Posts Tagged ‘children’s books’
February 26, 2015 | by Sadie Stein
New York Review Children’s Classics has reissued so many wonderful forgotten texts: novels and picture books and nursery rhymes and even the occasional cookbook. But for my money, none is weirder than Dorothy Kunhardt’s 1933 Junket Is Nice.
The prolific Kunhardt is best known for Pat the Bunny, but long before Daddy’s scratchy face was even a twinkle in her eye, the author was animating a far more sinister beard: that of the mysterious Junket-Eater. The plot of Junket Is Nice is as follows: a fat man with a Rasputin-like red beard sits at a table consuming a massive bowl of junket (“a delicious custard and a lovely dessert”). This intrigues everyone; the people come running to view the spectacle. Between gulps, the Junket-Eater challenges the populace to guess why, precisely, he is eating this enormous bowl of junket. They put forth ever-sillier hypotheses, to which the Junket-Eater screams, “WRONG!” for all the world like a red-bearded John McLaughlin. And then a little boy stands up and tells truth to power: “JUNKET IS NICE.” For which effort he receives SOMETHING NICE. Read More »
December 16, 2014 | by Sadie Stein
I like the arbitrary lists the Guardian often includes in its children’s book section: best villains in children’s books, best dogs, best mothers. As with all lists, these are made to be debated, and it’s always fun to see what the compiler chooses. But today’s list made me mad. Simply put, it was incomplete. “Best cauldrons in children’s books” did not include the cauldron from Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth.
I’m sure the cauldrons from The Worst Witch and Wyrd Sisters are great. I know the cauldrons found in Lloyd Alexander and J. K. Rowling are high quality. And certainly no one’s denying that Macbeth’s cauldron game is strong. (Even if it’s a stretch to call it a children’s book.) One can justify the exclusion of The Black Cauldron from this list, and, even though I’d have included Eleanor Estes’s The Witch Family, I understand that this is a matter of opinion. But Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth is nothing less than a glaring omission.
If you’re a fan of E. L. Konigsburg, you probably know her first book. It came out the same year—1967—as From the Mixed-Up Files of Mrs. Basil E. Frankweiler. It’s the story of a loner, the titular Elizabeth, who falls under the sway of another girl, Jennifer, who claims to be a witch and takes Elizabeth on as her apprentice. Elizabeth balks at her mentor’s bossiness, but puts up with it: “Before I’d got Jennifer,” she says, “I’d had no one.” Jennifer declares that the pair will make a flying potion as a test for Elizabeth. But the cauldron actually appears earlier in the story, when the kids are asked to bring in kitchen props for a school play. Read More »
December 3, 2014 | by Sadie Stein
Here’s a gift idea for you, suitable for children and arrested adults—which is to say, a large part of your Christmas list. Go online at once and buy several copies of McCall’s Giant Golden Make-it Book.
Until recently, I had totally forgotten about the Giant Golden Make-it Book, but I ran across a copy at a used bookstore and immediately realized how well it’s held up. Simply put, no modern activity book can compare. It’s truly giant, and really comprehensive, but like the same-vintage Betty Crocker’s Cookbook for Boys and Girls, it’s as much about the illustrations as the ideas. A smart publisher has seen fit to reissue the latter; McCall’s really needs to do likewise.
There’s everything you might hope for—games and homemade costumes and simple recipes and easy knitting instruction and theme parties—but also a lot of things that never occurred to you. Dutch painting! Soap carving! Elementary flower arranging! Read More »
November 13, 2014 | by Sadie Stein
In the immortal words of Winston Churchill, “A pessimist sees the difficulty in every opportunity; an optimist sees the opportunity in every difficulty.”
Pollyanna Whittier would agree. The once popular novelist Eleanor H. Porter wrote the original children’s book Pollyanna in war-ravaged 1913. It concerns a destitute, orphaned young girl who’s taken in by her grim Aunt Polly. The girl wins Polly over with a good attitude—the Glad Game—all the while touching the lives of those around her. It was a best seller, and over the following decades, various authors went on to write thirteen sequels chronicling Pollyanna’s life.
Pollyanna grows up, has a family, moves around the world, but is always encountering lost souls and helping them develop a sunnier outlook. The books, while lurid—you may have heard about Pollyanna’s miraculous recovery from paralysis—are less treacly than the 1960 Disney adaptation, and considerably stranger. (Did World War I–era children enjoy seeing characters miraculously rise from their wheelchairs? Hard to know; Downton Abbey fans certainly do.) The books are certainly no more sentimental than most of the escapist titles on current fiction best-seller list, let alone YA.
To the extent modern kids know Pollyanna, it’s probably via Hayley Mills in that Disney adaptation, and possibly through the eponymous pejorative. But if by some chance you’re a die-hard fan, you should make your way to Littleton, New Hampshire—Porter’s birthplace—where there’s a bronze Pollyanna statue, erected in 2002, and even an official Glad Day. (Glad Clubs enjoyed a brief popularity all over America.)
The Pollyanna mentality kind of works, too. The other day, having just reread Pollyanna in the stacks of the library, I set myself the experimental challenge of casting a rosy light on everything I saw in a five-block New York City street. No mean feat. People rushed past panhandlers, an elderly woman with dementia punched her nurse (feebly, at least), the front page of the paper’s international section recorded nothing but suffering.
But then a motorist leaned on his horn, and a bunch of others followed suit, and it became a cacophony. And suddenly, this thought intruded: How inspiring that, despite a lifetime of evidence to the contrary, these drivers still have the idealism to believe their honking will make a difference! When you thought about it that way, it was sort of a triumph of the human spirit. Sort of.
I wonder if Churchill—nearly killed by New York City traffic in 1931—would agree.
September 16, 2014 | by Sadie Stein
It is an anxious, sometimes a dangerous thing to be a doll. Dolls cannot choose; they can only be chosen; they cannot ‘do’; they can only be done by. Children who do not understand this often do wrong things, and then the dolls are hurt and abused and lost; and when this happens dolls cannot speak, nor do anything except be hurt and abused and lost. ―Rumer Godden, The Doll’s House
Rumer Godden was preoccupied with dolls. In her many stories about dolls—including Miss Happiness and Miss Flower, Little Plum, Home Is the Sailor, and, of course, The Doll’s House—we are presented with a cast of characters who are at the mercy of children. Some children are rough and wild; others are conscientious and intuitive. They are little gods, and the dolls are their playthings, and when they feel powerless in their own lives, it is the dolls who bear the brunt of this powerlessness. Godden wasn’t the only author to recognize this essential dynamic—The Velveteen Rabbit, Hitty, and later Toy Story truck in the same themes—but no one makes that reality as scary and lonely as she does.
Of all the books, The Doll’s House is perhaps the most sinister. We have Tottie, the stable peg doll; the doll father, who seems to suffer the aftereffects of a rough owner; the mother, who is made of celluloid and so somewhat dotty and scattered. And there is the evil, beautiful Marchpane—more financially valuable in the real world than the others. The dolls are survivors who have found each other—their relationships are resolutely asexual, by the way—but their peace can be shattered by a gust of wind, a candle flame, a child’s whim. It is scary stuff, and compelling, too. There is tragedy here, but even before the tragedy, there is menace.
Of course this appeals to a child. Children are both dolls and masters; they know their powerlessness and need to understand their power. While the subject matter sounds sweet, it becomes a stage for something far darker.
They made a film of The Doll’s House, and while I don’t think it captures the charm of the book completely—Tasha Tudor illustrated one version—it is strange and forceful in its own right.
September 3, 2014 | by Sarah Moroz
Quentin Blake at the House of Illustration.
Located somewhat improbably behind King’s Cross St. Pancras, the thrumming London tube and train stations, is the cheery House of Illustration, which opened in early July. The path leading to it is lined with illustrated panels, a showcase of the visual treasures to come: advertisements and poster art, medical and botanical sketches, children’s books and fashion illustrations. The center’s present exhibition, “Inside Stories,” features original work by the beloved illustrator Quentin Blake, one of the House’s trustees and now an octogenarian, whose drawings have enchanted young readers for nearly half a century.
Blake is perhaps best known for his work with Roald Dahl, but no matter who he’s collaborating with, his illustrations retain a buoyant, often impish air. His first drawings were published in the magazine Punch when he was still in high school. He began illustrating children's books in 1960, and taught for more than twenty years at the Royal College of Art. Since the nineties, he’s worked as exhibition curator, and has more recently created larger-scale works for health care wards and communal spaces.
Claudia Zeff, a publishing industry art director who has spent twenty years designing book jackets, curated “Inside Stories.” Zeff’s collaborative process with Blake was already comfortable—the two have worked together for more than a decade. The ideas for the exhibition “evolved quite gradually,” Zeff said. “Quentin came up with the idea of using the story behind the books as the theme … and expressed the different approaches/techniques he uses to illustrate to different types of narrative.” Read More »