming out to the world?
I think comics are the best medium for memoir because you can be up-front and objective about yourself while also being incredibly personal. It wasn’t very difficult for me to relieve this period, because in many ways I’m kind of stunted– I still feel fifteen years old. So it wasn’t a stretch for me to reach back and relive those feelings. And yes, this is definitely me coming out to the world. I’d always been very secretive about my relationships with women, because being secretive made life easier. But the world has changed a lot in the last fifteen years, and diversity is being celebrated now.
Did you ever reconnect with Erin, or is she firmly in the past?
She’s read the book, and we’re going to have lunch soon…. I’m kind of terrified! It must be very strange to see yourself and your memories through some else’s eyes, and to have that version published for the world to see. But she has been immensely supportive and cool.
What happened afterwards? You attended Hampshire College, and as a fellow graduate of a Pioneer Valley school (Smith), I can easily imagine that Hampshire was a far cry from Bellflower and Atlanta. Did you experience any culture shock when you got to college? What were your first impressions? How did attending Hampshire, and spending your undergraduate years in such an environment, influence your work and life?
Yes, Hampshire College was a huge shock! There was a nudist, and a girl who made art exhibits out of garbage piles, and a guy who dressed like a pirate every single day. The place was teeming with gay people and nonconformists and a wide variety of weirdos. It’s funny, on the first day of orientation, I found this one Midwestern boy who was wearing “normal” clothes– like a Polo shirt and jeans– and I latched onto him and he became my best friend. We navigated all the craziness together. I have probably never been happier in my life as I was at Hampshire College. It is a strange, wonderful heaven.
Have you stayed in touch with any of the girls from Bellflower?
I purposefully avoided contacting anyone while I was writing the book. I wanted to stay true to my perspective and not feel beholden to other people’s memories. It’s wild how two people can remember one event so differently. The idea of having to serve multiple perspectives was too overwhelming. All the girls in the book have their own stories. What ended up happening to the character of “Bethany” is pretty crazy, for instance. It could be a whole book of its own. But I was just like, I gotta stay focused and tell my own story here.
As a writer for Rookie you know that many young girls read and look up to you. Did you feel any of that pressure while writing?
Rookie readers are very compassionate. They get that everyone is flawed. I am not a fantastic role model in Honor Girl. I let people push me around, and I didn’t have confidence in my feelings or my intuition. But it’s important for me to be real with girls and to tell them, “You’re gonna lose some battles in life. It happens. It doesn’t mean you’ll be a loser forever.”
You’re pretty good with a gun, but you haven’t shot anything in over a decade. Why? Do you miss it? Could you talk about why you took up riflery in the first place? (You allude to riflery as a way to bond with your father.)
It’s pretty random how I took up shooting. Mostly I did it because it wasn’t a popular activity at the camp, so it was a great way to get away from everyone (at camp you’re constantly surrounded). I definitely didn’t expect to be such a prodigy. Riflery is an interesting sport, because all it takes to excel is concentration and confidence. It’s 100% mental. When I went back to camp the next summer, the summer after the one portrayed in the book, I was a different person. My confidence had faltered, and I lost my magic. Like most prodigies, I totally flamed out. I want to shoot soon just to see what happens, to see if lost magic can be recovered. I’ll let you know how it goes!
Do you still sleepwalk? If so, what do you do about it? If not, how did you stop?
I rarely sleep-walk anymore. I grew out of it I guess. But I have a new, equally disruptive sleep malfunction where I wake up in the middle of the night screaming my head off. Usually I’m screaming for my dad, like, “DAAAAAAAAAAD!” It’s probably a deeply ingrained thing for girls in this patriarchal society, to scream for their fathers to save them.
Did you really see Brigadoon after you left camp? It seemed an appropriate coda to Bellflower disappearing into the past, just like Brigadoon vanishes into the ether.
Oh yeah. Every year my mom and I saw a musical on the way home from camp.Brigadoon always stuck with me. Partly because I’m Scottish and because the title song is so beautiful. But I also love how Brigadoon represents how nothing lasts. All anyone wants is to be happy and for time to stop. Brigadoon captures those two impossible desires.
What are you working on now?
I have something pretty different in store for next year. It is fiction, and non-graphic. It’s a teen mystery. I think it will be interesting for Honor Girl readers to read it and be like, wow, so this is what became of Maggie Thrash. She grew up to write books about teenagers murdering each other. Nice.
Honor Girl, by Maggie Thrash; Candlewick Press, $19.99, 272 pages, ages 14 and up.
Reproduced with permission from Frederick Warne & Co.
Reproduced with permission from Frederick Warne & Co.
Classic Children’s Tales: 150 Years of Frederick Warne; Frederick Warne, $25.00, 112 pages, all ages.
Since 1865 Frederick Warne & Company has championed the importance of providing children with their own literature, and introduced the world to Beatrix Potter, Kate Greenaway, Randolph Caldecott and Edward Lear, as well as more modern authors such as Eric Hill (creator of the Spot series) and Cicely Mary Barker (Flower Fairies). In 1983 Penguin Books acquired Frederick Warne, where it flourishes as an imprint. Now celebrating its sesquicentennial, Warne recently released a commemorative compilation of its most prestigious authors and illustrators. Classic Children’s Tales: 150 Years of Frederick Warne is a foil-stamped jewel destined to find pride of place on the bookshelves of many children’s book collectors. Devoted to Potter, Caldecott, Greenaway, and Lear, each of the four sections includes introductions supplied by modern legends Jan Pieńkowski, Paul O. Zelinsky, Lee Bennett Hopkins and Eleanor Taylor. Stories that have nurtured young spirits for generations are here, such as Caldecott’s “Sing a Song of Sixpence” and Greenaway’s “Mother Goose,” as well as a story by Beatrix Potter entitled “The Sly Old Cat” that wasn’t published until 1971, nearly thirty years after Potter’s death. These stories encourage young readers to imagine the impossible, that reading is an adventure, and that a picture is worth 1,000 words. Here’s to many more years of Frederick Warne and to the next golden age of children’s literature.
Little Gestalten is the recently formed children’s imprint of the Berlin-based art book publisher Gestalten. (Find reviews of earlier Gestalten titles here.) Since 2014, the house has pushed the envelope with unexpected stories and showstopping art, and in the coming years will likely become a greater voice in the world of picture books. The Honey Hunter, written by Karthika Naϊr and illustrated by Joёlle Jolivet ($24.95, 52 pages), is a bold example of Little Gestalten’s offerings. Originally a play, the story was converted into book form and published simultaneously in English and French (Le Tigre de Miel). This modern Indian folk tale begins in the peaceful land of the Sundarban, where people coexist happily with the world around them, until the seasons change for the worse, and there is no food. Little Shonu and his family go hungry, and the boy’s father refuses to take honey from the bees because doing so would undo the natural balance. One day when the roar of the boy’s stomach outweighs his sense of reason, Shonu disappears into the forest, finding honey but also angering a demon tiger who preserves the fragile ecosystem. At 52 pages, The Honey Hunter is longer than the standard 32 or 40 page spreads, and there’s a lot going on in the story, including global warming, deforestation, poverty, and religion. At times it’s just too much for a young reader to follow. (These elements probably worked much better and more smoothly on stage, where thoughts could be transcribed through action and set design.) A few small spelling errors mar the text as well. However, the art is fantastic, and the images above don’t do them justice. Jolivet’s linocut prints are rendered in brilliant neons offset by forms outlined in inky black, and are a wonderful example of work by this winner of the prestigious Prix Goncourt Jeunesse. Hot pink, psychedelic purple and oozing gold take center stage here. Where the text lagged, I found myself abridging much of the story and taking cues from the art on the page, and I think many readers will do the same. Consider this book for the stunning linocuts and recreate the tale in your own words. It will be sweet.
Literary Features Syndicate 