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August 2008 Archives

August 3, 2008

Patricia MacLachlan

Born March 3, 1938, Cheyenne, Wyoming

Patricia MacLachlan (see Patricia MacLachlan booklist) is an American author writing for the past thirty years and having produced nearly thirty books for young children (picture books) and independent readers. Her writing style is very direct, simple, personal and always touched with humor. She is best known for her Newbery Medal winning Sarah, Plain and Tall, from 1985 but all her books are enjoyable and several of them are easily the equal of that best known book.

I noted in the Featured Author essay of Dick King-Smith that one of his admirable attributes was that, as a parent, you can always be comfortable giving one of his books to your child, sight unseen, and feel confident that 1) they will like it, and 2) that there is nothing inappropriate in the story.

Patricia MacLachlan shares that attribute but hers is an even greater accomplishment in one respect. Whereas King-Smith writes of sweet animals, MacLachlan writes about families and often about some of the more troubling and poignant issues that a family can face. Across her oeuvre, her books deal with a mail order bride/potential stepmother, with new siblings, with handicaps (blindness), with depression, and with the loss of a child. I almost always abhor books around these topics. They are, I am sure, written with the best of intentions but the vast majority come across as trite, message-laden, wooden clunkers. These can be potentially useful in pressing circumstances; however, they are a message masquerading as a story.

MacLachlan's works are on a different plane entirely. She is a story-teller extraordinaire. You are absorbed by the rich characters she develops, you enter their lives and share their lives with them. You love some, laugh at or with others and get irritated by the personal traits of a few. Virtually every story I have read of hers, I have enjoyed but almost always there is a moment where your throat catches and your eyes well. Just plain, thoroughly satisfying, reads.

Her skill is particularly evident when you consider the brevity of the stories, she often packs a rich, well-imagined world into 80-120 brief pages. She has said that she first imagines the characters; lives with them for a while, sometimes a long while; then imagines the start of the book and starts writing; she then lets the nature of the characters drive the plot. She does not start with a map of the story and often, in the writing, has no idea how it will end.

This integrity, based on well-imagined characters, is another element of the success of her writing. Given some of the topics she writes about and their emotiveness, it would be easy to feel, in the hands of a lesser writer, as if you, the reader, were being emotionally manipulated. This is not the case with MacLachlan. While fundamentally an optimistic author, her stories often have loss and distress in them but these experiences arise from the circumstances of her characters - they are a natural unfolding of those circumstances and her simple direct style of writing strips away the histrionics of emotiveness and allows you to connect directly with the character, often giving you a painful jolt as you do so.

Different people have different preferences and while I acknowledge the quality and popularity of Sarah, Plain and Tall, my personal preference is for a couple of her picture books. All the Places to Love is a gem. It is told by a young boy who is living in anticipation of the arrival of a new sibling. He lives on a farm and tells the tale, as he has heard it, of his own birth. He relates his growing up and all the places around the farm and in the countryside that he has learned to love from his parents and grandparents. As he does, he anticipates how he will share these places with his new sister. The writing is exquisite, as are the illustrations. MacLachlan has been particularly blessed with wonderful illustrators of her books, particularly this one.

The other picture book that is near to my heart is What You Know First, the story of a young plains family preparing to leave the dry prairie for a better life. The young girl speaks of her love of the only home she has known. She knows that this is, perhaps, the "right" thing for the family to do but she cannot let go of her love of that which she has known first. As they depart, she takes with her a small bag of prairie dirt to keep with her always.

It is no surprise that farms and prairies show up with frequency in her writing. Patricia MacLachlan was born March 3rd, 1938 in Cheyenne, Wyoming. Her father was a school teacher of the one-room school house variety (he started teaching at nineteen). She was an only child and her early life was an emotionally secure and a surprisingly rich one. Given the nature of her father's job, there were always books around the house which she was encouraged to read. More than just access to books though, they were engaged with by herself and with her parents. "We read them, discussed them, reread them, and acted out the parts. I can still feel the goose bumps as I, in the fur of Peter Rabbit, fled from the garden and Mr. McGregor - played with great ferocity by my father - to the coat closet."

Aside from reading, she also played the cello and then later, the piano. While living in a world of books and loving them, she never aspired as a child to be a writer. In fact, the reverse. Having been assigned to write a story in school, she produced a tale that portended her future writing style - noted for its brevity and succinctness. This first effort amounted to a three sentence story and was not well received by her teacher and her diary entry concluded "I shall try not to be a writer."

The family moved from Wyoming to Minnesota where she spent the remainder of her childhood. She then moved East for college, graduating from the University of Connecticut in 1962. From 1963 to 1979 she was a junior high school teacher in western Massachusetts. She married a psychologist, Robert MacLachlan and they had three children. It was only when all three children were in school and becoming more independent that Patricia MacLachlan decided to do something more than her teaching and her work with the Children's Aid Family Service Agency (on whose board she sat for many years). "It dawned on me that what I really wanted to do was to write."

She attended a writing workshop instructed by children's author Jane Yolen (Featured Author July 13th, 2008), retained an agent and published her first picture book The Sick Day (1979), all in the space of a year. One of her first editors was another much-loved children's author, Charlotte Zolotow (Featured Author November 18th, 2007) who became one of her first advocates. After an initial spate of four books all published in 1979/1980 (The Sick Day; Arthur for the Very First Time; Moon, Star, Frogs, and Friends; and Through Grandpa's Eyes) she has settled down to a more measured pace of about a book a year.

Sarah, Plain and Tall arrived in 1985 and was immediately, and has remained, a big hit, winning the Newbery Medal. Based on a true event in MacLachlan's extended family's history, it tells the story, as told from the perspective of Anna, of a widowed plains farmer raising two children, Anna and Caleb. He runs an advertisement back east for a bride. Sarah, plain and tall, joins them on trial for a month. Young Caleb is immediately taken by this wise young woman but it takes awhile for Anna to come to the same realization. A charming story. MacLachlan had no intention to write further of this family. Yet the characters sat with her and eventually she wrote a further four stories, bringing the cycle to a close in 2006 with Grandfather's Dance. Unlike many series born of a foundation story, this sequence of books bears up well through the cycle.

Families, a sense of place, real characters dealing with real world situations but always with grace and charm - these are the hallmarks of MacLachlan's writings. The sustained high quality of her writing is quite astonishing and is reflected in the opinions of her held by other noted children's authors including Jane Yolen, Charlotte Zolotow and Natalie Babbitt, as well as by the fact that her stories have won most of the major children's literature awards such as the Newbery Medal, Golden Kite Award, the Scott O'Dell Historical Fiction Award, the Jefferson Cup Award, the Christopher Award, many ALA Notable Book mentions, Boston Globe-Horn Book Honors, etc. Yet a further testament is that fully 85% of her books published over the past thirty years are still in print, where 30% would be a more normal situation. Not bad for someone from the prairies that didn't want to be a writer, and didn't start till after she had raised a family.

Picture Books
All the Places to Love by Patricia MacLachlan and illustrated by Mike Wimmer Highly Recommended
What You Know First by Patricia MacLachlan and illustrated by Barry Moser Highly Recommended
Through Grandpa's Eyes by Patricia MacLachlan Recommended
Fiona Loves the Night by Patricia MacLachlan and Emily Maclachlan Charest and illustrated by Amanda Shepherd Recommended
Three Names by Patricia MacLachlan Suggested
Bittle by Patricia MacLachlan and Emily Maclachlan and illustrated by Dan Yaccarino Suggested
Painting the Wind by Patricia MacLachlan and Emily Maclachlan and illustrated by Katy Schneider Suggested
Who Loves Me? by Patricia MacLachlan and illustrated by Amanda Shepherd Suggested
Once I Ate A Pie by Patricia MacLachlan and Emily Maclachlan and illustrated by Katy Schneider Suggested

Independent Readers
Sarah, Plain and Tall by Patricia MacLachlan Highly Recommended
The Facts and Fictions of Minna Pratt by Patricia MacLachlan Recommended
Skylark by Patricia MacLachlan Recommended
Caleb's Story by Patricia MacLachlan Recommended
Grandfather's Dance by Patricia MacLachlan Recommended
Arthur for the Very First Time by Patricia MacLachlan and illustrated by Lloyd Bloom Suggested
Cassie Binegar by Patricia MacLachlan Suggested
Seven Kisses in a Row by Patricia MacLachlan Suggested
Unclaimed Treasures by Patricia MacLachlan Suggested
Journey by Patricia MacLachlan Suggested
Baby by Patricia MacLachlan Suggested
More Perfect Than the Moon by Patricia MacLachlan Suggested
Edward's Eyes by Patricia MacLachlan Suggested

Bibliography
The Sick Day by Patricia MacLachlan and illustrated by William Pene Du Bois 1979
Arthur, for the Very First Time by Patricia MacLachlan and illustrated by Lloyd Bloom 1980
Moon, Stars, Frogs, and Friends by Patricia MacLachlan and illustrated by Tomie de Paola 1980
Through Grandpa's Eyes by Patricia MacLachlan and illustrated by Deborah Ray 1980
Cassie Binegar by Patricia MacLachlan 1982
Tomorrow's Wizard by Patricia MacLachlan and illustrated by Kathy Jacobi 1982
Mama One, Mama Two by Patricia MacLachlan and illustrated by Ruth Lercher Bornstein 1982
Seven Kisses in a Row by Patricia MacLachlan and illustrated by Maria Pia Marrella 1983
Unclaimed Treasures by Patricia MacLachlan 1984
Sarah, Plain and Tall by Patricia MacLachlan and illustrated by Marcia Sewall 1985
The Facts and Fictions of Minna Pratt by Patricia MacLachlan 1988
Journey by Patricia MacLachlan 1991
Three Names by Patricia MacLachlan and illustrated by Alexander Pertzoff 1991
Baby by Patricia MacLachlan 1993
Skylark by Patricia MacLachlan 1994
All the Places to Love by Patricia MacLachlan and illustrated by Mike Wimmer 1994
What You Know First by Patricia MacLachlan and illustrated by Barry Moser 1995
Caleb's Story by Patricia MacLachlan 2001
More Perfect Than the Moon by Patricia MacLachlan 2004
Blittle by Patricia MacLachlan and illustrated by Dan Yaccarino 2004
Painting the Wind by Patricia MacLachlan and illustrated by Katy Schneider 2005
Who Loves Me? by Patricia MacLachlan and illustrated by Amanda Shepherd 2005
Once I Ate a Pie by Patricia MacLachlan and illustrated by Katy Schneider 2006
Grandfather's Dance by Patricia MacLachlan 2006
Edward's Eyes by Patricia MacLachlan 2007
Fiona Loves the Night by Patricia MacLachlan and illustrated by Amanda Shepherd 2007

August 10, 2008

Paul O. Zelinsky

Born February 14, 1953 in Evanston, Illinois. There are good and bad illustrators and there are good and bad artists. Paul O. Zelinsky (see booklist) is one of those rare instances of a magnificently talented artist whose calling happens to be illustrating children's books. Beyond the story told by your eyes, the further testimony of his talent is the quality of the authors with whom he has worked which include Avi, Beverly Cleary, and Jack Prelutsky among contemporaries and Carl Sandburg and E. Nesbit among the older classics. Born in 1953 in Evanston, Illinois, Zelinsky's father was a university professor. He grew up in the Chicago area but with frequent moves. As he indicated in his Junior Authors & Illustrators biographical essay,
I was born in one suburb of Chicago and grew up mostly in the next one over. But my father, who was a college professor, would often take a year off to teach somewhere else, so my family moved quite a bit. I was regularly the new kid in a strange class, making a few friends and losing them again at the end of the year. My drawing, though, was a constant; it could never be left behind, and it needed no one but me. And I drew easily, and always. So I was usually the class artist, wherever the class happened to be.
Despite frequent trips to the Chicago Art Institute as a child, Zelinsky did not have a well formulated career path when he went off to Yale University in 1970.
Before I was grown up, what I wanted the most was to be grown up. Still, one of the nicer things of not being was the luxury of changing my mind about what I would become when I finally got to be grown up. I had lots of ideas, and making children's books wasn't among them. I was going to be a ventriloquist or an astronomer or an architect, and design houses growing out of mountainsides or arching over waterfalls. I would be a painter, write musical comedies, learn all there was to know about every animal on earth. I would work in natural history museums making dioramas where elk and lemmings graze on the arctic tundra, bathed in a pink twilight glow. I would make the elk, and the lemmings, I would make the tundra, I would set up the pink lights. It strikes me that most of my plans involved being someone who makes things. To this day making things remains one of the greatest pleasures I know.
At Yale University, Zelinsky took a class under the great children's book illustrator, Maurice Sendak. This inspired him to finally settle on a specific degree and for that to be in Art, graduating in 1974. He went on to obtain a Masters degree in Fine Art from the Tyler School of Art in Philadelphia in 1976. Perseverance paid off with the first book which he illustrated, and one by Avi no less, coming out in 1978, Emily Upham's Revenge. Since that initial book he has produced roughly a book a year for the past three decades, sometimes with a couple of years lapsing between titles, while he worked on particularly complicated stories. One of the notable attributes of Zelinsky (he has won virtually all the major children's illustration prizes including three Caldecott Honors as well as the Caldecott medal for Rapunzel) is that he never rests on his laurels - he adapts his full scope of talents to each story to find the style of illustration best for that particular story.
I want the pictures to speak in the same voice as the words. This desire has led me to try various kinds of drawings in different books. I have used quite a wide stretch of styles, and I'm fortunate to have been asked to illustrate such a range of stories.
It is this matching of artistic style to story for which Zelinsky is most noted in addition to his technical prowess and depth of research. He has observed that he likes to work with a finished text so that he can map out the whole pictorial story in advance but then he works on the individual paintings and illustrations out of order. Because his style so often varies between stories, he has found that he learns a great deal as he progresses through the work. By doing the paintings out of order, he makes sure that this stylistic refinement does not intrude on the story. Zelinsky has considered deeply the role of seeing and art and children. In an article in Horn Book Magazine Vol.79, Issue 5, he discusses Beauty and the Brain.
When I went to graduate art school in Rome, I hung out a bit with a family, friends of my own family. They had a strong science orientation. The older daughter, a high school senior and very bright, remarked to me that she would kind of like to become an artist like me but she didn't really want to because she wouldn't want her brain to atrophy from not thinking. That was twenty-eight years ago. Now I'm ready with my comeback. It's not a snappy comeback, like "how about thinking before you speak?"; it's my theory. My theory is that seeing is a form of thinking. There is better seeing and worse seeing, and I think it's likely that better seeing and better thinking--general, critical thinking--go together. Drawing fits in here, too. Drawing demands access to brain activities that are designed to be overlooked, the parts of seeing that most of us don't need to notice. Finding that access is brain exercise at a basic level, and it leads to better seeing. I suspect the three activities--drawing, thinking, and seeing--have more in common than commonly thought.
On the role of vision as a mental exercise, he offers this experience:
Quite a few years ago I had a more memorable experience of vision. Our daughter Anna was about a year old, and I was, not atypically, reading her a book. It was Babar and Zephir, a book I vaguely remembered from my own childhood, but the memory wasn't a visual one. We came to a lovely scene in the monkey's home village, all vines and tree houses, a terrific picture. I was reading the text and looking at the illustration and I began to feel a very strange sensation--deja-quasi-vu: not that I had seen this before, but something else uncannily like it. After a minute, the sensation solidified, and I saw in my memory the very same scene as it had looked to me at age ... two? five? I don't know. It was both the same as and unbelievably different from the one before my thirty-two-year-old eyes. Jean de Brunhoff's loose, abstract, and primitive watercolor drawing was overlaid in my mind with a vision of unparalleled tropical splendor. All the leaves that de Brunhoff had left out were there. Twisted ropes and tendrils by the thousands, bamboo huts, the dancing light on the forest floor, rich green and yellow hues, what a scene it was! A certain five-year-old awe came along with the memory. I felt a little like the archaeologists breaking into Tutankhamen's tomb that had lain untouched for--well, a little longer than in my case. I was seeing the same thing in two ways at the same time. It was bizarre. If seeing is not a registering of what is there, but a reaching for clues, a guessing, and a filling in, here I was, experiencing how my young vision had just done a much richer job of filling in! Is young vision always that much more exciting? No way to tell, but I presume that people who love children's literature know what it is to hold on to those early, remembered sensations, and probably have more of an interest than some in holding on to present ones, as well.
He has a number of very interesting things to observe about the theory and practice of art, particularly as he translates that theory into the practice of creating beautiful books with which children can engage. In particular, there is a great article and interview with him in the March 1999, Reading Teacher, Vol. 52, Issue 6. Having emphasized the variety of techniques in which he is capable of working and the styles he adopts, there is a central body of his work that we highly recommend; Hansel and Gretel, Rumpelstilskin, and Rapunzel. All three are of course based on Grimm brother stories and therefore part of the wonderful tapestry of western folktales and it is great to have them in beautifully illustrated stand-alone versions. More than the text of the stories (and the latter two are retellings by Zelinsky himself) there is the sumptuous artistic style, particularly culminating in Rapunzel which was some years in the making. In Rapunzel, Zelinsky chose to paint the story in the style of Renaissance Italian artists which required his study of their painting techniques and styles in great depth. In addition to the artistic aspect of the painting, he also invested large amounts of time in getting the details just right - What kinds of mirror did they have in that age?; What about the comb Rapunzel might have used for her hair? What kinds of clothes?, etc. Other books illustrated by Zelinsky to consider include the highly recommended Five Children and It by E. Nesbit (though unfortunately this edition is currently out of print). There are a couple of recommended Beverly Cleary books illustrated by Zelinsky, Ralph S. Mouse and Dear Mr. Henshaw as well as Anne Isaacs' Swamp Angel, a kind of female version of Davy Crockett. We hope you enjoy this wonderful artist's rich offerings. Picture Books
Hansel and Gretel by Rika Lesser and illustrated by Paul O. Zelinsky Highly Recommended
Rumpelstiltskin by Paul O. Zelinsky Highly Recommended
Rapunzel by Paul O. Zelinsky Highly Recommended
Swamp Angel by Anne Isaacs and illustrated by Paul O. Zelinsky Recommended
The Wheels on the Bus by Paul O. Zelinsky Suggested
Awful Ogre's Awful Day by Jack Prelutsky and illustrated by Paul O. Zelinsky Suggested
Knick-Knack Paddywhack by Paul O. Zelinsky Suggested
Doodler Doodling by Rita Golden Gelman and illustrated by Paul O. Zelinsky Suggested
Shivers in the Fridge by Fran Manushkin and illustrated by Paul O. Zelinsky Suggested
Toys Go Out by Emily Jenkins and illustrated by Paul O. Zelinsky Suggested
Awful Ogre Running Wild by Jack Prelutsky and illustrated by Paul O. Zelinsky Suggested
Independent Readers
Ralph S. Mouse by Beverly Cleary and illustrated by Paul O. Zelinsky Recommended
Dear Mr. Henshaw by Beverly Cleary and illustrated by Paul O. Zelinsky Recommended
The Enchanted Castle by Edith Nesbit and illustrated by Paul O. Zelinsky Recommended
The Story Of Mrs. Lovewright And Purrless Her Cat by Lore Groszmann Segal and illustrated by Paul O. Zelinsky Suggested
Strider by Beverly Cleary and illustrated by Paul O. Zelinsky Suggested
Paul O. Zelinsky's Bibliography
Emily Upham's Revenge by Avi and illustrated by Paul O. Zelinsky 1978
How I Hunted the Little Fellows by Zhitkov Boris and illustrated by Paul O. Zelinsky 1979
The History of Helpless Harry by Avi and illustrated by Paul O. Zelinsky 1980
The Maid and the Mouse and the Odd-Shaped House by Paul O. Zelinsky and illustrated by Paul O. Zelinsky 1981
Three Romances by Winifred Rosen and illustrated by Paul O. Zelinsky 1981
What Amanda Saw by Naomi Lazard and illustrated by Paul O. Zelinsky 1981
Ralph S. Mouse by Beverly Cleary and illustrated by Paul O. Zelinsky 1982
The Song in the Walnut Grove by David Kherdian and illustrated by Paul O. Zelinsky 1982
The Sun's Asleep Behind the Hill by Mirra Ginsburg and illustrated by Paul O. Zelinsky 1982
Zoo Doings by Jack Prelutsky and illustrated by Paul O. Zelinsky 1982
Dear Mr. Henshaw by Beverly Cleary and illustrated by Paul O. Zelinsky 1983
The Lion and the Stoat by Paul O. Zelinsky and illustrated by Paul O. Zelinsky 1984
Hansel and Gretel by Rika Lesser and illustrated by Paul O. Zelinsky 1984
The Story of Mrs. Lovewright and Purrless Her Cat by Lore Segal and illustrated by Paul O. Zelinsky 1985
Rumpelstiltskin by Paul O. Zelinsky and illustrated by Paul O. Zelinsky 1986
The Random House Book of Humor for Children by Pamela Pollack and illustrated by Paul O. Zelinsky 1988
The Wheels on the Bus by Paul O. Zelinsky and illustrated by Paul O. Zelinsky 1990
Strider by Beverly Cleary and illustrated by Paul O. Zelinsky 1991
The Enchanted Castle by E. Nesbit and illustrated by Paul O. Zelinsky 1992
More Rootabagas by Carl Sandburg and illustrated by Paul O. Zelinsky 1993
Swamp Angel by Anne Isaacs and illustrated by Paul O. Zelinsky 1994
Rapunzel by Paul O. Zelinsky and illustrated by Paul O. Zelinsky 1997
Five Children and It by E. Nesbit and illustrated by Paul O. Zelinsky 1999
Awful Ogre's Awful Day by Jack Prelutsky and illustrated by Paul O. Zelinsky 2000
Knick-Knack Paddywhack! by Paul O. Zelinsky and illustrated by Paul O. Zelinsky 2002
Doodler Doodling by Rita Golden Gelman and illustrated by Paul O. Zelinsky 2004
The Shivers in the Fridge by Fran Manushkin and illustrated by Paul O. Zelinsky 2006
Dust Devil by Anne Isaacs and illustrated by Paul O. Zelinsky 2006
Toys Go Out: Being the Adventures of a Knowledgeable Stingray, a Toughy Little Buffalo, and Someone Called Plastic by Emily Jenkins and illustrated by Paul O. Zelinsky 2006
Awful Ogre Running Wild by Jack Prelutsky and illustrated by Paul O. Zelinsky 2008

August 17, 2008

William Pene du Bois

Born May 9, 1916 in Nutley, New Jersey Died February 5, 1993 in Nice, France
William Pene du Bois was an American author/illustrator who led a quiet, productive life writing and illustrating wonderful children's books (see William Pene du Bois booklist.) By all accounts, he was a pleasant and happy man living a pleasant and happy life, doing what he loved best.

Du Bois was born into an artistic family with art antecedents stretching back to the 1700s. His father, Guy du Bois, was a painter and art critic, his mother a designer of children's clothes. His sister also became a painter. It was from his father that du Bois learned to draw.

The family moved to Europe in 1924 when du Bois was eight years old and sojourned in France for six years. It was at this formative period that he developed three passions that were to run through his life: a love of France, a love of the books of Jules Verne, and a love of circuses.

While in France, du Bois attended a boarding school, Lycee Hoche. While he credited the school with forming life long habits of precision and order, his description brings to mind Ludwig Bemelmans' Madeline.

"In an old house in Paris that was covered with vines lived twelve little girls in two straight lines."
From an interview in Horn Book:
Everything was done smartly to the sound of bells and whistles . . . In the morning when the bell rang six o'clock we all got up together and dressed, up to the point of having put on underwear, socks, shoes, and shirt without collar (we wore separate starched collars). Then the master, who slept modestly in a bed on a raised dais surrounded with pink curtains, would blow a whistle and we all washed together. (There were forty boys in each dormitory.) Then at another whistle, we all dumped the water together out of the great line of sinks in one fell swush. Then we finished dressing and lined up in a column of two's and marched to breakfast, a breakfast consisting of a large bowl of coffee and a big piece of dry bread. Of course we all sat down together to the tune of a whistle toot. . .
On his arithmetic teacher, who taught him quality control:
Every morning he would stack out homework papers in a neat pile in the middle of his desk and then proceed to look at them one by one, not as correct or incorrect papers, but as neat or sloppy examples of orderly procedure. He would hold them up as if he were studying etchings, look at the name of the student, and express his critical opinion of the work. He would either say, "Ah, c'est beau!" and stack it in a pile to his right, or make a sad, dejected grimace, and tear it in four equal parts which he stacked to his left. I remember doing a magnificent page of arithmetic, my favorite subject, in which I neglected to rule one short line under a subtraction of two one-digit figures. "What have we here?" he said, "An artist? Monsieur du Bois is drawing free hand." He neatly tore my work in four pieces.
In his later life, du Bois followed exactly the same procedure. He would work a drawing and, on completion, either set it aside if he were satisfied with it, or tear the work in four and start again if not.

The family returned to the US when du Bois was fourteen. He announced his intention to attend Carnegie Technical School of Architecture. He later related that "I was awarded a scholarship to that institution, but to my amazement, I sold a children's book I wrote and illustrated as a divertissement during vacation." It was Elizabeth, the Cow Ghost. With family funds short and an initial clear success in publishing, du Bois produced three more books that year, Giant Otto, and Otto at Sea, the first two in a series of popular Otto books that continued through the 1970's. College was left in the wake of success in publishing and then the war years.

As World War II approached, and having written, illustrated and published five children's books, du Bois joined the Army in 1941 and served through 1945 in Bermuda as part of the coast artillery. He also served as a correspondent for Yank magazine, wrote for the camp newspaper and illustrated maps. He married the girl next door, Jane Bouche in 1943 while in service but the marriage did not last.

After his discharge in 1945, du Bois continued as a correspondent for Yank magazine for a year in Paris and then worked for the Paris Review. It was during this period that he met his future wife, Willa Kim, a theatrical set designer. They later married in 1955.

In 1947, du Bois published what was to become his most famous book, The Twenty-One Balloons which received the Newberry Medal in 1948. Other awards followed including Caldecott Honor awards for Bear Party in 1952 and Lion in 1957. In addition to his own twenty five books, du Bois also illustrated some forty one books by other authors including such noted writers as Charlotte Zolotow, Isaac Bashevis Singer, Peter Matthiessen, Roald Dahl, A.C. Doyle, John Steinbeck, Claire Huchet Bishop, and Jules Verne. In all he illustrated or wrote and illustrated some sixty-six books.

Du Bois was a meticulous craftsman, sitting down every day to a very organized desk with all his artistic tools in their proper places and working steadily to produce at least one illustration a day. He would normally draw the pictures first and then once he had gotten everything just the way he liked it, would then go back over the illustration in ink.

Du Bois was noted for the fine detail of his drawings and the lavish attention paid to the mechanics and operations of the devices described in his books. In his writing style, he had a flair for inventions and eccentric characters, gentle humor and straight-forward narrative that managed to capture the imagination of the reader. There are villains in his stories as well as heroes, but the villains are almost always misguided rather than evil.

The Twenty-One Balloons is one of those stories of which most people have not heard, but those that do know it love it. It was certainly one of Sally's favorites as a child. It tells the story of Professor William Waterman Sherman who becomes bored with teaching and whose solution is to take to the sky in a balloon to sail across the Pacific. His journey is foreshortened when, owing to an unfortunate encounter with a sharp billed seagull, his balloon crashes on a remote island, Krakatoa.

On Krakatoa, Professor Sherman discovers a somewhat utopian community of twenty families sustained by an incredible mine of diamonds but also threatened by the continuing rumbles and tremors of the very active volcano. The community was assembled by the original discoverer of the diamond mine and with the intention to create a magnificent new utopia. Each family lives in its own large home of distinctive architecture and each family is responsible for preparing meals of a particular style (Chinese food, Dutch food, etc.) for all the rest of the community. More than that, all the families were originally selected based on their inventive flair and the story is replete with lovingly described and illustrated labor saving devices of the most intriguing sort. The volcano eventually does erupt sending Professor Sherman and all the families fleeing in a massive escape vehicle of twenty-one balloons.

Only four of du Bois's books are in print today but they all warrant attention. Of course The Twenty-One Balloons remains popular among an underground of fans. In addition to his own work, three titles by others for which he was the illustrator are also still in print, each a great story - Twenty and Ten by Claire Huchet Bishop, a wonderful Christmas story by Rebecca Caudill, called A Certain Small Shepherd, and Charlotte Zolotow's William's Doll.

William Pene du Bois died of a stroke in Nice, France on February 5, 1993. Enjoy the books of this talented author and illustrator.

Picture Books

A Certain Small Shepherd written by Rebecca Caudill and illustrated by William Pene Du Bois Highly Recommended

Independent Readers

The Twenty-One Balloons written and illustrated by William Pene du Bois Highly Recommended
Twenty and Ten written by Claire Huchet Bishop and illustrated by William Pene du Bois Recommended
William's Doll written by Charlotte Zolotow and illustrated by William Pene du Bois Recommended

Bibliography of William Pene du Bois

Elizabeth, the Cow Ghost written and illustrated by William Pene du Bois 1936
Giant Otto written and illustrated by William Pene du Bois 1936
Otto at Sea written and illustrated by William Pene du Bois 1936
The Three Policemen; or Young Bottsford of Farbe Island written and illustrated by William Pene du Bois 1938
S. O. S. Geneva written by Richard Plant and illustrated by William Pene du Bois 1939
The Great Geppy written and illustrated by William Pene du Bois 1940
The Flying Locomotive written and illustrated by William Pene du Bois 1941
Harriet written by Charles McKinley and illustrated by William Pene du Bois 1946
The Twenty-one Balloons written and illustrated by William Pene du Bois 1947
The Witch of Scrapfaggot Green written by Patricia Gordon and illustrated by William Pene du Bois 1948
Peter Graves written and illustrated by William Pene du Bois 1950
Bear Party written and illustrated by William Pene du Bois 1951
The Young Visiters; or Mr. Salteena's Plan written by Daisy Ashford and illustrated by William Pene du Bois 1951
The Mousewife written by Rumer Godden and illustrated by William Pene du Bois 1951
Moon Ahead written by Leslie Greener and illustrated by William Pene du Bois 1951
Squirrel Hotel written and illustrated by William Pene du Bois 1952
Twenty and Ten written by Claire Huchet Bishop and illustrated by William Pene du Bois 1952
The Giant written and illustrated by William Pene du Bois 1954
My Brother Bird written by Evelyn Ames and illustrated by William Pene du Bois 1954
Lion written and illustrated by William Pene du Bois 1956
Digging for China: A Poem written by Richard Wilbur and illustrated by William Pene du Bois 1956
The Rabbit's Umbrella written by George Plimpton and illustrated by William Pene du Bois 1956
In France written by Marguerite Clement and illustrated by William Pene du Bois 1956
The Short Reign of Pippin IV written by John Steinbeck and illustrated by William Pene du Bois 1957
Jexium Island written by Madeleine Grattan and illustrated by William Pene du Bois 1957
Castles and Dragons written by Child Study Association and illustrated by William Pene du Bois 1958
Otto in Texas written and illustrated by William Pene du Bois 1959
Fierce John, A Story written by Edward Fenton and illustrated by William Pene du Bois 1959
The Contents of the Basket and Other Papers on Children's Books and Reading written by Frances Lander Spain and illustrated by William Pene du Bois 1960
The Owl and the Pussycat written by Edward Lear and illustrated by William Pene du Bois 1961
Billy the Barber written by Dorothy Kunhardt and illustrated by William Pene du Bois 1961
The Light Princess written by George MacDonald and illustrated by William Pene du Bois 1962
The Three Little Pigs in Verse written by Anonymous and illustrated by William Pene du Bois 1962
Dr. Ox's Experiment written by Jules Verne and illustrated by William Pene du Bois 1963
The Poison Belt written by Arthur Conan Doyle and illustrated by William Pene du Bois 1964
The Alligator Case written and illustrated by William Pene du Bois 1965
A Certain Small Shepherd written by Rebecca Caudill and illustrated by William Pene du Bois 1965
Lazy Tommy Pumpkinhead written and illustrated by William Pene du Bois 1966
The Magic Finger written by Roald Dahl and illustrated by William Pene du Bois 1966
The Horse in the Camel Suit written and illustrated by William Pene du Bois 1967
Pretty Pretty Peggy Moffitt written and illustrated by William Pene du Bois 1968
The Tiger in the Teapot written by Betty Yurdin and illustrated by William Pene du Bois 1968
Porko von Popbutton written and illustrated by William Pene du Bois 1969
Call Me Bandicoot written and illustrated by William Pene du Bois 1970
Otto and the Magic Potatoes written and illustrated by William Pene du Bois 1970
Bear Circus written and illustrated by William Pene du Bois 1971
The Topsy-Turvy Emperor of China written by Isaac Bashevis Singer and illustrated by William Pene du Bois 1971
The Hare and the Tortoise and the Tortoise and the Hare: La liebre y la tortuga & la tortuga y la liebre written and illustrated by William Pene du Bois 1972
Seal Pool written by Peter Matthiessen and illustrated by William Pene du Bois 1972
William's Doll written by Charlotte Zolotow and illustrated by William Pene du Bois 1972
Mother Goose for Christmas written and illustrated by William Pene du Bois 1973
Where's Gomer? written by Norma Farber and illustrated by William Pene du Bois 1974
My Grandson Lew written by Charlotte Zolotow and illustrated by William Pene du Bois 1974
The Unfriendly Book written by Charlotte Zolotow and illustrated by William Pene du Bois 1975
It's Not Fair written by Charlotte Zolotow and illustrated by William Pene du Bois 1976
The Runaway Flying Horse written by Paul-Jacques Bonzon and illustrated by William Pene du Bois 1976
Moving Day written by Tobi Tobias and illustrated by William Pene du Bois 1976
The Forbidden Forest written and illustrated by William Pene du Bois 1978
We Came a-Marching . . . One, Two, Three written by Mildred Hobzek and illustrated by William Pene du Bois 1978
The Sick Day written by Patricia MacLachlan and illustrated by William Pene du Bois 1979
The Planet of Lost Things written by Mark Strand and illustrated by William Pene du Bois 1982
Anna Witch written by Madeleine Edmondson and illustrated by William Pene du Bois 1982
Gentleman Bear written and illustrated by William Pene du Bois 1985
The Night Book written by Mark Strand and illustrated by William Pene du Bois 1985
Bear in Mind: A Book of Bear Poems written by Bobbye Goldstein and illustrated by William Pene du Bois 1989
Just My Size written by May Garelick and illustrated by William Pene du Bois 1990

August 23, 2008

Marcia Brown

Born July 13, 1918 in Rochester, New York

Marcia Brown, winner of an unprecedented three Caldecott Medals and six Caldecott Honors, is an American artist who has, for some forty years, chosen to use her art for the purposes of creating wonderful children's books that prove to be perennial favorites. While her artwork is exceptional, contributing as much to the quality of her books is the intensity of her embrace of the world, the arts, traditional tales and the customs of other peoples. On the one hand, she is the product of a thoroughly American childhood and life and on the other, she is fascinated by the wide world and has roamed it harvesting ideas for stories and new techniques that shape her art. (See Marcia Brown bibliography and book list.) She is also the winner of the prestigious Laura Ingalls Wilder award for the corpus of her work.

Born in up-state New York in 1918, Brown was one of three daughters of Clarence Edward Brown, a minister and his wife Adelaide Elizabeth Brown, a homemaker. As a consequence of her father's calling, they moved a number of times as she grew up, but always in upstate New York and always with lots of access to the great outdoors. As she noted in an interview in American Artist, she and her sisters "were brought up to take enormous pleasure in the visual world; and since our childhood was spent in small towns with beautiful natural settings, we had plenty of opportunity to do so."

She related to Lee Bennett Hopkins that "My interest in making picture books comes in an almost unbroken line from the constant reading and drawing of my childhood. Pictures popped into my head as I read, and I read voraciously. Every Christmas, my sister and I received paints and crayons and large pads of drawing paper. Christmas morning would find us making paper dolls and painting pictures of sturdy red barns with angels and fairies hovering overhead. Sometimes Mother and Father joined us, for drawing seemed most natural for the whole family to do. We all loved to read and listen to stories."

Graduating high school she had many options in front of her, but few funds. She considered a career in art, in medicine and in teaching. While pursuing art studies at the Woodstock School of Painting, she simultaneously took her degree at the New York College for Teachers in 1940 (with a minor in biology to keep that door open.) Next, she taught drama in the Cornwall, New York high school for three years, then was a librarian in the New York Public Library for five years. It was as a librarian that she first began writing books and indeed completed four while working full-time, three of which had been published before she decided to leave the library and dedicate herself to her writing and art.

Her first book, The Little Carousel, was published in 1946 and was based on an incident in the Sicilian neighborhood in which she lived in New York City. Her second book, Stone Soup, came out the following year and won a 1948 Caldecott honor. This is my favorite among her works.

Since 1948, Marcia Brown has produced a book a year or so and has done that while pursuing all sorts of other interests. In the early 1950's she spent some time in the Caribbean, travelling, teaching puppetry arts, and coming back with Henry Fisherman: A Story of the Virgin Islands for which she won a Caldecott Honor, as well as a collection of Jamaican Folktales by Philip Sherlock which she illustrated, Anansi, The Spider Man: Jamaica. She lived in Venice for four years, becoming fluent in Italian and then spent a year in Paris both taking art lessons as well as studying the flute, classical music being another life-long love of hers. Staring in 1979, she has made a number of trips to China, studying traditional Chinese art and in particular brush painting.

There are a handful of things that characterize Brown's work 1) almost all of it is aimed at younger children, 2) it is dominated by retellings and traditional folk stories, 3) Brown reached out to the whole world for stories, and 4) while her art work is not in a particular style it is all very striking.

From a Horn Book Magazine interview you can glean her storytelling and artistic principles:
Children walk, arms open, to embrace what we give them. A child needs the stimulus of books that are focused on individual personality and character if he is to find his own. A child is an individual; a book is individual. Each should be served according to its needs.
And
"I have never felt that children need any particular kind of drawing any more than they need any particular kind of writing. The clarity, the vitality of the message, the genuineness of the feeling - that is what is important."
In her oeuvre are folktales from Africa, the Caribbean, India, China, Russia, France, England, Italy, and Persia. Brown was motivated in part by a firm belief in and commitment to the value of stories to link generations together from past to future. As reflected in her statements above, "the vitality of the message, the genuineness of the feeling" is infused in all her stories. There is never even a whiff of pedantic multiculturalism, preening puffery, or ethnic identity politics. She just gets right down to it and tells a great story and lets the story be what it is. You don't have to worry about faux sophistication.

In her art work for her children's books, Brown has spent several decades broadening and further broadening her repertoire of technique. While she has developed deep interests in Chinese brushwork and the arts of Italy, these are not directly reflected in her illustrations. However it would be difficult to characterize her illustrations as having a particular style. She has said that she always tries to let the story drive the nature of the illustrations and not to impose a particular style on it. She has used woodblocks, pen-and-ink sketches, collages, watercolor, and gouache among other media. I think the most that could be said in terms of what is consistent from story to story is that she favors strong lines and simple colors.

From a parent's perspective, her stories occupy an interesting and somewhat special niche. First of all, her retellings are excellent introductions for small children into the huge repository of western folktales (Stone Soup, Dick Whittington, Cinderella, Three Billy Goats Gruff, Puss in Boots, the Steadfast Tin Soldier, etc.). The strong lines and simple colors are always gripping to the very young (two to six years). The flow of the text is concrete - both challenging but also accessible. So while the young engage because of the illustrations and their close fit with the text, these books are also useful for children first learning to read. There is sufficient story line to keep their attention. These are certainly not Learn to Read type books but are in that scarce population of books that are great for reading to a child as well for them to use in those first steps towards independent reading. Almost all her work is either written and illustrated by herself, written by folktale collectors of the past centuries (Perrault, Andersen, and Asbjornsen) and illustrated by Brown, or is a collaboration with someone with a unique perspective such as when she worked with the ballerina Violette Verdy to produce Of Swans, Sugar Plums, and Satin Slippers. Unlike many other author/illustrators, she has almost never worked with another author. In addition the Laura Ingalls Wilder award mentioned earlier, she also received Caldecott Medals for Cinderella or the Little Glass Slipper (1955), Once a Mouse . . . (1962), and Shadow (1982). Her Caldecott Honors were for Stone Soup (1948), Henry-Fisherman: A Story of the Virgin Islands (1950), Dick Whittington and His Cat (1951), Skipper John's Cook (1952), Puss in Boots (1953), and The Steadfast Tin Soldier (1954).

Of her thirty-two books, only six are currently in print, all of them to be recommended for reading to young children who will discover the love of reading and the rich stories they are heir to.

Let the final word be Marcia Brown's from her speech given to the American Library Association in 1992 on receipt of the Laura Ingalls Wilder award. The sentiment Brown expresses here applies equally to her own books.
Books like Mrs. Wilder's are like flashlights in the black bowl of a prairie night. They light, at least, the one step that has to follow another. Someone has to take those steps toward assuming full responsibility for the beginning lives of children.

Picture Books

Stone Soup written and illustrated by Marcia Brown Highly Recommended
The Dick Whittington and His Cat written and illustrated by Marcia Brown Recommended
The Cinderella written by Charles Perrault and translated and illustrated by Marcia Brown Recommended
The Three Billy Goats Gruff by Peter Christen Asbjornsen and Jorgen Engebretsen Moe and illsutrated by Marcia Brown Recommended
The Once a Mouse written and illustrated by Marcia Brown Recommended
The Shadow written by Blaise Cendrars, translated and illsutrated by Marcia Brown Suggested

Marcia Brown's Bibliography

The Little Carousel written and illustrated by Marcia Brown 1946
Stone Soup: An Old Tale written and illustrated by Marcia Brown 1947
The Trail of Courage written by Virginia Watson and illustrated by Marcia Brown 1948
Henry Fisherman: A Story of the Virgin Islands written and illustrated by Marcia Brown 1949
Dick Whittington and His Cat written and illustrated by Marcia Brown 1950
Skipper John's Cook written and illustrated by Marcia Brown 1951
Puss in Boots written by Charles Perrault and illustrated by Marcia Brown 1952
The Steadfast Tin Soldier written by Hans Christian Andersen and illustrated by Marcia Brown 1953
Cinderella written by Charles Perrault and illustrated by Marcia Brown 1954
Anansi, The Spider Man: Jamaican Folktales written by Philip Sherlock and illustrated by Marcia Brown 1954
The Flying Carpet written and illustrated by Marcia Brown 1956
The Three Billy Goats Gruff written by Peter Asbjornsen and illustrated by Marcia Brown 1957
Felice written and illustrated by Marcia Brown 1958
Peter Piper's Alphabet written and illustrated by Marcia Brown 1959
Tamarindo! written and illustrated by Marcia Brown 1960
Once a Mouse. . . . written and illustrated by Marcia Brown 1961
The Wild Swans written by Hans Christian Andersen and illustrated by Marcia Brown 1963
Backbone of the King: The Story of Paka'a and His Son Ku written and illustrated by Marcia Brown 1966
The Neighbors written and illustrated by Marcia Brown 1967
How Hippo! written and illustrated by Marcia Brown 1969
Giselle, or The Wilis written by Violette Verdy and illustrated by Marcia Brown 1970
The Bun: A Tale from Russia written and illustrated by Marcia Brown 1972
The Snow Queen written by Hans Christian Andersen and illustrated by Marcia Brown 1972
Snedronnigen written by Hans Christian Andersen and illustrated by Marcia Brown 1972
All Butterflies: An ABC written and illustrated by Marcia Brown 1974
The Blue Jackal written and illustrated by Marcia Brown 1977
Listen to a Shape written and illustrated by Marcia Brown 1979
Touch Will Tell written and illustrated by Marcia Brown 1979
Walk with Your Eyes written and illustrated by Marcia Brown 1979
Shadow written by Blaise Cendrars and illustrated by Marcia Brown 1982
Feticheuse written by Blaise Cendrars and illustrated by Marcia Brown 1982
Lotus Seeds: Children, Pictures, and Books written and illustrated by Marcia Brown 1985

Posted by Charles Bayless on August 23, 2008 3:12 PM | | Comments (1)

August 31, 2008

Roger Duvoisin

Born August 28, 1904 in Geneva, Switzerland
Died June 30, 1980 in Morristown, New Jersey

Roger Duvoisin (see booklist) is one of those individuals who just happened to fall into the field of illustrating and writing children's books and yet proved to be not only very good at it but also quite influential and enduringly popular. He was born in Switzerland, August 28th, 1904 into a family with a strong orientation towards the arts. His father was an architect and his godmother was a famous enamel painter. While Duvoisin showed early interest in the arts, there was some energetic familial discussion as to his education.

As Duvoisin related in The Junior Book of Authors:
Like most children, I loved to draw. Galloping horses were my favorite subject. But I labored in vain trying to draw the hoofs; they always looked like oversized shoes. Fortunately an uncle of mine had a special talent for drawing horses and I looked forward to his visit with great expectation as I always made him fill sheets of paper with magnificent horses, prancing on their elegant hoofs.

Trees were also my despair. They have so many leaves that I lost hope of drawing them all. I was sad when I looked at my trees whose leaves hung from the branches like Christmas tree ornaments. But I got help there too. My godmother, who was a well-known painter of enamels, said she knew a trick that would help me and she showed it to me. After that my trees were really bad.

Thus I scribbled so many strange things and used up so much white paper that my godmother declared she could see my future very clearly. I would be a painter of enamels. My mother concurred. But my father shook his head. He thought I would make a better chemist. He was alone against two – so he compromised. I would be an artist but not a painter of enamels; a mural painter and a stage designer. That was closer to his own profession. So, when I became of age, I entered art school.
Graduating from art school Roger Duvoisin first turned his hand to murals, posters and designing stage scenery and sets for the theater. Next he became the manager of a French pottery plant. It was in this time, in 1925, that he married Louise Fatio. Next he was recruited into designing textiles which took him to Lyons and Paris in France. In 1927, he was recruited by an American textile firm in New York to come and work for them. He made a commitment to relocate for a minimum of four years and he and Fatio moved to New York.

This commitment became somewhat moot though, with the onset of the Great Depression. The firm for which he worked went bankrupt in 1931. He found himself, at the height of the Great Depression with a wife and two young sons, in a foreign land, and with no job. However, he loved it in America and had no desire to return to Europe (he became a citizen in 1938). Casting around for what to do next, he decided to publish a book that he had written and illustrated for his son. A Little Boy Was Drawing was published in 1932.

While his first effort did not make much of an impact, he was headed in the right direction. His next book, Donkey, Donkey (1933) was a big hit and has been in print ever since. With the success of Donkey, Donkey, Duvoisin was off and running. Over the next nearly fifty years, he wrote and illustrated about forty of his own books, illustrated a further one hundred and forty books by other authors, and worked for the New Yorker magazine doing a number of covers for them in the forties and fifties.

Duvoisin's work has a number of characteristics. One theme is the role that animal protagonists play in many if not most of Duvoisin's work. He loved animals and in 1939 he purchased a farm in New Jersey from whence he could work in New York but spend as much time as he wanted close to nature and animals. Petunia (the goose), Veronica (the hippo), and the Happy Lion are three of the animal characters for which he is most famous but there are also ducks, crocodiles (as in Crocus the . . .), whales, roosters and others. He often would write a story about an animal and then find that he had another story and then another to tell until he had fallen accidentally into a series. Duvoisin had a lot of happy accidents.

Duvoisin was a big collaborator. While he wrote plenty of his own books, he also had long productive relationships with other authors. The Happy Lion series (ultimately eleven books in the series of sixteen books on which they worked together) was a collaboration with his wife Louise Fatio as the author. Other authors with whom he worked were Alvin R. Tresselt, (nineteen books), Mary Calhoun (five books), Charlotte Zolotow (four books), Kathleen Morrow Elliott (three books), and Adelaide Holl (three books). As Duvoisin told Lee Bennett Hopkins, "There are problems and great pleasures in collaborating. Louise has a sensitive eye. Her criticism is very valuable but sometimes difficult to accept, especially when she tells me that I should do particular illustrations over again. She is usually right, though!"

All of Duvoisin's books are characterized by straightforward language and stories, but are always told with a good dose of gentle humor. Nothing slapstick, just straightforward funny. A mark of a great artist, perhaps, is his ability to make you like his work even if it is in a style which doesn't usually appeal to you. I am, in general, not enthusiastic about clunky cartoonish illustrations. I never think of Duvoisin's work as cartoonish and yet technically I suppose it is. Take a look at Donkey, Donkey. Yes, it is a cartoon like rendition of a donkey. Read it though, and you can't help but take to Donkey. He is dissatisfied with his appearance and decides it is because of his ears. He admires the appearance of his barnyard friends. He logically starts trying out their "ear styles." He points his ears down like a dog, then forward like a pig, then straight to the side like a lamb. I don't know which reader laughs more, the child or the parent. It is not that you enjoy the text despite the illustrations; despite the style, somehow it works and reinforces the text. And like all the great works of children's literature, there is a good moral buried under the story and not obtrusive at all: Be Yourself.

In addition to his own work and collaborations with other authors, Duvoisin created a library of wonderfully illustrated classics such as Mother Goose, The Pied Piper of Hamelin, A Child's Garden of Verses, Chanticleer, and The Night Before Christmas, none of which, regrettably, are in print today. Duvoisin also had a penchant for stories from overseas, including folktales. In fact, one of the attractive features of Duvoisin's oeuvre is just how eclectic it is. He produced so much that it doesn't feel unfocused, fragmented and distracted, but you can see all sorts of his interests showing up.

The final characteristic that I would point out, and as was mentioned in relation to Donkey, Donkey, Duvoisin's books all have a certain joie-de-vivre to them. In part this is a function of his boisterous, strong illustrations, partly it is the prevalence of humor and partly that there is a certain down-to-earth pragmatism that is very appealing to children. I think, though, a big element is that underneath all the stories there is always some positive point, some life lesson, some example that it is worthwhile for a child to absorb while they are enjoying the story. As an example, the first Petunia story, tells the tale of a silly goose who acquires a book. She is in awe of the intelligence of people that she sees with books and is confident that her acquisition of a book now makes her wise. On that basis, she sets out dispensing advice to all her friends, advice that is as all ill-thought through as it could possibly be and with calamitous (but humorous) consequences for her friends. By the end of the story, you know that it is not enough to have a book, you have to read it too.

Fortunately, in recent years, a number of Duvoisin's books have been brought back into print. After a long life, with nearly two hundred books to his name, and with numerous awards, Duvoisin passed away in New Jersey on June 30th, 1980.

I hope you enjoy these books by Duvoisin as much as your child will.

Picture Books

Donkey, Donkey written and illustrated by Roger Duvoisin Highly Recommended
White Snow, Bright Snow by Alvin R. Tresselt and illustrated by Roger Duvoisin Highly Recommended
The Happy Lion by Louise Fatio and illustrated by Roger Duvoisin Highly Recommended
Hide and Seek Fog by Alvin R. Tresselt and illustrated by Roger Duvoisin Highly Recommended
Petunia by Roger Duvoisin Recommended
Veronica written and illustrated by Roger Duvoisin Recommended
Petunia's Christmas written and illustrated by Roger Duvoisin Suggested
The Happy Lion Roars by Louise Fatio & Roger Duvoisin Suggested
Veronica on Petunia's Farm written and illustrated by Roger Duvoisin Suggested

Roger Duvoisin's Bibliography

A Little Boy Was Drawing written and illustrated by Roger Duvoisin 1932
Donkey-Donkey: The Troubles of a Silly Little Donkey written and illustrated by Roger Duvoisin 1933
All Aboard! written and illustrated by Roger Duvoisin 1935
Mother Goose written by William Rose Benet and illustrated by Roger Duvoisin 1936
The Pied Piper of Hamelin written by Robert Browning and illustrated by Roger Duvoisin 1936
Riema, Little Brown Girl of Java written by Kathleen Morrow Elliott and illustrated by Roger Duvoisin 1937
And There Was America written and illustrated by Roger Duvoisin 1938
Soomoon, Boy of Bali written by Kathleen Morrow Elliott and illustrated by Roger Duvoisin 1938
The Feast of Lamps written by Charlet Root and illustrated by Roger Duvoisin 1938
Jo-yo's Idea written by Kathleen Morrow Elliott and illustrated by Roger Duvoisin 1939
Rhamon, a Boy of Kashmir written by Heluiz Washburne and illustrated by Roger Duvoisin 1939
Tales of the Pampas written by W.H. Hudson and illustrated by Roger Duvoisin 1939
Language Arts for Modern Youth written by Anonymous and illustrated by Roger Duvoisin 1939
Military French written by Anonymous and illustrated by Roger Duvoisin 1939
The Dog Cantbark written by Marjorie Fischer and illustrated by Roger Duvoisin 1940
Petits Contes Vrais written by Mary Riley and illustrated by Roger Duvoisin 1940
The Christmas Cake in Search of Its Owner written and illustrated by Roger Duvoisin 1941
The Three Sneezes, and Other Swiss Tales written and illustrated by Roger Duvoisin 1941
They Put Out to Sea: The Story of the Map written and illustrated by Roger Duvoisin 1943
At Our House written by John G. McCullough and illustrated by Roger Duvoisin 1943
Jumpy, the Kangaroo written by Janet Howard and illustrated by Roger Duvoisin 1944
A Child's Garden of Verses written by Robert Louis Stevenson and illustrated by Roger Duvoisin 1944
Fair, Fantastic Paris written by Harold Ettlinger and illustrated by Roger Duvoisin 1944
The Christmas Book of Legends and Stories written by Elva Smith and illustrated by Roger Duvoisin 1944
The Christmas Whale written and illustrated by Roger Duvoisin 1945
The Happy Time written by Robert Fontaine and illustrated by Roger Duvoisin 1945
I won't, Said the King; or, The Purple Flannel Underwear written by Mildred Jordan and illustrated by Roger Duvoisin 1945
Virgin With Butterflies written by Tom Powers and illustrated by Roger Duvoisin 1945
Bhimsa, the Dancing Bear written by Christine Weston and illustrated by Roger Duvoisin 1945
The Life and Adventures of Robinson Crusoe written by Daniel Defoe and illustrated by Roger Duvoisin 1946
At Daddy's Office written by Robert Jay Misch and illustrated by Roger Duvoisin 1946
Daddies, What They Do All Day written by Helen Walker Puner and illustrated by Roger Duvoisin 1946
The Successful Secretary written by Margaret Pratt and illustrated by Roger Duvoisin 1946
Chanticleer, the Real Story of This Famous Rooster written and illustrated by Roger Duvoisin 1947
Moustachio written and illustrated by Roger Duvoisin 1947
White Snow, Bright Snow written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1947
The Four Corners of the World written and illustrated by Roger Duvoisin 1948
Christmas Pony written by William Norman Hall and illustrated by Roger Duvoisin 1948
The Steam Shovel That Wouldn't Eat Dirt written by Walter Retan and illustrated by Roger Duvoisin 1948
Johnny Maple-Leaf written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1948
Sun Up written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1949
Vavache, the Cow Who Painted Pictures written by Frederic Attwood and illustrated by Roger Duvoisin 1950
Petunia written and illustrated by Roger Duvoisin 1950
The Christmas Forest written by Louise Fatio and illustrated by Roger Duvoisin 1950
Hi, Mr. Robin! written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1950
Follow the Wind written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1950
Dozens of Cousins written by Mabel Watts and illustrated by Roger Duvoisin 1950
Love and Dishes written by Niccolo de Quattrociocchi and illustrated by Roger Duvoisin 1950
Petunia and the Song written and illustrated by Roger Duvoisin 1951
Anna, the Horse written by Louise Fatio and illustrated by Roger Duvoisin 1951
Autumn Harvest written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1951
The Camel Who Took a Walk written by Jack Tworkov and illustrated by Roger Duvoisin 1951
Farm Wanted written by Hilles Helen and illustrated by Roger Duvoisin 1951
The Talking Cat and Other Stories of French Canada written by Natalie Savage Carlson and illustrated by Roger Duvoisin 1952
A for the Ark written and illustrated by Roger Duvoisin 1952
Petunia's Christmas written and illustrated by Roger Duvoisin 1952
Amahl and the Night Visitors written by Gian Carlo Menotti and illustrated by Roger Duvoisin 1952
Busby and Co. written by Coggins Herbert and illustrated by Roger Duvoisin 1952
Chef's Holiday written by Jones Idwal and illustrated by Roger Duvoisin 1952
Petunia Takes a Trip written and illustrated by Roger Duvoisin 1953
Follow the Road written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1953
Tell Me, Little Boy written by Doris Van Liew Foster and illustrated by Roger Duvoisin 1953
Easter Treat written and illustrated by Roger Duvoisin 1954
The Happy Lion written by Louise Fatio and illustrated by Roger Duvoisin 1954
I Saw the Sea Come In written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1954
The Night Before Christmas written by Clement C. Moore and illustrated by Roger Duvoisin 1954
Sophocles the Hyena written by James Moran and illustrated by Roger Duvoisin 1954
Flash of Washington Square written by Margaret Pratt and illustrated by Roger Duvoisin 1954
Two Lonely Ducks: A Counting Book written and illustrated by Roger Duvoisin 1955
One Thousand Christmas Beards written and illustrated by Roger Duvoisin 1955
The Happy Lion in Africa written by Louise Fatio and illustrated by Roger Duvoisin 1955
Little Red Nose written by Miriam Schlein and illustrated by Roger Duvoisin 1955
Wake Up, Farm! written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1955
One Step, Two… written by Charlotte Zolotow and illustrated by Roger Duvoisin 1955
Ride with the Sun written by Harold Courlander and illustrated by Roger Duvoisin 1955
Trillium Hill written by E.L. Marsh and illustrated by Roger Duvoisin 1955
Bennie, the Bear Who Grew Too Fast written by Ferrin Beatrice and illustrated by Roger Duvoisin 1956
The House of Four Seasons written and illustrated by Roger Duvoisin 1956
Tigers Don't Bite written by Jack Tworkov and illustrated by Roger Duvoisin 1956
Christmas on the Mayflower written by Wilma Pitchford Hays and illustrated by Roger Duvoisin 1956
The Sweet Pattotie Doll written by Mary Calhoun and illustrated by Roger Duvoisin 1957
The Happy Lion Roars written by Louise Fatio and illustrated by Roger Duvoisin 1957
A Doll for Marie written by Louise Fatio and illustrated by Roger Duvoisin 1957
Wake Up, City! written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1957
Not a Little Monkey written by Charlotte Zolotow and illustrated by Roger Duvoisin 1957
Does Poppy Live Here? written by Gregor Arthur and illustrated by Roger Duvoisin 1957
Wait Till Sunday written by Susan Dorritt and illustrated by Roger Duvoisin 1957
Wobble the Witch Cat written by Mary Calhoun and illustrated by Roger Duvoisin 1958
Petunia, Beware! written and illustrated by Roger Duvoisin 1958
The Frog in the Well written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1958
Winkie's World written by William Norman Hall and illustrated by Roger Duvoisin 1958
The Little Church on the Big Rock written by Allen Hazel and illustrated by Roger Duvoisin 1958
Houn' Dog written by Mary Calhoun and illustrated by Roger Duvoisin 1959
The Three-cornered Hat written by Pedro Antonio de Alarcon and illustrated by Roger Duvoisin 1959
The Three Happy Lions written by Louise Fatio and illustrated by Roger Duvoisin 1959
Favorite Fairy Tales Told in France written by Virginia Haviland and illustrated by Roger Duvoisin 1959
A Fish Is Not a Pet written by May Natalie Tabak and illustrated by Roger Duvoisin 1959
The Pointed Brush written by Martin Patricia Miles and illustrated by Roger Duvoisin 1959
The Three-Cornered Hat written by de Alarcón Pedro Antonio and illustrated by Roger Duvoisin 1959
Please Pass the Grass! written by Leone Adelson and illustrated by Roger Duvoisin 1960
Day and Night written and illustrated by Roger Duvoisin 1960
Angelique written by Janice and illustrated by Roger Duvoisin 1960
Timothy Robbins Climbs the Mountain written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1960
In My Garden written by Charlotte Zolotow and illustrated by Roger Duvoisin 1960
The Children Come Running written by Elizabeth Coatsworth and illustrated by Roger Duvoisin 1960
The Nine Lives of Homer C. Cat written by Mary Calhoun and illustrated by Roger Duvoisin 1961
Veronica written and illustrated by Roger Duvoisin 1961
The Happy Hunter written and illustrated by Roger Duvoisin 1961
The Happy Lion's Quest written by Louise Fatio and illustrated by Roger Duvoisin 1961
The Wishing Well in the Woods written by Priscilla Friedrich and illustrated by Roger Duvoisin 1961
The Miller, His Sons, and Their Donkey written by Aesopus and illustrated by Roger Duvoisin 1962
The Hungry Leprechaun written by Mary Calhoun and illustrated by Roger Duvoisin 1962
Our Veronica Goes to Petunia's Farm written and illustrated by Roger Duvoisin 1962
Under the Trees and through the Grass written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1962
Lisette written by Adelaide Holl and illustrated by Roger Duvoisin 1962
Spring Snow written and illustrated by Roger Duvoisin 1963
Lonely Veronica written and illustrated by Roger Duvoisin 1963
The April Umbrella written by Priscilla Friedrich and illustrated by Roger Duvoisin 1963
The Lamb and the Child written by Dean Frye and illustrated by Roger Duvoisin 1963
Veronica's Smile written and illustrated by Roger Duvoisin 1964
Red Bantam written by Louise Fatio and illustrated by Roger Duvoisin 1964
The Happy Lion and the Bear written by Louise Fatio and illustrated by Roger Duvoisin 1964
The Poodle Who Barked at People written by Charlotte Zolotow and illustrated by Roger Duvoisin 1964
Teddy written by Grete Janus Hertz and illustrated by Roger Duvoisin 1964
Petunia, I Love You written and illustrated by Roger Duvoisin 1965
Days of Sunshine, Days of Rain written by Dean Frye and illustrated by Roger Duvoisin 1965
The Rain Puddle written by Adelaide Holl and illustrated by Roger Duvoisin 1965
Hide and Seek Fog written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1965
Nubber Bear written by William Lipkind and illustrated by Roger Duvoisin 1966
Around the Corner written by Jean B. Showalter and illustrated by Roger Duvoisin 1966
The Missing Milkman written and illustrated by Roger Duvoisin 1967
The Happy Lion's Vacation written by Louise Fatio and illustrated by Roger Duvoisin 1967
Poems from France written by William Jay Smith and illustrated by Roger Duvoisin 1967
The World in the Candy Egg written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1967
The Old Bullfrog written by Berniece Freschet and illustrated by Roger Duvoisin 1968
The Remarkable Egg written by Adelaide Holl and illustrated by Roger Duvoisin 1968
Nubber Bear written by TBD and illustrated by Roger Duvoisin 1968
Earth and Sky written by Mona Dayton and illustrated by Roger Duvoisin 1969
What Is Right for Tulip written and illustrated by Roger Duvoisin 1969
It's Time Now! written by Alvin Tresselt and illustrated by Roger Duvoisin 1969
The Beaver Pond written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1970
The Owl Book edited written by Shaw Richard and illustrated by Roger Duvoisin 1970
Veronica and the Birthday Present written and illustrated by Roger Duvoisin 1971
The Happy Lion's Treasure written by Louise Fatio and illustrated by Roger Duvoisin 1971
The Crocodile in the Tree written and illustrated by Roger Duvoisin 1972
The Web in the Grass written by Berniece Freschet and illustrated by Roger Duvoisin 1972
Jasmine written and illustrated by Roger Duvoisin 1973
Hector Penguin written by Louise Fatio and illustrated by Roger Duvoisin 1973
The Happy Lion's Rabbits written by Louise Fatio and illustrated by Roger Duvoisin 1973
See What I Am written and illustrated by Roger Duvoisin 1974
Marc and Pixie, and the Walls in Mrs. Jones's Garden written and illustrated by Roger Duvoisin 1975
Petunia's Treasure written and illustrated by Roger Duvoisin 1975
Periwinkle written and illustrated by Roger Duvoisin 1976
Which Is the Best Place? written by Mirra Ginsburg and illustrated by Roger Duvoisin 1976
What Ever Happened to the Baxter Place? written by Pat Ross and illustrated by Roger Duvoisin 1976
Heinz Hobnail and the Great Shoe Hunt written by Anne Duvoisin and illustrated by Roger Duvoisin 1976
Crocus written and illustrated by Roger Duvoisin 1977
Hector and Christina written by Louise Fatio and illustrated by Roger Duvoisin 1977
Mr. and Mrs. Button's Wonderful Watchdogs written by Janice and illustrated by Roger Duvoisin 1978
What Did You Leave Behind? written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1978
Snowy and Woody written and illustrated by Roger Duvoisin 1979
The Happy Lioness written by Louise Fatio and illustrated by Roger Duvoisin 1980
The Importance of Crocus written and illustrated by Roger Duvoisin 1980
Petunia the Silly Goose Stories written and illustrated by Roger Duvoisin 1987
Autumn harvest written by Alvin R. Tresselt and illustrated by Roger Duvoisin 1990

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