Six Spots of Seuss News

Today would be Dr. Seuss’s 111th birthday! Actually, it is his 111th birthday, but Theodor Seuss Geisel is not around to celebrate it — he died in 1991, at the age of 87. In his honor, here are Six Spots of Seuss News …for all of you who yearn for Seuss. (For those who don’t, I have no use: go sing the blues in sockless shoes.)


Wisconsin Public Radio1) I’ll be talking to Central Time‘s Rob Ferrett on Wisconsin Public Radio, today (March 2nd) somewhere in the 5 o’clock hour. I was told that it’d begin at 5:40 pm Central. According to WPR’s website, I will be giving “the story behind the new book,” and helping “look back at the life of the legendary author.”  Not in Wisconsin?  Not to worry: you can listen live.

UPDATE, 3 March 2015: Here’s a direct link to the audio. 9 mins.


2) From Dr. Seuss’s “The Advertising Business at a Glance” series (1936), here is “The Copy Writer” (click for a larger image).

Dr. Seuss, "The Copy Writer" (1936)

Thanks to Samantha Owen for giving this to me, as an end-of-term/successful-completion-of-her-Master’s gift, last year!  For two more examples from “The Advertising Business at a Glance,” see p. 175 of Charles Cohen’s The Seuss, the Whole Seuss, and Nothing But the Seuss (2004).  You can find other examples of Seuss’s advertising work elsewhere on this blog, too — such as here (several examples) and here (Ford TV ad). Or, better, just go straight to UCSD’s Advertising Artwork of Dr. Seuss site.


Dr. Seuss, What Pet Should I Get? (2015)3) What Pet Should I Get? As you have no doubt heard, a new Dr. Seuss book will be published this July. People have been asking me about it.  Here are a few answers to your questions.

Q: Have you seen it?

A: No. The manuscript is among the materials donated by Audrey Geisel (Seuss’s widow) to UCSD’s special collections in 2013 & 2014. I haven’t done research there in about ten years; I was last there in 2007, to give a lecture.

Incidentally, in its story on the news of this donation, the San Diego Union-Tribune published a page from what appears to be What Pet Should I Get?  It seems that the book’s working title was Pet Store.

A story board complete with typewritten notes taped from the Dr. Seuss book, "The Pet Store" (UCSD)

Q: Is it legit?

A: I have no reason to doubt its legitimacy. In addition to the existence of the above page (evidently from the book in question), Seuss wrote far, far more than he published. As he once said, “To get a sixty-page book, I may easily write a thousand pages before I’m satisfied!”

During the period that he wrote it (1958-1962, according to the press release), Seuss was so prolific that he started to publish books under other pseudonyms — that way, “Dr. Seuss” wouldn’t have more than one book coming out each season. The first such book was Ten Apples Up on Top! (1961), illustrated by Roy McKie and credited to Theo. LeSieg (which is “Geisel” backwards). All the LeSieg books were not illustrated by Seuss. Most were done by McKie, but several featured the art of others, including New Yorker cartoonists B. Tobey, George Booth, and Charles E. Martin.

Since there were already two of his books coming out in 1961 (The Sneetches and Other Stories, and Ten Apples Up on Top), Seuss may have decided against publishing another that year — or in whatever year he wrote it. He published two books in 1958, one in 1959, and two in 1960, one of which was One fish red fish blue fish.

Q: The press release says the book features the two children from One fish two fish red fish blue fish. What do you make of that?

A: One fish two fish red fish blue fish is a non-narrative book — Seuss’s first children’s book to lack a story. It’s more of a concept book, a series of episodes in which various fantastical creatures appear. The boy and the girl recur in a dozen or so of these episodes, most of which are only a couple of pages long.

My guess is that, while writing One fish two fish red fish blue fish, Seuss found himself with a full-length story featuring the book’s unnamed brother and sister. Since there was no room for an entire, book-length narrative in this collection of small episodes, he cut it.  Or, he may have written the full story first — What Pet Should I Get? — and then, one section of it inspired him to create (instead) an entire non-narrative book featuring the two children and the curious animals of One fish two fish red fish blue fish.  A third possibility is that What Pet Should I Get? is an earlier version of what became One fish two fish red fish blue fish.

For more, tune into Wisconsin Public Radio during the 5 o’clock hour (Central Time) today — probably at 5:40 pm.


Dr. Seuss, One fish two fish red fish blue fish (1960)4) The Fish in the Court.  Speaking of One fish two fish red fish blue fish, Justice Elena Kagan cited the book in a Supreme Court case last week.  The gist of the case (Yates v. United States) is that, when caught with undersized grouper, a Florida fisherman attempted to get rid of the evidence by throwing it (all of the fish) back into the sea. Officials charged the fisherman under the Sarbanes-Oxley Act, which prohibits destroying “any record, document, or tangible object” that might impede a federal investigation. In a 5-4 ruling, the Supreme Court actually sided with the fisherman, ruling that Sarbanes-Oxley only applied to documents and not to fish.  In her dissenting opinion, Kagan disputed the notion that a fish is not a “tangible object”:

As the plurality must acknowledge, the ordinary meaning of “tangible object” is “a discrete thing that possesses physical form.” Ante, at 7 (punctuation and citation omitted). A fish is, of course, a discrete thing that possesses physical form. See generally Dr. Seuss, One Fish Two Fish Red Fish Blue Fish (1960). So the ordinary meaning of the term “tangible object” in §1519, as no one here disputes, covers fish (including too-small red grouper).

You can read the entire ruling on the Supreme Court’s website.  The above appears on page p. 29 of the pdf — p. 2 of Kagan’s dissent.

Thanks to Gary R. Dyer and Nathalie op de Beeck for the tip.


5) The Dr. Seuss Rap Quiz

Which of the following groups has no songs that reference Dr. Seuss? Also, if you try to Google this, you may get the occasional NSFW lyric. So,… don’t use Google. Use your brain.  Choose only the correct answer or answers.  First person to get the right answer will receive a Seuss-ish gift. Seriously.

A) A Tribe Called Quest

B) Beastie Boys

C) Blackalicious

D) Michael Franti & Spearhead

E) RUN-DMC

F) 3rd Bass

Tomorrow, I will post the answer at the very end of this post. I will also tell you which of these artists’ songs include references to Seuss or his works.


Dr. Seuss, Cat in the Hat's hat6) Was the Cat in the Hat Black? LIVE! March 10th! That’s “LIVE!” as in “LIVE in concert” because, on March 10th, I’ll be giving a fully illustrated version of this talk plus (for the first time!) some of the introduction to the book of which it will be a part.  When? Where?

It’s at 4:15 pm, Watson Forum, at DePauw University, in Greencastle, Indiana.  More details via DePauw’s Dept. of English “Events” page.  Another reason for you to come: Michelle Martin will be giving a talk at 7:30 pm, in the Prindle Auditorium: “From the Kitchen to the Edges: Hair Representations in African American Children’s Picture Books.”  These are free and open to the public.

If you’d like to read “Was the Cat in the Hat Black?,” click on this sentence and/or email me for a copy.


Since it is Seuss’s birthday, you might enjoy perusing other posts tagged Seuss.  Here’s a selection:

Occasionally, I get asked to talk about Dr. Seuss:

  • “New Window into Dr. Seuss’s genius” (26 Feb. 2014). John Wilkens’ article in the San Diego Tribune discusses new Seuss material that his widow, Audrey, donated to the Dr. Seuss Papers at UCSD.
  • “Dr. Seuss: Mini-Biography.”  A&E Biography (2013).  Time: 4 minutes.
  • All Things Considered. Lynn Neary, “‘The Bippolo Seed’ : The ‘Lost’ Dr. Seuss Stories” (13 Apr. 2011): audio & transcript.  Charles Cohen & I talk about the new book of “lost” Seuss stories (edited by Charles).  Time: 3 mins, 30 secs.
  • Diane Rehm Show. Dr. Seuss’s How the Grinch Stole Christmas! (22 Dec. 2010): audio | transcript. Reverend Derrick Harkins, Maria Salvadore, and I talk with Diane Rehm about the Grinch.  Time: 1 hour.
  • Morning Edition. Lynn Neary, “Fifty Years of The Cat in the Hat” (1 Mar. 2007): audio & transcript. Anita Silvey and I talk with Lynn Neary about the Cat in the Hat.  Time: 7 mins, 20 secs.
  • Talk of the Nation.  Steve Inskeep, “Celebrating the 100th Birthday of Dr. Seuss: A New Book Looks Back on the Life of Theodor Geisel” (10 Feb. 2004): audio.  I was a bit nervous at the beginning (I believe it was my first time on live national radio), but after the first few minutes I seem to settle into it well enough.  Time: 1 hour.

Though the website appears to have been designed to impede its utility, Random House’s Seussville‘s author section includes a bio. and timeline I wrote — the former heavily influenced by Judith and Neil Morgan’s excellent Dr. Seuss & Mr. Geisel.  (If you read only one book about Dr. Seuss, the Morgans’ bio is the one I’d recommend.)And… that’s all.  Happy Read Across America Day!*


*Each year on or near March 2nd (the birthday of Theodor Seuss Geisel, a.k.a. Dr. Seuss), the National Education Association sponsors Read Across America, designed to promote literacy. This year, it’ll be celebrated on Monday, March 3rd. Read more about it at the NEA’s website.

Read Across America: An NEA Project

ANSWER TO QUIZ (added 3 March 2015)

Alas, Cat’s valiant guess proves incorrect.  Apart from her, no one else took a stab at the question. I put the quiz in at no. 5 to see if anyone would actually read that far down. Either only Cat did, or my quiz measured not readership but the difficulty of answering the question.

The correct answer is C) Blackalicious.  You’d think that the group behind “Alphabet Aerobics” would have a song that references Dr. Seuss.  But, as far as I know, they don’t.  A Tribe Called Quest has an R-rated Seuss reference in “Clap Your Hands” (1993).  Seuss’s Green Eggs and Ham makes an appearance in Beastie Boys’ “Egg Man” (1989) and gets alluded to in 3rd Bass’s “Pop Goes the Weasel” and “Green Eggs and Swine” (both 1991).  RUN-DMC name-checks Seuss in “Peter Piper” (1986), and Michael Franti & Spearhead’s “East to the West” (2006) mentions “the Lorax who speaks for the trees.”

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Sidewalk Flowers; or, the Poet and the Picture Book

JonArno Lawson & Sydney Smith, Sidewalk Flowers (2015)

This picture book is a wordless poem, written by a poet yet rendered by an artist. If that description sounds like one of the philosophical questions posed by JonArno Lawson’s poems (“can you remember / how you thought / before you / learned to talk?”), it should. Lawson conceived the book, and Sydney Smith drew it. Or perhaps I should say: Lawson had the vision, and Smith put it on the page.

Sidewalk Flowers’ protagonist, her red hoodie calling to mind Ezra Jack Keats’ Peter, is the book’s poet, open to the experience of the world, able to see her surroundings more fully than her preoccupied father. Her openness to her environs also recalls the protagonist of The Snowy Day (1962): both children walk through their respective neighborhoods, finding beauty in the everyday, moments of connection, and quiet insights that their busy elders tend to miss. She is the poet because of her capacity — if I may borrow Lawson’s description of his own poetic process — “to make unexpected discoveries” (Inside Out 29).

two-page spread from JonArno Lawson & Sidney Smith, Sidewalk Flowers (2015)

She discovers the flowers that most grown-ups would dismiss as weeds. She gathers them from between the gaps in the paving stones, the slim circle round the base of the signpost, anywhere that a persistent plant has found those “chinks in the dark” (to quote Roethke) and burst into bloom. Her ability (in the book’s first half) to perceive the radiance of these neglected flowers yields (in the second half) to an even greater capacity to share that beauty with others. Instead of hoarding her bouquet, she gives flowers to people (a man sleeping on a park bench) and animals (a small dead bird) until, upon arriving home, she has a just enough flowers to give some to her mother and two siblings.

It’s a poetic picture book, in its attentiveness to what us non-poets overlook, and to the deeper meaning of small gestures. Sidewalk Flowers is also a perfect example of why a poem is a perfect analogue for a great picture book. As Maurice Sendak once observed, the picture book is “a complicated poetic form that requires absolute concentration and control” (Caldecott & Co. 186). It does. As works like Sidewalk Flowers demonstrate, the picture book can also convey — to quote another poem of Lawson’s — the idea that “The truth may be simple / But its impact is complicated” (Think Again 21).


 Works Cited

Keats, Ezra Jack. The Snowy Day. New York: Viking, 1962.

Lawson, JonArno. “Tickle Tackle Botticelli.” Black Stars in a Night Sky. Toronto: Peldar Press, 2006. 116.

Lawson, JonArno. “What I Saw.” Think Again. Illus. by Julie Morstad. Toronto: Kids Can Press, 2010.

Lawson, JonArno, ed. Inside Out: Children’s Poets Discuss Their Work. London: Walker Books, 2008.

Lawson, JonArno and Sydney Smith. Sidewalk Flowers. Toronto and Berkeley: Groundwood Books, 2015.

Roethke, Theodore. “Root Cellar.” The Lost Son and Other Poems. Garden City, NY: Doubleday & Co., 1948.

Sendak, Maurice. Caldecott & Co.: Notes on Books & Pictures. 1988. Noonday Press, 1990.


More about Sidewalk Flowers and its creators

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The Niblings: And Now We Are Six

The Niblings
Well, as a group, the Niblings are actually two years old — we started in February of 2013. But we four children’s-lit bloggers have just become six children’s-and-YA-lit bloggers! For the official announcement, read on!

The Niblings (consisting of bloggers Travis Jonker of 100 Scope Notes, Jules Danielson of Seven Impossible Things Before Breakfast, Philip Nel of Nine Kinds of Pie, and Betsy Bird of A Fuse #8 Production) are pleased to announce two new members of their happy little sphere.

Mitali PerkinsTo fill the much-needed YA slot, Mitali Perkins joins us. A distinguished author, responsible for such books as Rickshaw GirlBamboo PeopleSecret Keeper, and this April’s upcoming Tiger Boy, Mitali has maintained her blog, Mitali’s Fire Escape, since 2005, where she discusses books between cultures. You may also find her on Facebook or Twitter.

Minh LeWe’ve been impressed by and big fans of the work of Minh Le for years. Not only has he been blogging for Book Riotthe Huffington Post, and Bottom Shelf Books, but he recently sold his debut picture book, Let Me Finish!, to Disney-Hyperion. You can also find him on Twitter.


Since the Niblings are also moving into our third year as a collective, I’m concluding this post with a look back at Hilary Leung‘s Lego rendition of the Niblings logo (original version, seen at the top of this post, was designed by Megan Montague Cash). Leung shared this with us via Facebook, right after we announced our debut, in February 2013. With thanks to Mr. Leung, here’s his Lego logo!

Hilary Leung's Lego version of the Niblings logo (designed by Megan Montague Cash)

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Emily’s Library, Part 8: 25 Fine Books for Small People; or, Further Adventures in Building the Ideal Children’s Library

In this installment of my Emily’s Library series, I notice there are more contemporary books than usual. I didn’t plan it that way — there are certainly more classics I’d like her to have! But, as noted in earlier posts, my goal is to give my three-year-old niece a personal library of really good books, mixing classics and contemporary, well-known and more obscure. Growing up surrounded by beautiful books increases the likelihood that she’ll not only learn to read, but enjoy reading. And by “reading” I of course mean reading both words and pictures. Since (at this stage) nearly all of the books in Emily’s library are picture books or comics, she also has a small art museum right there in her bedroom. When I think of her shelves of literary-visual art, and choosing books for her parents to read (or perusing them herself), I am happy.

I share these titles in my Emily’s Library posts because (since I’m a scholar of children’s books) people often ask me to recommend books for children. Though the selection does of course reflect my own idiosyncrasies, I hope my brief synopses for each title help direct you to good books for the young people in your life.

Note to Emily’s parents: a bunch of these are Christmas gifts. So, you’ll see ’em soon! (Note to others: Emily does not yet read this blog & so I won’t be spoiling her surprise.)

Ronan Badel, The Lazy Friend (2014)

Ronan Badel, The Lazy Friend (2014)This wordless picture book shouldn’t work, but it does. For all but one page, the title character — a tree sloth — is sound asleep. Apart from clinging (to a tree branch or to his friend, the snake), he only sleeps. That’s it. As the back cover boasts, the book is a “wordless adventure story about a sloth who does absolutely nothing.” Badel sets up the sloth as the straight man (or straight sloth?): his friends’ responses make the book work. When the tree to which he clings gets cut down and loaded onto a logging truck, the snake sneaks on board, as toucan and tree frog (the other two friends) bid them both a sad farewell. The book then follows sloth and snake on an adventure — of which only the snake is aware. I don’t want to spoil the ending here, but suffice it to say that the book is a comedy.

Ramona Badescu and Benjamin Chaud, Pomelo et la grande aventure (2012) [Pomelo’s Big Adventure (2014) in its original French]

Ramona Badescu and Benjamin Chaud, Pomelo et la grande aventure (2012)Another adventure with our favorite little pink elephant. So far, Enchanted Lion Books has translated four of Pomelo’s adventures into English. Here’s hoping they keep on going — there are many more Pomelo books en français! In this installment, Pomelo discovers the pleasures and challenges of travel. A story that is by turns philosophical and whimsical, Pomelo et la grande aventure manages to capture a child’s sense of excitement and uncertainty in facing new things. Chaud’s artwork offers the eye much to explore: sometimes, tiny Pomelo is nearly hidden; always, he appears in a new location in each two-page spread. Pomelo drives a car, and sails a boat. He meets a rat who swindles him, and a large grey elephant who shares his food. He makes a new friend. It’s a tender and sometimes amusing tale of what we learn when we travel.

Kelly Bingham and Paul O. Zelinsky, Z Is for Moose (2012)

Kelly Bingham and Paul O. Zelinsky, Z Is for Moose (2012)If you ask Emily whether “Z” is for “Moose,” she will respond, “No! ‘Z’ is for ‘Zebra’!” Like Mike Lester’s A Is for Salad (2000), this book also creates a kind of absurdist pedagogy, as it presents false claims and readers respond with corrections. Its premise: referee/director Zebra is presenting a theatrical performance, in which each item or animal (one per letter) takes the stage in alphabetical order. Moose, however, finds it difficult to wait his turn, and keeps entering at the wrong moments, upstaging the others. When the performance reaches the middle of the alphabet, “M is for Mouse” and Moose is upset. From the narrative conflict between Moose and Zebra to the game of finding the actual thing named by the letter (behind or displaced by Moose), Bingham and Zelinsky‘s Z Is for Moose is a fun read-aloud.

Cécile Boyer, Rebonds (2013) [Run, Dog! (2014) in its original French]

Cécile Boyer, Rebonds (2013)A book of few words, Rebonds follows a friendly dog’s adventures, as he pursues a ball in a park. He chases it onto a trampoline, through a picnic, interrupts young lovers on a park bench, and generally creates a little (or adds to the) chaos wherever he goes. The dog is in one color palette, and the rest of the book uses a different one. The vibrant yellow dog’s body, his dark blue collar, and red tongue contrast nicely with the mostly mono-chromatic other creatures: humans (all in dark blue silhouettes), birds (pink, light blue, dark blue, grey), park bench (pink), trees (light blue), and cars (grey). On the right side of every other two-page spread, Boyer has two small pages — one, a third of a page, and the other, two thirds of a page. Echoing a slowly paced flip-book, turning these pages-within-pages creates movement, as ball and dog disrupt each scene. Like her earlier Ouaf Miaou Cui Cui (2009) (Woof Meow Tweet Tweet [2011], featured in an earlier Emily’s Library post), Rebonds is a beautifully designed book.

from Cécile Boyer's Rebonds (2013)

Virginia Lee Burton, The Little House (1942)

Virgina Lee Burton, The Little House (1942)A classic story about time and change, Virginia Lee Burton’s The Little House places its title character at the center (well, bottom center) of nearly every right-hand page, while the expanding metropolis gradually transforms the pastoral landscape into a bustling, noisy cityscape. Burton identifies the house as “she,” but — apart from her pink color — does not gender the house, visually. The two windows on either side of the front door serve as eyes, with the gaps at the bottom of the pair of closed curtains acting as pupils. The curved front doorstep smiles, or does not smile, when Burton flattens its curves. But the book’s genius is in its design: Burton manages to tell a dynamic, engaging story about a house that (except near the end) does not move. Tracking the many changes in the house’s environment is as compelling as the narrative itself. Required reading for all students of the picture book, and highly enjoyable reading for the graphically inclined of any age.

Benjamin Chaud, Coquillages et petit ours (2012) [The Bear’s Sea Escape (2014) in its original French]

Benjamin Chaud, Coquillages et petit ours (2012)If you enjoyed Une chanson d’ours [The Bear’s Song] (included in the last Emily’s Library post), then you’ll certainly want to check out Coquillages et petit ours [The Bear’s Sea Escape]. Picking up the narrative where the last book left off, Papa Bear and Little Bear are in the city but need a place to hibernate. Papa Bear chooses the toy section of a department store. As he starts to sleep, a little boy adopts Little Bear and heads out of the store. Papa Bear awakens and begins his pursuit. As in Une chanson d’ours, each two-page spread has a degree of detail reminiscent of Richard Scarry or even Martin Hanford (Where’s Waldo?). As Papa Bear looks for Little Bear, readers, too, can scan the pages until they find him as well.

Benjamin Chaud, from Coquillages et petit ours (2012)

Mike Curato, Little Elliot, Big City (2014)

Mike Curato, Little Elliot, Big CityIn vivid illustrations whose use of space and perspective really draw you in, Curato’s tale of a small cupcake-loving polka-dotted elephant (Elliot) has heart. As he walks through a 1940s New York City, Elliot is dwarfed by the others in the subway, and can’t be seen over the countertop in the bakery, but enjoys “the little things” (a flower growing between cracks in the sidewalk) and “small treasures” (a top, jacks, roller-skate key, playing card).  I think that the book’s treatment of the central character’s height will resonate with younger readers: to be a child is to exist in a world designed for giants, where everything is too large, too wide, or out of reach. Curato captures that experience well. It’s sweet without being pat — and that’s a delicate balance to achieve.

To learn more about this book and Mike Curato’s creative process, see Jules Danielson’s post over at Seven Impossible Things Before Breakfast.

Tomie de Paola, Nana Upstairs & Nana Downstairs (1973)

Tomie de Paola, Nana Upstairs & Nana Downstairs (1973)Emily is 3 years old. But she has relatives in their 90s — including one relative she’s quite close to. For that reason, I’ve given her parents both this book and Wolf Erlbruch’s Duck, Death, and the Tulip (see below). When the time comes or when Emily starts asking questions, I want them to have stories to help her understand. Stories help families talk about difficult issues — like the fact that we are all mortal. One day, people she loves will die.

In Nana Upstairs & Nana Downstairs, Tommy has “a grandmother and a great-grandmother,” both of whom he loves “very much.” Since grandmother “always seemed to be standing by the big black stove in the kitchen” and great-grandmother “was always in bed upstairs” (because she was 94), he called them “Nana Downstairs and Nana Upstairs.” The book talks about the time they spend together — talking, eating candy, telling stories. Then, Nana Upstairs dies. Tommy asks what the word means. His mother says, “Died means that Nana Upstairs won’t be here anymore.” Tommy confronts her empty bed, begins to cry, and asks, “Won’t she ever come back?” His mother tells him, “No,… Except in your memory. She will come back in your memory whenever you think about her.”

Wolf Erlbruch, Duck, Death, and the Tulip (2008) [Ente, Tod und Tulpe (2007) in English]

Wolf Erlbruch, Duck, Death and the Tulip (2008)This is the second book about death I’ve given to Emily — the first is Nana Upstairs & Nana Downstairs (see above). Where de Paola offers realism, Erlbruch provides allegory. Duck meets Death — represented here as a person in a housecoat with an oversized skull for a head. When Duck stands upright (as she does when they meet), the two are the same height. Visually, Erlbruch has set them up as equals. Understandably, Duck is nonetheless at first unnerved, asking “You’ve come to fetch me?” Death responds, “Oh, I’ve been close by all your life — just in case.” But, as the two get to know each other, they become friends. They talk about life and what (if anything) may come after. When Death is damp after being in the pond, Duck offers to warm him, spreading her feathered body over his housecoat-clad one. Near book’s end, she also feels cold, and dies. Death carries her to the river, and, placing a tulip on her chest, “laid her gently on the water and nudged her on her way.”

penultimate 2-page spread from Wolf Erlbruch's Duck, Death and the Tulip

The book concludes:

For a long time he watched her.

When she was lost to sight, he was almost a little moved.

“But that’s life,” thought Death.

It’s a gentle, profound book that asks the right questions, and helps us think about the answers.

Elise Hurst, Imagine a City (2014)

Hurst‘s Imagine a City invites readers to a “world without edges,” where anthropomorphic animals and people coexist, the subjects of paintings reach beyond their frames, buses are giant flying fish, and bears ride bicycles. The art makes the book feel both very contemporary and classic. Her pen-and-ink drawings seem to have time-traveled from another era — that of Edward Ardizzone, E. H. Shepard, or maybe Winsor McCay. The visual motifs (especially the flying fish) recall Shaun Tan and David Wiesner. It’s as if she’s brought her sketchbook into a parallel, surreal world, and — in this book — collected sketches of what she saw during her travels. To the best of my knowledge, this book has been published only in Australia. So, attention publishers of North America and Europe (and other locations): publish this book in your countries!

Elise Hurst, Imagine a City (2014)

Elise Hurst, Imagine a City (2014)

Oliver Jeffers, Lost and Found (2005)

Oliver Jeffers, Lost and Found (2005)In the decade since this book’s appearance, it’s sold very well and even become an animated film. So, there’s s a good chance that you already know Lost and Found. Actually, I’m hoping you do because I’m finding it hard to talk about it without giving away the ending. It begins like this: One day, a boy finds a penguin at his door. He decides the penguin “must be lost,” and so “will help the penguin find its way home.” Since the penguin does not speak, we’re invited to assume that the boy’s intentions match the penguin’s wishes. But what does the penguin really want? And what does the boy want? Who is lost? Who is found? (There — I’ve avoided the conclusion!) Jeffers’ watercolors give the story warmth, and his pages range from spare (boy and penguin in the center of a white page) to detailed (boy and penguin at sea, a gigantic wave threatening to crash over them). His representational style has a comparable range — often on the same page, or even in the same character. The boy’s legs are one-dimensional (a pair of straight lines), his torso two-dimensional (a rectangle in a red-and-white-striped rugby shirt), and his head three-dimensional (a pink sphere wearing a hat). Oscillations between realism and abstraction suggest the happy accidents of an untrained artist, and, in this sense, align the art with the young boy protagonist. But, of course, Jeffers knows what he’s doing here — his sense of composition, of when to oscillate, reveals an artist sufficiently in command of his craft to make you forget his skill.

Crockett Johnson, Harold et le Crayon Violet (2013) [latest French translation of Harold and the Purple Crayon (1955)]

Harold and the Purple Crayon (French edition, 2013)Unlike the last French translation of Harold, the crayon is purple (well, violet) in this one. In the translation prior to this one, the crayon was rose (pink). Crockett Johnson‘s Harold and the Purple Crayon is available in at least 14 different languages: both the crayon’s color and the protagonist’s name varies, depending on the translation.  (I’ve already given Emily all seven Harold books in English.)

Laurie Keller, Arnie the Doughnut (2003)

With her typically loopy sense of humor, Keller’s Arnie the Doughnut plays with children’s culture’s love of personification. Margaret Wise Brown populated her books with cute little furry animals, but evidently saw no contradiction with her hobby of hunting cute little furry animals, presumably because the animals in her books were people, and the animals she shot were game. In giving us a protagonist whose destiny is to be eaten, Keller ups the ante a bit. As Arnie observes in a moment near the end of the book, “I guess doughnuts really are only good for eating, aren’t they?” I don’t want to spoil the ending, but I do want to call attention to Keller’s jokes and commentary, usually from unnamed characters on the periphery of the scene — she offers a parallel show running concurrently with the main narrative. When we meet the jelly-filled doughnut, another doughnut exclaims, “Eeeooo! His brains are oozing out!” Jelly-filled replies, “It’s not brains, silly — it’s jelly!” But she doesn’t end there, adding a bonus two-panel “double-checking,” in which jelly-filled puts a finger in his jelly to confirm what he’s just said.

Laurie Keller, from Arnie the Doughnut (2003)

There are several Laurie Keller posts over at Jules Danielson’s Seven Impossible Things Before Breakfast, but why not start with “Seven Questions Over Breakfast with Laurie Keller”?

Ole Könnecke, The Big Book of Words and Pictures (2012)

Emily has already recieved this book in French (Le grand imagier des petits) and in German (Das große Buch der Bilder und Wörter) — see Emily’s Library, Part 6. I thought she should have it in English. Rather like Richard Scarry’s books, it features scenes in which all the main items have a label, thus helping to children learn the names of objects. I imagine Emily and her parents placing the books side by side, to compare them. (Emily speaks English, French, and Swiss German.)

Ole Könnecke, The Big Book of Words and Pictues (2012)

Lena and Olof Landström, Boo and Baa Have Company (1996) [English translation of Bu och Bä får besök]

Lena and Olof Landström, Boo and Baa Have Company (1996)Another gently humorous entry in the LandströmsBoo and Baa series of picturebooks about a brother and sister sheep — well, anthropomorphic sheep (they’re children represented as sheep). I particularly enjoy the Landströms’ trust in their readers. On the first page of the book, the text reports that it’s “autumn. The tree has dropped its leaves.” In the art, Boo and Ba are raking beneath a nearly bare tree, and the Landströms introduce the beginning of another narrative strain: a cat, strolling by the yard, looks up at the bird in the tree above the children’s head. The children won’t see the cat for several pages yet, but the cat-vs-bird story continues on the fringes of the book for a few pages. After Baa gets the oilcan to grease the wheelbarrow’s squeaky axle, Boo notices that “Now it meows when I push it.” Baa replies, “It meows when you’re standing still, too.” As the cat looks down from above, Boo and Baa inspect the axle, and the Landströms’ narrator reports, “Boo and Baa think this is weird.” When read alongside the art, that line’s deadpan silliness makes me chuckle. As they attempt to coax the cat down, the children’s problem-solving skills provide more humor — but the book doesn’t make fun of them. Their ideas are good, even if they don’t always work out quite as planned. Also, though Baa wears pink and Boo wears blue, each child is equally capable of doing whatever needs to be done: Baa greases the axle; Boo opens the sardine tin to coax the cat down. A funny book that avoids gender stereotypes = win!

Lena and Olof Landström, Pom and Pim (2014) [English translation of Pom och Pim (2012)]

Lena and Olof Landström, Pom and Pim (2014)A gently humorous story of the ups and downs in the life of young Pom and Pim — a child and a much-loved pink blob of a stuffed animal. Cleverly, Pom’s gender is never identified — so she can be he, or vice versa, or none of the above. That said, I only noticed the character’s gender neutrality as I was trying to use a pronoun in writing the first sentence of this description. Reading the book, I was more taken by the Landstroms’ keen and sympathetic observation of a young child’s emotional experience. Via color, body movement, Pom’s facial expressions, and very few words, the Landstroms evoke the moment-to-moment changes in moods that small children face. Lacking the experience to place things in perspective, they feel each joy and each catastrophe with greater intensity than we adults do. Pom trips over a rock (“Ouch! Bad luck.”), but finds money (“What luck!”), buys an ice cream, gives Pim a taste, eats the ice cream quickly, “gets a tummy ache” (“That’s bad luck”), lies down, but sees his balloon hovering over his bed (“What luck!”). Summarizing twelve of the book’s pages in prose, my previous sentence doesn’t do justice to the Landstroms’ artistry, but I hope it conveys at least a glimpse of the book’s considerable charm and insight.

Lena and Olof Landström, from Pom and Pim (2014)

Lena and Olof Landström, from Pom and Pim (2014)

For more art and for thoughtful commentary, see Jules Danielson’s post at Seven Impossible Things Before Breakfast.

Jöns Mellgren, Elsa and the Night (2014) [English translation of Sigrid och Natten (2013)]

Jöns Mellgren, Elsa and the Night (2014)Elsa can’t sleep. The Night — a tiny, purplish blob — is shivering under her sofa. Outside, endless daylight makes people sleepless and quarrelsome. As she tells the Night her story and nurses it back to health, it grows in size. Since Mellgren’s Night character is translucent, the city scenes viewed through its body show the dark blue night sky, the white stars, and yellow lights through the buildings’ windows. Beyond the boundaries of its body, Mellgren shows a white sky, no stars, and no lit windows. It’s a striking visualization of the sharp contrast between night and day. The book’s art drew me to it immediately, but its story is strong, too. Elsa’s insomnia — spoiler alert! — comes from a need to mourn her elephant friend, who has died. I expect that adult readers will feel the melancholic undercurrent of these pages, but those for whom death is an abstraction (many, but not all young readers) will understand why she is sad without feeling it quite so acutely. Fortunately, the expanding Night provides comfort, and sleep returns — to Ella, and to everyone.

Kadir Nelson, Baby Bear (2014)

Kadir Nelson, Baby Bear (2014)How do you find your way home? This question is both practical and philosophical. For Baby Bear, it is practical. As he says on the narrative’s first page, upon encountering Mountain Lion, “Excuse me dear Mountain Lion. I’m lost. Can you help me find my way home?” The answers provided by Mountain Lion and all the other animals underscore the philosophical ideas at play. Mountain Lion says, “when I am lost I try to retrace my steps.” Frog says, “Do not be afraid…. Trust yourself.” Moose says, “When I am lost, I sit very still and try to listen to my heart.” However, one need not ponder the meaning of life in order to enjoy the book. Nelson’s vivid paintings, shifting visual perspective, and striking use of light — for example, unusually bright green grass contrasted with the green-tinged black night sky, when Baby Bear consults Owl — draw us into the story. And whatever larger implications Baby Bear’s questions might have, our title character speaks in the voice of a child. When he follows the Squirrels’ advice to “hug a tree and think of home,” Moose asks, “What are you doing?” Baby Bear answers, “Uh, nothing.” Moose asks, “Are you lost?” Baby Bear replies, “Yes, I think so.” Baby Bear’s tentativeness in that exchange is evocative of a young person, feeling a bit unsure of his way. Nelson’s Baby Bear can help people of all sizes find their way, literally and figuratively.

Mark Newgarden and Megan Montague Cash, Bow-Wow’s Nightmare Neighbors (2014)

Mark Newgarden and Megan Montague Cash, Bow-Wow's Nightmare Neighbors (2014)At long last, the second Bow-Wow picture book! The first, Bow-Wow Bugs a Bug (2007), and the six concept books that followed it (Bow-Wow Attracts Opposites, Bow-Wow Orders Lunch, etc.) are all favorites of Emily’s. Indeed, they may be the first books she read herself. At age one-and-a-half, she would sit there, book in her lap, turn the pages and chuckle. And she’s not the only small person I’ve met who has been transfixed by Bow-Wow. The picture books are wordless, their narratives rendered legible via the pictorial language of the comic strip. You don’t need to be able to read text to read these books. With a sense of humor that is both daffy and deadpan, the Bow-Wow books have much to entertain readers of all ages. In the latest adventure, Bow-Wow faces off against ghost cats in a haunted house, but — I hasten to add — the book is funny, not scary.

Mark Newgarden and Megan Montague Cash, from Bow-Wow’s Nightmare Neighbors (2014)

For a glimpse behind the scenes of Bow-Wow’s Nightmare Neighbors, check out my Comics Journal interview with Newgarden and Cash.

Clotilde Perrin, Au méme instant, sur la Terre . . . (2011) [At the Same Moment, All Around the World (2014) in its original French]

Clotilde Perrin, Au méme instant, sur la Terre . . . (2011)Perrin‘s beautiful book takes us to all 24 time zones, one after the other. We begin at 6 am in Dakar, Senegal, where “Keita wakes up early to help his father count the fish caught during the night.” Turn the page and it’s 7 am in Paris, where “Benedict drinks hot chocolate before school.” On the right-hand page of this two-page spread, it’s 8 am in Sofia, Bulgaria, when “Mitko chases after the school bus.” And on we go, to Yasmine in Baghdad, Nadia in Dubai, and so on. At the back, the book includes information on time zones, and a fold-out world map, where you can see where all the children live. In its original French edition, the entire book unfolds like an accordion. Since Emily is a world traveler, I thought she should have a book that better acquaints her with the world.

Clotilde Perrin, Au méme instant, sur la Terre . . . (2011)

Andrew Prahin, Brimsby’s Hats (2014)

Andrew Prahin, Brimsby’s Hats (2014)Brimsby makes hats, his best friend makes tea, and they have “the most wonderful conversations.” When friend decides to pursue “his dream to become a sea captain,” the hatmaker gives him a captain’s hat, wishes him good luck, and waves goodbye. In a two-page spread of a dozen illustrations each showing Brimsby making hats by the window, Prahin shows the passage of time — the seasons changing beyond the window pane, likely one pane for each month of the year. At the end of this sequence, Brimsby realizes he’s “become awfully lonely.” So, he puts on “his favorite hat,” and sets out “to make new friends.” I won’t reveal the rest of the plot, but suffice it to say that it’s an eloquent tale of making new friends, missing old ones, and the worthwhile effort required by both endeavors. It’s Prahin’s debut picture book. Here’s hoping it’s the first of many.

Jules Danielson has a great post on this book at her Seven Impossible Things Before Breakfast. Head over there to see Prahin’s original art for Brimsby’s Hats.

Dan Santat, The Adventures of Beekle, The Unimaginary Friend (2014)

Dan Santat, The Adventures of Beekle, The Unimaginary Friend (2014)Where do imaginary friends come from? Dan Santat, who understands that what children imagine can be as real as the so-called “real world,” answers this question from the perspective of the (un)imaginary friend. Beekle tires of waiting for his friend to choose him, and so ventures off to the real world on his own. There, he discovers adults, who — like those busy citizens of Reality in Norton Juster’s The Phantom Tollbooth or the grown-ups in Shuan Tan’s The Lost Thing — have stopped paying attention to their surroundings. So, he sets off for the playground…. Santat offers a vividly imagined story of the challenges and rewards of making a new friend.

Also, I presume you like to laugh? You do? Good. Then, you might also take a gander at Jules Danielson’s hilarious interview (with lots of art) over at Seven Impossible Things Before Breakfast.  (The interview is with Dan Santat.  Obviously.)

Maurice Sendak, Where the Wild Things Are (1963)

Sendak’s classic tale of unruly emotions, tamed via fantasy, and expressed without punishment. (Mother may send Max to bed without supper, but he returns to find dinner waiting and “still hot”: evidently she changed her mind.) The book is famous for many reasons, including the “wild rumpus,” when Sendak abandons words for three consecutive two-page spreads, rendering the story solely through his art. It may also be the best example of the Caldecott Committee getting it right, giving the award to the most distinguished book of the year — and in this case, one of the most distinguished books of the twentieth-century.

Maurice Sendak, Where the Wild Things Are (1963)

Not that awards should persuade you to give any book to a child. Sendak loved to tell the story of the mother who told him, “I’ve read Where the Wild Things Are ten times to my little girl, and she screams every time.”

He asks, “Don’t you like your child?”

She says, “Well, yes!”

He says, “Then, why do you continue reading it to the child?”

She responds, “But, Mr. Sendak, it’s a Caldecott book, she ought to like it.”

Sendak thought this was ridiculous: “If a kid doesn’t like a book, throw it away. Children don’t give a damn about awards. Why should they? We should let children choose their own books. What they don’t like the will toss aside. What disturbs them too much they will not look at. And if they look at the wrong book, it isn’t going to do them that much damage. We treat children in a peculiar way, I think. We don’t treat them like the strong creatures they really are” (Lanes, The Art of Maurice Sendak 106-107 & in conversation with me, 2001).

Dr. Seuss, The Cat in the Hat (1957)

Dr. Seuss, The Cat in the Hat (1957)A rainy day, mother away, and two bored children wish they “had something to do.” Then, Seuss’s insouciant cat and his two Things introduce some anarchic “fun” to the household. The cat juggles, the Things fly kites, and chaos reigns. The fish — the children’s caretaker, while mother is out — protests, but the Cat persists. Meanwhile, tension mounts: if mother comes home to find the house in a shambles, the children (and, presumably, the fish) will be in trouble. In 236 different words, Dr. Seuss turned the world of reading primers on its head. Goodbye, Dick and Jane. Welcome, Cat in the Hat.

Bob Shea, Dinosaur vs. Bedtime (2008)Bob Shea, Dinosaur vs. Bedtime (2008)

Shea’s dinosaur — who, in stature and attitude, resembles a young child — is invincible! Or is he? A pile of leaves? Dinosaur wins! A big slide? Dinosaur wins! A bowl of spaghetti? Dinosaur wins again! But what about … bedtime? Drawn with Shea’s expressive, sketchy minimalism, this small red dinosaur is determined. But he may have met his match. Fans of Mo Willems (and Bob Shea) will enjoy this.

Mo Willems, Edwina, the Dinosaur Who Didn’t Know She Was Extinct (2006)

Mo Willems, Edwina, the Dinosaur Who Didn’t Know She Was Extinct (2006)She plays with the neighborhood kids, helps old ladies across the street, and bakes chocolate chip cookies for everyone. So, of course, everyone loves Edwina. Everyone except for Reginald Von Hoobie-Doobie. He spends most of the book trying to prove that dinosaurs are extinct. But no one will listen to him. Well, almost no one. In a slightly Syd Hoff-ian style (or is that just my imagination?), Willems offers another great battle of wills. (See also: Willems’ pigeon books.)

Willems’ books are so beloved by Emily that, as she began a recent trip to the U.S., she began “reading” her passport to her mother, noting that it was “signed by the author, Mo Willems.” (Thanks to my friends who write children’s books, I have given Emily a few signed books — though not one with Mr. Willems’s signature.)

When possible, I’ve bought each of these books locally, ordering via Claflin Books & Copies.


Amazon.com is a sweatshop, and (when I can) I prefer to buy from places that are not.

Looking for other great children’s books?  Try these blogs and other websites:

Related posts on Nine Kinds of Pie:

That’s the end of this installment, but there will be more “Emily’s Library” features in the future.

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Children’s Literature and Comics/Graphic Novels at MLA 2015

MLA 2015: Vancouver, BCHeading to the MLA in Vancouver next month? Well, thanks to Lee Talley (for the children’s lit panels), here’s a list of all the children’s literature and comics/graphic novels panels. If we’ve missed any, then please let me know and I’ll add them!


35. The Graphic South

Thursday, 8 January12:00 noon–1:15 p.m., 114, VCC West

Program arranged by the Discussion Group on Southern Literature

Presiding: Katherine Renee Henninger, Louisiana State Univ., Baton Rouge

  1. “The Contested Topography of the Reconstructed South: Visual Poetics in the Works of Jedediah Hotchkiss and Nathaniel Southgate Shaler,” Robert Arbour, Indiana Univ., Bloomington
  2. Stuck Rubber Baby and the Intersections of Civil Rights Historical Memory,” Julie Buckner Armstrong, Univ. of South Florida
  3. “How to Draw an Animal in the Sensible South: William Bartram’s Natural History of Compassion,” Thomas Doran, Univ. of California, Santa Barbara
  4. “Graphic (Un)Being: Swamping the Deleuzian Body without Organs in Contemporary Comics (Swamp ThingSwamp Preacher, and Bayou),” Taylor Hagood, Florida Atlantic Univ.; Daniel Cross Turner, Coastal Carolina Univ.

41. The Comics of Joe Sacco: Journalism in a Visual World

Thursday, 8 January1:45–3:00 p.m., 202, VCC West

A special session

Presiding: Daniel W. Worden, Univ. of New Mexico, Albuquerque

Speakers: Lan Dong, Univ. of Illinois, Springfield; Ann D’Orazio, Univ. of New Mexico, Albuquerque; Jared Gardner, Ohio State Univ., Columbus; Maureen Shay, Univ. of California, Los Angeles

Responding: David M. Ball, Princeton Univ.

Session Description:

The roundtable brings together established and emerging scholars in comics studies to discuss an acclaimed contemporary comics artist, Joe Sacco. The discussion focuses on Sacco’s significance to both literary and comics studies, as well as the challenges that his “comics journalism” poses to the categories and methods of analysis in comics studies.


76. The Endurance of Alice: Lewis Carroll’s Alice’s Adventures in Wonderland at 150

Thursday, 8 January, 3:30–4:45 p.m., 120, VCC West

A special session

Presiding: Jan Christopher Susina, Illinois State Univ.

  1. “‘Off with Their Heads!': Alice’s Adventures in Wonderland and the Antigallows Movement,” Michelle Ann Abate, Ohio State Univ., Columbus
  2. “The Education of Alice,” Kelly Hager, Simmons Coll.
  3. “‘You’ve Brought Us the Wrong Alice': Tim Burton’s Dystopic Alice in Wonderland,” Jan Christopher Susina

139. Sites of Memory in Children’s Literature

Thursday, 8 January, 5:15–6:30 p.m., 8, VCC East

Program arranged by the Division on Children’s Literature

Presiding: Karin E. Westman, Kansas State Univ.

  1. “‘I Forgot You Were Away': The Importance of Children’s Voices and Memories in World War II Evacuation Literature,” Lee A. Talley, Rowan Univ.
  2. “The Kozak as a Site of Memory in Postindependence-Era Ukrainian Children’s Literature,” Anastasia Ulanowicz, Univ. of Florida
  3. “Participating in Future Histories: Young-Adult Dystopian Fiction, Agency, and Temporality,” Jasmine Lee, Univ. of California, Irvine
  4. “Why Does Lia Hate History? Laurie Halse Anderson’s Construction of Trauma,” Adrienne E. Kertzer, Univ. of Calgary

178. Writing the Future: Children’s Literature in East Asia

Thursday, 8 January, 7:00–8:15 p.m., 9, VCC East

Program arranged by the Division on East Asian Languages and Literatures to 1900 and the Division on East Asian Languages and Literatures after 1900

Presiding: Charlotte Eubanks, Penn State Univ., University Park

  1. “Angelic Rebels of Colonial Korea: The Proletarian Child Fights Back,” Dafna Zur, Stanford Univ.
  2. “Satirizing Colonialism and Diaspora in Singapore: Lao She’s Children’s Novella Little Po’s Birthday,” Brian Bernards, Univ. of Southern California
  3. “Beyond Realism: The Social Significance of Children’s Literature in Republican China,” Christopher Tong, Washington Univ. in St. Louis
  4. “Futurism and the Machine Age: Miyazawa Kenji’s Electric Poles in the Moonlit Night,” Maria Elena Tisi, Università di Bologna

For abstracts, write to cde13@psu.edu.


212. Geography, Memory, and Childhood

Friday, 9 January, 8:30–9:45 a.m., 1, VCC East

Program arranged by the Division on Children’s Literature

Presiding: Katharine Slater, Rowan Univ.; Gwen Tarbox, Western Michigan Univ.

  1. “Arresting Images: Childhood, Apocalypse, Miyazaki,” John Grayson Nichols, Christopher Newport Univ.
  2. “Fording the Platte, Shooting a Buffalo, Dying of Cholera: Negotiating Sites of Imagination and Sites of History in The Oregon Trail Video Game,” Jennifer Kraemer, Univ. of Texas, Dallas
  3. “Children’s Mapping as Projective Place,” Laura D’Aveta, Penn State Univ., University Park
  4. “Book, Screen, and Space in the Spaces of the Sylvie Cycle,” Keith Dorwick, Univ. of Louisiana, Lafayette

348. Not an Exit but a Shift: Changing Children’s Literature

Friday, 9 January, 3:30–4:45 p.m., 114, VCC West

Program arranged by the Children’s Literature Association

Presiding: Ramona Anne Caponegro, Eastern Michigan Univ.; Abbie Ventura, Univ. of Tennessee, Chattanooga

  1. “Changing Childhood, Changing Children’s Literature,” Ramona Anne Caponegro; Abbie Ventura
  2. “Not an Exit but a Bang: Posthumanism and Polyphony in the Young-Adult Novel,” Amanda Hollander, Univ. of California, Los Angeles
  3. “Both an Overhaul and an Augmentation: Toward a ‘Child-Centered’ Critical Metaframe for Children’s Literature,” Michelle Superle, Univ. of the Fraser Valley
  4. “Literature for Beginners,” Kenneth Byron Kidd, Univ. of Florida

459. Visual Cultures and Young People’s Texts in Canada

Saturday, 10 January, 10:15–11:30 a.m., 113, VCC West

Program arranged by the Discussion Group on Canadian Literature in English and the Division on Children’s Literature

Presiding: Jennifer Blair, Univ. of Ottawa; Catherine Tosenberger, Univ. of Winnipeg

  1. “Everybody Calls Me Roch: Harvey, The Hockey Sweater, and the Invisible Québécois Child,” Cheryl Cowdy, York Univ., Keele
  2. “Daughters of a Single Parent: ‘Lives of Girls and Women’ in Quebec Cinema Today,” Miléna Santoro, Georgetown Univ.
  3. “Marie-Louise Gay’s Stella and Sam: A Canadian Case Study of Transmedia Storytelling with Picture Book Narratives,” Naomi Hamer, Univ. of Winnipeg

For abstracts, visit commons.mla.org/groups/canadian-literature-in-english/.


565. Writing Home: Memories of Battlefront and Home Front in Children’s Literature of the First World War

Saturday, 10 January, 1:45–3:00 p.m., 224, VCC West

Program arranged by the Division on Children’s Literature

Presiding: Lissa Paul, Brock Univ.

  1. “‘Stop Talking and Go Home': Endless War in Kate Seredy’s The Singing Tree,” A. Robin Hoffman, Yale Univ.
  2. “Here and Over There: L. M. Montgomery’s War Geographies,” Katharine Slater, Rowan Univ.
  3. “The Orphans of Poetry: War and Childhood in the Poetry of Robert Graves,” Michael Joseph, Rutgers Univ., New Brunswick
  4. “‘I’m Goin’ ‘Ome': The Linguistics of Loyalty in Robert W. Service’s Rhymes of a Red Cross Man,” Jacquilyn Weeks, Indiana Univ.–Purdue Univ., Indianapolis

For abstracts, visit http://research.ncl.ac.uk/fww-child/.


624. Immigration and Comics

Saturday, 10 January5:15–6:30 p.m., 16, VCC East

Program arranged by the Discussion Group on Comics and Graphic Narratives and the Division on European Literary Relations

Presiding: Sandra L. Bermann, Princeton Univ.; Nhora Lucia Serrano, Harvard Univ.

  1. “‘Home of the Cannibals': Interracial Contact and Immigration in Chris Ware’s Jimmy Corrigan: The Smartest Kid on Earth,” Timothy Paul Caron, California State Univ., Long Beach
  2. “Aya in the Ivory Coast and Abouet in France: Immigration in Aya de Yopougon,” Michelle Bumatay, Willamette Univ.
  3. “From Immigrants to Privateers: The Curious Case of Hogan’s Alley and the Yellow Kid,” David M. Ball, Princeton Univ.
  4. “Comedy of Errors: Lessons of Identity and Agency in American Born Chinese,” Judy Schaaf, Univ. of Massachusetts, Dartmouth

For abstracts, visit graphicnarratives.org/ after 1 Dec.


643. A Creative Conversation with the Canadian Poet JonArno Lawson

Saturday, 10 January, 7:00–8:15 p.m., 118, VCC West

Presiding: Craig Svonkin, Metropolitan State Univ.; Joseph Terry Thomas, San Diego State Univ.

Speaker:JonArno Lawson, Toronto, ON

Session Description:

A creative conversation about avant-garde children’s poetry, Canadian poetry, and Canadian children’s poetry with the award-winning poet JonArno Lawson. Lawson is a three-time winner of the Lion and the Unicorn Award for Excellence in North American Poetry.


644. Cash Bar Arranged by the Discussion Group on Comics and Graphic Narratives


654. Virtual Women: Webcomics

Sunday, 11 January8:30–9:45 a.m., 3, VCC East

A special session

Presiding: Leah Misemer, Univ. of Wisconsin, Madison

  1. “‘Straw Feminists': Webcomics, Parody, and Intertextuality,” Sarah Sillin, Univ. of Maryland, College Park
  2. Ménage à 3: Gender and Sexual Diversity through Women’s Perspectives,” Nicole Slipp, Queen’s Univ.
  3. “One Click Wonder: How Female Comics Creators Leapt from Private to Public in a Single Bound,” Aimee Valentine, Western Michigan Univ.

Responding: Hillary L. Chute, Univ. of Chicago


712. Why Dystopian Young-Adult Literature? Why Now?

Sunday, 11 January, 10:15–11:30 a.m., 114, VCC West

Program arranged by the Children’s Literature Association

Presiding: June S. Cummins, San Diego State Univ.

  1. “Reclaiming Adolescent Power in Young-Adult Dystopia,” Jessica Seymour, Southern Cross Univ.
  2. “The Dystopian Present: Recolonizing America in Paolo Bacigalupi’s Shipbreaker and The Drowned Cities,” John David Schwetman, Univ. of Minnesota, Duluth
  3. “Power Play: The Seduction of Games in Young-Adult Dystopian Fiction,” Jonathan Hollister, Florida State Univ.; Don Latham, Florida State Univ.
  4. “The Emancipatory Power of Hopelessness: Discourses of Political Failure in Recent Young-Adult Literature,” Oona Eisenstadt, Pomona Coll.

720. Comics Theory Roundtable

Sunday, 11 January12:00 noon–1:15 p.m., 214, VCC West

Program arranged by the Discussion Group on Comics and Graphic Narratives

Presiding: Martha B. Kuhlman, Bryant Univ.

Speakers: Michael A. Chaney, Dartmouth Coll.; Hugo Frey, Univ. of Chichester; Jared Gardner, Ohio State Univ., Columbus; Fabrice Leroy, Univ. of Louisiana, Lafayette; Barbara Postema, Ryerson Univ.

Session Description:

This roundtable analyzes interdisciplinary approaches to studying comics. Comics theory includes semiotics, film theory, linguistics, visual studies, and narrative theory, among other disciplines. The scholars examine to what extent these discourses are in conversation with one another and seek connections among them.

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Mock Caldecott, 2014: Manhattan, Kansas edition

Just back from our Mock Caldecott, held today at the Manhattan [Kansas] Public Library, and again organized by KSU’s Children’s and Adolescent Literature Community (special thanks to Allison Kuehne and Becca Rowe!). In anticipation of the Caldecott Awards (held in January), we spent a few hours looking at and discussing what may or may not be the best American picture books of year.  That is, we try to look at the best, but we can’t always get everything we need in time.  (For example, omitted this year were Sergio Ruzzier’s A Letter for Leo and Mark Newgarden and Megan Montague Cash’s Bow-Wow’s Nightmare Neighbors — both books that I expect other Mock Caldecott groups, and the Caldecott Committee itself, are looking at.)  The process is imperfect, but it’s still fun to spend the afternoon looking at picture books, and debating their merits!

The Winner:

Marla Frazee, The Farmer and the Clown 

Marla Frazee, The Farmer and the Clown (2014)

Wordless tale of an unlikely friendship. In well-designed, dynamic layouts, Frazee‘s book tells the story of a young clown who falls off the train of a traveling circus, and gets adopted by a farmer.  The friendship that develops between the unlikely pair touched our group this afternoon, as did the unexpected resolution of the tale.  (I don’t want to give anything away here….)

The Honor Books:

We had quite a few honor books.  Here they are, in the order of how many votes they received.

Dan Santat, The Adventures of Beekle, The Unimaginary Friend (2014)Dan Santat, The Adventures of Beekle: The Unimaginary Friend

Where do imaginary friends come from? And what if some imaginary friends fail to get imagined by children? In answer to both questions, Dan Santat has Beekle — an imaginary friend — set off in search of a young human who will befriend him. A book that bears a bit of influence from Shaun Tan (especially The Lost Thing), The Adventures of Beekle is already in Emily’s Library.  (Coming later this week: a new installment in my attempt to build for my niece the “ideal” children’s library.)

The next two books were tied with the same number of votes each.

Kadir Nelson, Baby Bear (2014)Kadir Nelson, Baby Bear

In his hyperreal artistic style, Nelson paints an animal story that is at once an adventure of a lost bear trying to get home, and a philosophical meditation on how we find our place in the world. It’s a different kind of book for Nelson (I don’t think he’s done other animal books), and he does it very well.  Sustained by its striking artwork and compelling child surrogate (baby bear, of course!), this beautiful book is also already in Emily’s Library.

Mike Curato, Little Elliot, Big CityMike Curato, Little Elliot, Big City

With illustrations that really draw you in, Curato‘s tale of a small cupcake-loving polka-dotted elephant (Elliot) has heart. I think, too, that its treatment of the central character’s height will resonate with younger readers: to be a child is to exist in a world designed for giants, where everything is too large, too long, or out of reach. Curato captures that experience well. It’s sweet without being pat — and that’s a delicate balance to achieve.  It’s a future addition to Emily’s Library.  (I hadn’t seen it until today.)

J. Patrick Lewis and Gary Kelley, Harlem Hellfighters (2014)J. Patrick Lewis and Gary Kelley, Harlem Hellfighters

Also a book I encountered for the first time this afternoon, Harlem Hellfighters was my top pick of the 25 we looked at today. In spare, poetic text, and striking images, the book tells the story of the most decorated African American combat unit to serve in the First World War.  With a great use of comics layout, and words both suggestive and specific, it does the impossible job of conveying historical detail and nuance all within the confines of a picture book.  It shows how the same group of people who were being lynched here in the U.S. were serving abroad with valor and distinction — juxtaposing their European heroism with American lynchings. And, though it has a strong moral message, Lewis and Kelley convey that without moralizing. Probably not a book for the youngest readers, Harlem Hellfighters should be required reading for American children of 7 and up in the Ferguson Era. (I don’t know if we have a term for the legal murder of people of color, as practiced in contemporary America — so, I’m using “Ferguson Era” as shorthand.)

Kate Samworth, Aviary Wonders, Inc. Spring Catalog and Instruction Manual (2014)Kate Samworth, Aviary Wonders Inc. Spring Catalog and Instruction Manual

This one — the last of our Honor Books — blew me away, and was also on my short list. I’d read about it before today, but had never actually seen it.  In the guise of a catalogue for the (fictional) Aviary Wonders Inc., Samworth teaches us about anatomy, flight, and extinction. With a dark sense of humor and design evocative of both contemporary catalogues and nineteenth-century science, Aviary Wonders Inc. tells the sad story of our loss of biodiversity. In offering instructions for how to make birds, Samworth commemorates those species that humans have destroyed. If this sounds impossible to you, then all I can say is check it out. It sounds impossible to me, too — only because I’ve read Samworth’s book can I report that it’s not only possible but a remarkable achievement.  One of the year’s best picture books.

What are your favorite picture books from 2014?  (Though the Caldecott recognizes excellence in American picture books, there’s no need to restrict yourself to ones from the U.S.)

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A Thanksgiving Fable You Shouldn’t Pay Any Attention To

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): coverBefore Jon Scieszka and Lane Smith‘s The Stinky Cheese Man and Other Fairly Stupid Tales (1992), there was Tomi Ungerer‘s  I Am Papa Snap and These Are My Favorite No Such Stories (1971) and Florence Parry Heide and Sylvia Worth Van Clief’s Fables You Shouldn’t Pay Any Attention To (1978). They’re stories with unexpected morals, or (in the case of Ungerer) that sometimes just end absurdly. Since Heide and Van Clief have a Thanksgiving-themed tale and since we live in bleak times,* I thought I would share with you something amusing. So, here is “Chester,” illustrated (as are all the tales in this book) by Victoria Chess in ink with wash. The book is out of print, but perhaps someone at the New York Review of Books’ Children’s Collection (or another imprint) will see this tale, and then reprint all of Fables You Shouldn’t Pay Any Attention To? Let us hope so….

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 36

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 37

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 38

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 39

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 40

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 41

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 42

Florence Parry Heide and Sylvia Worth Van Clief, Fables You Shouldn't Pay Any Attention To (1978, illus. by Victoria Chess): "Chester," p. 43

Text copyright © 1978 Florence Parry Heide and William C. Van Clief III. Illustrations copyright © 1978 by Victoria Chess.

If you enjoyed this, then definitely check out other books by Florence Parry Heide (1919-2011), such as The Shrinking of Treehorn (1971) and its two sequels (all illustrated by Edward Gorey), Alphabet Zoop (1970, illus. by Sally Matthews), and her final book, Princess Hyacinth (The Surprising Tale of a Girl Who Floated) (2011, illus. by Lane Smith).
_______

* I’m thinking, at the moment, the structural, lethal racism embodied by Ferguson (but present around the world) and of the rampant rape culture embodied by the University of Virginia (but present around the world). And, yes, of course, this list could be much longer, depending where on our warming planet you turn your attention. Sigh.

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Harold Around the World

Harold and the Purple Crayon in ten different languages

Crockett Johnson, Harold and the Purple Crayon (1955): coverFor Crockett Johnson‘s 108th birthday, it’s… Harold around the world!  Whether you know him as Valtteri, Paultje, Pelle, Tullemand, Harold, or something else, you can read about his adventures in at least 14 languages. I have copies of Harold and the Purple Crayon in nine languages (Chinese, Danish, Dutch, Finnish, French, Hebrew, Italian, Spanish, and its original English) and have found some additional covers in other languages (German, Polish, Swedish) on-line.

So, grab your crayon, draw up a chair, and take a look at the many versions of Harold!


Chinese

The book is available in at least two versions in Chinese. Here’s the one published by Hsinex International Corporation in 1987. On the cover, Harold’s skin tone is a darker shade of tan than it is inside the book (where it is the same light tan color that it is in the English-language edition).

Harold and the Purple Crayon (Chinese edition, 1987)

And here’s the one published by Jieli Publishing House in 2004.  This publisher also translated the other six Harold books — including Harold’s ABC, which must be strange to read. The letters are in English, and the items they name are English words, but all the print narrative is in Chinese — followed by a parenthetical mention of the English word named by the letter.

Harold and the Purple Crayon (Chinese edition, 2004)


Danish

Tullemand!  Translated by Bibi & Thomas Winding.  Published by Gylendal.

Harold and the Purple Crayon (Danish edition, 2000)

(For this copy, my thanks to Stewart Edelstein, Executor of Ruth Krauss’s Estate.)


Dutch

For the Dutch edition, one of the Netherlands’ greatest children’s writers did the translation: Annie M.G. Schmidt, author of Jip and Janneke, Tow-Truck Pluck, and many others (most of which have not been translated into English).  Published by Lemniscaat.

Harold and the Purple Crayon (Dutch edition, 2011)


Finnish

Translated by Riitta Oittinen. Published by Pieni Karhu (Little Bear).

Harold and the Purple Crayon (Finnish edition, 1999)

(Thanks to Leena Reiman, who sent me this copy back in 1999 — during the earliest days of my Crockett Johnson Homepage.)


French

In French, Harold’s crayon is pink.  Translated from the American by Anne-Laure Fournier le Ray. (Really — from the American, not from the English. “Traduit de l’américain par Anne-Laure Fournier le Ray.”)

Harold and the Purple Crayon (French edition, 2001)

In the latest French edition (same translator), Harold’s crayon is now violet.

Harold and the Purple Crayon (French edition, 2013)


German

According to GoogleTranslate, this German title translates to “I’m making my own world.” I don’t have a copy of this, but if I remember correctly (I’ve seen a copy with those of Johnson’s papers housed with Ruth Krauss’s), the crayon is red in this edition.

Harold and the Purple Crayon (German edition)

There’s a new German edition, which (mostly) retains Johnson’s title: “Zauberkreide” is “magic chalk,” which makes this much closer to Harold and the Purple Crayon than the above version.

Harold and the Purple Crayon (current German edition)


Hebrew

Note that the binding is on the right side here. The pages are all mirror images of the English-language version.

Harold and the Purple Crayon (Hebrew edition)


Italian

Translated by Giulio Lughi. Published by Einaudi Ragazzi.  Contains both Harold and the Purple Crayon and Harold’s Trip to the Sky.

Harold and the Purple Crayon (Italian edition, 2000)


Polish

Translated by Tomasz Zając. Published by Media Rodzina.

Harold and the Purple Crayon (Polish edition)


Spanish

Translated by Teresa Mlawer. Published by HarperCollins.

Harold and the Purple Crayon (Spanish edition, 1995)


Swedish

The 1958 edition — specifically, Ole Könnecke‘s childhod copy. Note that Harold’s crayon is also red here.  As Könnecke explains, “‘Och den röda kritan’ means ‘And the red crayon.'”  Yet, he adds, “when I added a belt to Harold’s pyjama, I used a purple crayon.”

Harold and the Purple Crayon (Swedish edition, 1958)

(Thanks to Mr. Könnecke for sharing this! Incidentally, if you’ve not read his children’s books, start with Anton Can Do Magic.)

The current edition, translated by Eva Håkansson.

Harold and the Purple Crayon (Swedish edition)


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On Reading the Expurgated Huck Finn; or, Why We Should Teach Offensive Novels

NewSouth's Bowdlerized edition of Mark TwainAs you may recall, three years ago NewSouth Books published an edition of Mark Twain’s Adventures of Huckleberry Finn and Adventures of Tom Sawyer in which editor Alan Gribben replaced the n-word with “slave,” and the in-word (“Injun”) with “Indian.” Many (including yours truly) criticized Gribben’s decision, and most critics focused on Huckleberry Finn. But who actually read his edition? As I write a chapter on Bowdlerized children’s literature, I decided to read Gribben’s expurgated Huck Finn. My central questions were: What’s the effect of Bowdlerizing this novel? How does it change? How doesn’t it change? Does it approach Gribben’s goal of creating a book that “can be enjoyed just as deeply and authentically if readers are not obliged to confront the n-word on so many pages” (12)?

These are my answers. (Trigger warning: the n-word appears multiple times below. I’ve included it because it’s offensive, and I didn’t feel I could talk about the novel’s offensiveness without using the offending term.)

Mark Twain's Huckleberry Finn (Norton Critical Edition)1. Reading an expurgated edition heightens one’s awareness of what has been changed. When listening to the radio and I hear a word that has been bleeped, silenced, or (more typically) electronically garbed, the omission stands out more than if it had not been altered. If I know the unexpurgated version of the song, my brain instinctively fills in the missing word; if I don’t know it, then the absent rhyme prompts my brain to produce an uncensored version of the lyric. The same is true with “slave” in the NewSouth Edition of Huck Finn: each time I encounter the word “slave,” I first think “Is that an expurgated n-word?”  I assume that it is, but always verify my assumption by checking my Norton Critical Edition of Huck Finn. In its many omissions, the NewSouth edition actually made me more aware of the 219 instances of the word “nigger” in Huck Finn.

2. Gribben insists that this edition “is emphatically not intended for academic scholars” (16). I take his point, and would not assume that younger readers would be reading (as I was) with a non-Bowdlerized edition on hand. However, racism is the central theme of Huck Finn. Not only is it impossible to create an “authentic” version of the novel without the n-word, but presenting this text to young readers as Mark Twain’s Huckleberry Finn perpetuates structural racism. Using “slave” instead of “nigger” naturalizes the racism in Huck’s caricature of Jim. Retaining the n-word makes us pay closer attention to Huck’s racism: though he is less racist than some of the other characters in the book, our narrator casually slings around the n-word, too. Gribben downplays the profound significance of removing this word: “Although the text loses some of the caustic sting that the n-word carries, that price seems small compared to the revolting effect that the more offensive word has on contemporary readers” (13).

The problem is: the caustic sting is the point. Enduring the repeated offensiveness of the n-word is a core experience of reading Huckleberry Finn. Since I am neither a nineteenth-century Americanist nor a Twain scholar, I take the edition’s back cover at its word when it describes Professor Gribben as a “Twain scholar,” and notes that he “co-founded the Mark Twain Circle of America,” and “compiled Mark Twain’s Library: A Reconstruction.” I wonder, however, if Twain scholars still think of Gribben as a Twain scholar? To claim (as Gribben does) that Huck Finn can be both “authentic” and free of its racial slurs is preposterous.

Alan Gribben3. If I am correct in identifying the pink-faced Gribben on the back cover as white, then the NewSouth edition is also a telling example of how white privilege conceals itself from itself. Gribben tries to dilute Huck’s and Twain’s racism in order to preserve a classic American novel, obscuring the ways in which (as Toni Morrison has argued) the predominantly white American canon depends upon not just blackness but upon racism. Gribben colludes in the partial erasure of racism from American literary history, perpetuating a kind of “racism lite” — what Eduardo Bonilla-Silva calls “racism without racists.” Though Huck, Tom, the King, the Duke, and Uncle Silas all treat Jim as less than fully human because of his race, they never once — in the NewSouth edition — use the n-word when doing so. But changing the word does not change the stereotype. In the NewSouth edition, Jim may be called a slave, but the book still caricatures him as a nigger.

Even when Twain’s novel tries to assert Jim’s humanity, such as the scene in which he remembers his deaf daughter Elizabeth, it still calls him “nigger” and represents him as one. Just paragraphs prior to the Elizabeth scene, Huck hears Jim talking in his sleep about “his wife and his children,” feeling “low and homesick.” He then observes, “I do believe he cared just as much for his people as white folks does for their’n. It don’t seem natural, but I reckon it’s so…. He was a mighty good nigger, Jim was” (125). Changing that line to “He was a might good slave, Jim was” (393) not only softens Huck’s racist condescension towards Jim, but conflates racial category (“nigger”) with job description (“slave”) — and there are moments (in Twain’s novel) when Huck distinguishes between slave and nigger. For example, at the beginning of Huck’s crisis of conscience, he makes the distinction: “Once I said to myself it would be a thousand times better for Jim to be a slave at home where his family was, as long as he’d got to be a slave” (168). When this passage appears in the NewSouth edition (as it does, unchanged), there’s no way of knowing that Huck is making this lexical distinction between the two terms because NewSouth replaces all instances of the n-word with “slave.”

Mark Twain's Huckleberry Finn (1884)4. The distinction is important because Twain’s characters suffer from varying degrees of racism. Though he makes liberal use of the n-word, Huck is actually less racist than (for example) his father. On some (though certainly not all) of the occasions Huck uses the n-word, he is reflecting the judgment of the community. During that same crisis-of-conscience scene, he says, “It would get all around that Huck Finn helped a nigger to get his freedom” (168). In conveying others’ imagined evaluation of his behavior, he echoes their style of speech: in context, the n-word could be read as Twain’s criticism of those who think that people of color should be enslaved. In contrast, Huck’s father consistently denies the humanity of people of color. Pap’s use of the n-word not only offers some indication of where Huck may have learned to deploy the term so frequently, but allows readers to make a moral distinction between father and son. Pap describes “a free nigger,” a “mulatter, most as white as a white man” who is a “p’fessor in a college and could talk all kinds of languages,” and then rails against the man’s right to vote: “when they told me there was a State in this country where they’d let that nigger vote, I drawed out. I says I’ll never vote again” (27). In changing the word “nigger” to “slave,” NewSouth not only partly obscures where Huck learned his racist language, but also diminishes the full violence of Pap’s hatred.

5. Reading the word “nigger” should make you at least uncomfortable, and at most angry. Since Twain’s Huckleberry Finn is also satirical, a key emotional experience of reading is the collision between anger and humor. On the one hand, the novel has lots of satirical targets — romantic adventure narratives, religion, human gullibility, superstition in general, and (in particular) superstition in “niggers.” Its attempts at humor bump uncomfortably into its racism. The novel invites us to laugh at the superstitions of Nat (the slave who feeds Jim, on Uncle Silas’s plantation), and of Jim himself. Yet, because it presents both characters — especially Nat — as racial caricatures, the jokes aren’t funny. (Well, racists may find them funny, but other people are less likely to laugh.) Other jokes — the mocking of the King and the Duke’s con-artistry, Emmeline Grangerford’s morbid poetry — work much better. The different affective tones make for an unsettling read.

Young people should learn to read uncomfortably, to be able to cope with experiences that upset them. Huck Finn’s mix of comedy and bigotry offers an ideal occasion to do just that. In its attempts to sanitize the novel’s bigotry, Gribben’s NewSouth edition makes it harder to have that conversation.

6. Though his efforts were well-intentioned, Alan Gribben, in his NewSouth edition, attempts to conceal racism’s history and pervasiveness in American culture, while enshrining as a classic one of the books that perpetuates racism — and, in some ways, critiques racism. (I’ve dwelled on the novel’s shortcomings here, but it’s fair to call Twain a racial progressive in nineteenth-century America. Despite and because of that, it’s also fair to call both Twain and the novel racist.)

7. Mark Twain’s The Adventures of Huckleberry Finn is a classic American novel and a racist American novel. Indeed, its racism can not be separated from its genius. These twin qualities provide two excellent reasons to teach it in American high schools and colleges. White Americans need to confront America’s racist past so that they can stop perpetuating that racism in the present. People of color need to learn about America’s racist past so that they can survive in America’s racist present.

Robin Bernstein, page 1 from "Signposts on the Road Less Taken: John Newton Hyde's Anti-Racist Illustrations of African-American Children"8. There will be those who, upon reading this, say: You’re judging a nineteenth-century novel by twenty-first century standards. If you are one of those people, I highly recommend an essay by Robin Bernstein:

  • “Signposts on the Road Less Taken: John Newton Hyde’s Anti-Racist Illustrations of African-American Children,” The Journal of Nineteenth-Century Americanists 1.1 (Spring 2013): 97-119.

If you lack access to it, I will send you a pdf (my email address is at right, under “A note on mp3s”). In it, she makes the excellent point that the “that’s what everyone thought back then” argument is a weak one: “In the 1850s, some people held radically egalitarian beliefs, while others espoused white supremacy. The same is true today. What has changed is less the array of thinkable thoughts than the proportion of people espousing each belief. … But the full set of racial beliefs has remained relatively stable” (97-98). As she notes, this “relative stability of the range of racial beliefs is important because it refutes a narrative of history that falsely implies that progress is inevitable” (98). In Mark Twain’s time, all people did not hold the same beliefs. To defend Huck Finn’s racism on the grounds that they did colludes with a white supremacist understanding of history, excusing past bigotry without acknowledging the damage inflicted upon real people both past and present.

9. Gribben’s NewSouth edition not only fails to achieve its stated goals. It does real harm to those who read it. Lying to young readers is not educating them. Racist literature should of course be taught alongside other fiction and non-fiction that provide students with more accurate visions of history, allowing them to evaluate critically what they read. But lying via omission is a poor — indeed, a dangerous — solution to dealing with racism.

10. I hope it goes without saying that I welcome criticism of my analysis, above. This chapter is a work in progress. Furthermore, like Alan Gribben (if I’ve read his photo correctly), I am a white male. In the U.S., my skin color and gender allow me not only to evade the daily pain of racism, but also to benefit from it (see “white privilege” in no. 3, above). So, while I hope I’m discussing race and racism with nuance and sensitivity, I know that my own privilege may blind me to the ways I which I’m failing to do so. Where you see me failing, please call me to task. I want to know what I’m getting wrong. Thank you.

Indeed, if you’ll be at the American Studies Association conference next month, elements of the above will appear in my paper — which also addresses Doctor Dolittle, Charlie and the Chocolate Factory, and the role of affect in teaching about all three of these novels. I’d welcome your criticism and comments there, too. The session (no. 408) is Sunday at 12 noon. And, if you’re able to come, you’ll also be treated to three much wiser panelists: Brigitte Fielder, Lori L. Brooks, and Melissa Adams-Campbell.

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Purple Crayons in Connecticut: Two Talks This Week

People of Connecticut! This week, I’ll be giving two talks on two children’s-literature luminaries of the Constitution State — Crockett Johnson and Ruth Krauss.  One is free and open to the public, and the other is $5.  Both are lavishly illustrated.  Here’s what you need to know:


Wednesday, September 24, 2014, 4:00 pm

Not So Simple: The Genius of Crockett Johnson's Harold and the Purple Crayon

“Not So Simple: The Genius of Crockett Johnson’s Harold and the Purple Crayon.”  Co-op Bookstore at Storrs Center, University of Connecticut, Storrs, CT.

I’ve since changed the title to “How to Read Harold: A Purple Crayon, Crockett Johnson, and the Creation of a Children’s Classic.” Yes, that’s a nod to Mark Newgarden and Paul Karasik’s How to Read Nancy: The Elements of Comics in Three Easy Panels (Fantagraphics, Nov. 2014), the book-length version of their classic essay, “How to Read Nancy” (1988). In this 50-minute illustrated talk, I offer 14 ways of thinking about Harold and the Purple Crayon. My goal in doing so is to consider how complex an apparently simple story can be, and, in so doing, offer a case study in what we miss when we underestimate, trivialize, or simply fail to look closely at children’s literature.


Friday, September 26, 2014, 7:30 pm

Chris Ware's cover for Crockett Johnson and Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children's Literature

“Crockett Johnson and Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children’s Literature.” Rowayton Community Center, 33 Highland Ave., Rowayton, CT.

In other words, I’m giving the talk based on my biography in the town where Crockett Johnson and Ruth Krauss lived for nearly 30 years.

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