Thanks to Maya Bradford at Abrams for sending some fabulous images from Faeryland by John Matthews and art by Matt Dangler. (See my review here.)
Summer isn’t over yet, so here are a few books that capture the whimsical spirit of these final days of the season.
Now Open the Box, by Dorothy Kunhardt; The New York Review of Children’s Books, $16.95, 72 pages, ages 4-7.
Before Clifford the Big Red Dog, there was little Peewee the circus dog. Originally published in 1934, Dorothy Kunhardt’s Now Open the Box tells the story of a beloved red canine and his opening act at the circus.
Now Open the Box by Dorothy Kunhardt. Reproduced with permission from the New York Review of Children’s Books © Dorothy Kunhardt.
To beckon spectators, the ringmaster stands in front of a large red tent while holding a yellow box that fits in the palm of his hand. Inside is Peewee. Although the tiny pooch can’t perform a single trick, everybody loves the cute canine, from circus-goers to fellow performers. Unfortunately the dog begins to grow, and this threatens his place under the big top.
The New York Review of Children’s Books has just reissued this book by the author of Pat the Bunny. A torrent of words, coupled with bright illustrations and simple sentences lend a childlike, innocent quality to the storytelling. Kunhardt’s iconic line-drawn illustrations employ a basic color scheme of fire engine red, canary yellow, black and white.
At times, the story may seem lengthy and very young children might lose patience, but most readers will enjoy following Peewee on his adventure extravaganza. Kunhardt aficionados will surely want to add this edition to their collection.
The Green Bath, by Margaret Mahy, illustrated by Steven Kellogg; Arthur Levine Books, $15.95, 40 pages, ages 4-8.
The Green Bath by Margaret Mahy and Steven Kellogg. Reproduced with permission from Scholastic Inc.
After a full day of ambushing pirates, Sammy desperately needs to clean up before his grandmother visits. Not only does the boy require a bath, it must take place in a green tub his father acquired secondhand at a tag sale. This is no ordinary bath, and sudsy mayhem involving sea serpents, mermaids, and soap ensues. H.C. Andersen Award winner Margaret Mahy’s freewheeling prose coupled with Steven Kellogg’s good-natured, high-energy illustrations will invite children to explore using their own imaginations long after the suds have gone down the drain.
Faeryland; The Secret World of the Hidden Ones, by John Matthews, illustrated by Matt Dangler; Abrams $27.50, 64 pages, ages 6 and up.
Faeryland by John Matthews, illustrations by Matt Dangler © Abrams Books, 2013
Faeryland isn’t a storybook; it’s an interactive encyclopedia of Faeries, Peris, Elves and Djinns. Matthews explains the origins of fairy lore, defines names, and explores enchanted places. The concept of fairies – mythical, yet timid beings who live beyond human reach – exists in every culture. Faeryland documents the lore of the Hidden Ones, from the Selkie seal people of Northern Europe, the ant-sized Abatwa of South Africa, and the good-natured Brownies of Scotland. Also included are fairy postcards and a reproduction of a nineteenth-century Faerie map. (The original is in the Library of Congress.) Matt Dangler’s fantasy paintings illustrate this enchanted almanac, and work by artists such as William Blake and Randolph Caldecott complete the book.
Goblin Secrets, by William Alexander; McElderry Books, $6.99, 240 pages, ages 8-11.
William Alexander’s 2012 National Book Award winner has just been released in paperback, making Goblin Secrets a great and affordable choice to pack for a quick weekend getaway. The tale follows Rownie, son of Graba the witch, as he searches for his missing older brother. Our hero encounters a traveling troupe of performing goblins who teach Rownie their magical craft while also helping find his sibling. Middle grade readers craving magic and fantasy adventures will find Goblin Secrets enchanting and rich with original storytelling.
MARTHA’S VINEYARD (August 3-4, 2013) –
Every other summer, authors from across the globe descend on Martha’s Vineyard for a whirlwind weekend of signings, presentations and bookish discussions. This year’s event drew writers including Pulitzer-Prize winner Tony Horwitz, notable nonfiction writer (and Smith College alumna) J. Courtney Sullivan, Tom Reiss, (another Pulitzer winner) and other literary luminaries.
photo credit: William Lazarus
The festival was held at two island locations this year – Saturday’s events took place at the Harbor View Hotel in Edgartown, and tents welcomed festival-goers at the Chilmark Community Center on Sunday. The Harbor View hosted a series of moderator-led panels where topics such as the future of journalism, gangsters, and matrimonial fiction were discussed. All authors were available at both locations to greet fans and sign books.
The humidity that notoriously plagues the island during warmer months was happily absent for the weekend, and temperatures in the seventies made browing stalls and chatting with authors a pleasant experience.
Many thanks to Anna McKean at Simon & Schuster for sharing these great images from Mark Pett’s The Boy and the Airplane.
Cover art for summer reading books.
As the heat of July gives way to August, what better way to fill in that sweet down time between lounging at the beach and an evening chasing fireflies than with a great book. Below is a quick run-down of a few of the best titles available right now.
Joe and Sparky go to School, by Jaimie Michalack, illustrated by Frank Remkiewicz; Candlewick Press, $15.99, 48 pages, ages 5-7.
The kids may have just finished classes and want nothing to do with school, but this caper involving Joe the giraffe and Sparky the turtle will delight kindergarden-age readers. Michalak’s third book in this award-winning series sets the spunky duo loose on a class full of children and a vision-impaired teacher.
Good Night, Sleep Tight, by Mem Fox, illustrations by Judy Horacek; Scholastic Press, $16.99, 32 pages, ages 3-5.
Acclaimed Australian children’s book author Mem Fox and fellow Aussie Judy Horacek have another hit for young readers. The duo, who created the outstanding Where is the Green Sheep? share a story of two tireless youngsters and their heroic babysitter. Skinny Doug attempts to lull his charges to sleep by reciting seven nursery rhymes, each to the delight of the little Bonnie and Ben. This book will encourage memorization skills in early readers and likely be requested frequently as a read-aloud.
The Boy and the Airplane by Mark Pett; Simon & Schuster, $15.99, 40 pages, all ages.
This wordless book is an ode to a boy who devises a unique way to retrieve his toy airplane that he stranded on a rooftop. The sepia-toned pencil and watercolor drawings by veteran cartoonist Mark Pett illustrate a timeless and charming tale of patience and ingenuity while sharing the magic of aviation and imagination.
Last week I had the opportunity to speak with Leonard Marcus, considered by many to be the leading authority on the history of children’s books in America. He has written dozens of books, from biographies to histories to collections of interviews with authors and illustrators.
2013 has been busy for Mr. Marcus -he wrote an article about Maurice Sendak for the current issue of Fine Books & Collections Magazine , curated the current exhibit at the New York Public Library that’s dedicated to children’s books, and has a biography on Randolph Caldecott slated for publication next month. During our hour-long conversation we discussed these and other topics circulating in the children’s book world. Below is part one of our conversation.
photo credit: Elena Seibert
What prompted you to put together this exhibit at the NYPL at this point in time?
The Library contacted me. They decided to do a show on children’s books because the last one they had done was in the 1980’s. A generation of children had come and gone, and the library felt that another exhibit was past due.
I think the library has changed in many ways – and so have many other cultural institutions. There is a greater interest in making rare materials accessible to the public, not just in the literal sense of putting them on display, but presenting them in a way that’s less intimidating than in the past.
I think of the Metropolitan Museum and the first time I went there as a teenager. There was this atmosphere of reverence, and that has since changed. All cultural institutions, as a matter of survival, I think, are making the public feel more welcome and relaxed in the presence of their treasures. So the hope for us was to put together an exhibit that gives people ways of connecting with the books in a meaningful way.
Have you noticed this trend of accessibility in other institutions where you’ve put on exhibits?
Well, I’m very involved with the Eric Carle Museum- I’m on the board of trustees – and I think that having a museum dedicated to children’s books is a sign in itself of a break with tradition. In the past, museums would not have considered children’s book art worthy of exhibition. Certainly not anything contemporary – perhaps old Victorian books that had acquired a certain patina. The Carle is dedicated to contemporary art that, to some extent, presents itself as museum for people of all ages. It makes provisions for the very young who might want to sit on a bench and be read to, or go into a room and create their own art. That is indicative of a shift of how museums view themselves and their role in society.
Does this also reflect a shift in the way parents read and share books with children?
I think that parents today belong to the best-educated generation in the history of the world, so I think they are very book-conscious. They’re also more aware of how books are made and perhaps their children are as well. Now artists and writers and can be encountered at story hours, museums, bookstores.
Some parents, I think, are eager to expose their children to a wide range of books, it’s a way of encouraging children in their own creativity. One of the hallmarks of Eric Carle, who works primarily in collage, is that he creates the kind of art children do when they are in preschool. One of the unspoken messages of Eric Carle’s art is that, his work is not too different from art that children might create on their own.
Mo Willems is all about making art that children can do themselves. It’s about demystification. I think that’s a really big theme in the museum world right now, and especially with my exhibit at the NYPL, the goal is to take things off the pedestal and to make people feel that, when we’re talking about culture, we’re talking about ownership, and that everyone can partake in it.
Some books on display at the NYPL were quite scary – the Grimm books, for example – and some contemporary parents might say ‘I’m not going to read that to my child.’ Yet on the flip side, there exists a genre of violent vampire and zombie books that many parents share freely with their middle-years children. Do you notice any sort of disconnect, or are we watering down children’s literature?
Well some are for it, some abhor it. One good thing about the present is that there is such a range of books available. On the one hand we have a deeper awareness of child psychology than was reflected in the books published for children one hundred years ago. Fifty years ago there was still a desire to shield children from the darker parts of life. Then there are people like Maurice Sendak who really brought a new and frank insight into the equation, which had an impact on books of all kinds.
On the other hand there are intense commercial pressures brought about by the fact that publishers have consolidated, as well as booksellers. There is a rush for the lowest common denominator – the least offensive book that will appeal to the greatest number of people. So those pressures work against each other. Sometimes one wins out, sometimes the other does. I think that defines the current situation. I see a lot of very safe books, certainly when you look beyond the book world into the film world, such as with Disney, where the financial stakes are so much greater, to come up with something that’s palatable rather than emotionally satisfying.
Parents must fit in here somewhere.
I think parents need to know that it’s their responsibility and it can also be a great pleasure for parents to be involved in their children’s reading. There’s been some tendency to leave book choices to the experts, or alternatively to leave the child with a handheld device and then leave the room let the child to fend for himself or herself. That’s perhaps the worst of all choices, because, in my opinion, the book you choose matters, the experience you have of the book matters even more. And for a young child, that experience needs to include an adult who can mediate the story, and assessing it with a loving attachment.
You don’t sound like you are against the use of technology, rather in favor of its judicious employment.
I’m not against technology, but it’s no substitute for a parent. And in certain respects, paper books function more effectively than e-books do. I think that these are two art forms that are going to both develop and each will put pressure on the other to do better at what it can do best. A Kindle, for example, can’t change its format. Every picture book has to be exactly the same size to fit in the screen, and that is a real problem for creator of picture books, whereas the trim size and other physical aspects of the book have always been considered expressive elements. But that’s not to say that some brilliant person couldn’t take an e-book – which is really a form of animation – and do something on an aesthetic level that someone working in a picture book format could only dream of doing.
I’d like to talk a little about your writing. You are a historian and a critic of children’s literature.. You wrote reviews for Parenting magazine for twenty-one years and write the “Sight Reading” column for Horn Book. Which came first, the historian or the critic? How and when did the two fields meet?
When I was a senior at Yale, I wrote my thesis on the history of American children’s books, but no one at Yale was studying this. The first two history professors I approached to be my advisors both said no because they saw no value in writing the history of children’s books.
But the third professor I approached said yes. It was David Brion Davis, a historian of slavery and western civilization. He told me that the South had, in part, justified slavery by speaking about the slaves as if they were a child-like people. The image of a child was used to manipulate as well as rationalize the public perception of slavery.
I was also writing about images of childhood as they played out in books for children. In other words, what philosophies or religious ideas were being expressed in books for children; What assumptions were being made about childhood by the authors who were writing about children, and how these assumptions were being transferred to another generation. So Davis saw at least one thread connecting his work with what I wanted to do. He was wonderful to work with.
I was also interested in writing poetry, so I went to the Poetry Writer’s workshop in Iowa for two years. Soon enough I realized that I wouldn’t be able to make a career out of being a poet, so I came back to New York and did the next respectable thing, which was to get a job in publishing. By coincidence I landed at Dover publishing, which is a publishing house dedicated to reprints. One of their lines was a list of facsimile reprints of 18th and 19th century children’s books, often these books in original form were sought after by collectors. If someone couldn’t afford the original, they could purchase a facsimile from Dover. Each book would include a historical essay about the book and where it fit into the history of things. My boss personally oversaw that list. I had landed in the office of someone who shared my interest in children’s books. When I left he gave me the position to write the historical essay for the next book due to come out. So that’s how I began to publish about the history of children’s books.
Then, having always wanting to be a writer, I felt there was still a lot left to be said about the subject. When I discovered Goodnight Moon in a bookstore and I was the only one there who had heard of it, I decided it might be interesting to write a biography of the author of that book. I felt that this was a work of poetry, so writing about Margaret Wise Brown combined my interests in poetry, biographies as a genre, and poetry in one fell swoop. It took me ten years to write that book, and in the process I learned about writing biographies and met writers, illustrators, editors, publishers who had been around during the golden age of children’s book publishing in the 1930’s and 40’s, when Brown published Goodnight Moon.
So I started with that book. Then, Brown’s editor at Harper allowed me to go through her files, and while there I also saw what a great letter-writer Brown was, which led me to publish a volume of her letters called Dear Genius.
Check back soon for Part Two!