Author of the Month
Authors by their birthday month: January -- February -- March -- April -- May -- June -- July -- August -- September -- October -- November -- December
“I have always thought my best stuff was in my sketchbooks. I have hundreds and hundreds of sketchbooks. I like to work at night, I suppose because that’s when my defenses are sort of low. I have my most creative ideas at night. I’m less inhibited, and I really let it rip.”
From: Ways of Telling: Conversations on the Art of the Picture Book, edited by Leonard S. Marcus. p. 96; pp. 82-106 are on James Marshall
Throughout the 1970s and 1980s, James Marshall’s whimsical drawings added humor to dozens of children’s picture books. While many were made for other writers’ works, including classics such as Mother Goose, Edward Lear, and Ogden Nash, he was also a talented writer on his own. Indeed, he became one of the most popular and prolific illustrators in children’s publishing. In high school, however, he wasn’t so much about the art--though he did doodle, as he called it--as about the music which he saw as a way to get a scholarship to college far away from swampy Texas town where his family lived.
Elizabeth Winthrop Alsop grew up in a rambling house, surrounded by woods, and with a stream nearby for catching crayfish. With no television until she was twelve, she and her five brothers would make up all sorts of imaginative games. Their home was filled with books to feed that imagination. Among her favorites were C.S. Lewis’ Chronicles of Narnia, P.L. Travers’ Mary Poppins, as well as books by Laura Ingalls Wilder and Charles Dickens. Both her parents loved to read, and her father was a journalist.
A Writer in the Wings
“My father read aloud from Shakespeare—he made us take parts and read from plays in the evenings sometimes… Reading was like breathing.”*
In his autobiographical novel for young people, Bad Boy, Walter Dean Myers wrote of a world--1940s Harlem--that was markedly different from that of today. Most families were tightly-knit as was the community itself. Even so, it wasn’t a perfect place. As he grew up his family struggled to get by, and, as he became a teenager, he became more aware of racism and how it could affect his future.
But during his early years, he didn’t think too much about race. He had friends who were white and black, and the woman he thought of as his mother was of German and Native American ancestry. The man who raised him, though not his biological father, was African American. Herbert and Florence Dean took Walter and his half-sisters in to be fostered when they needed a loving and caring home.
Born: New York City, June 27, 1928
Education: Graduated from Hamilton College, Clinton, NY, in 1950
Military service: Korean War, infantry, discharged in 1951
Family: married Carol Burrows in 1952. They had two children: Geoffrey and Andrew. Divorced his first wife and married Ida Karen Potash.
Work: worked as a magazine editor from 1952 to 1958 in New York City; also part-time trombonist at jazz clubs in Greenwich Village during the 1950s. He gave up the editing work and became a freelance writer full-time in 1958 and continues to work occasionally as a jazz musician.
Currently Lives in: New York City
First Books: Cheers, an adult book, in 1961; Battleground: The United States Army in World War II, a non-fiction children’s book, in 1965; The Teddy Bear Habit; or, How I Became a Winner, a children’s novel, in 1967.
Selected Awards: My Brother Sam Is Dead, Newbery Honor book, ALA Notable Book, Jane Addams Honor Book Award, National Book Award Finalist, Phoenix Award; War Comes to Willy Freeman, Notable Social Studies Trade Books for Young People; Chipper, Notable Studies Trade Book for Young People; Decision in Philadelphia: The Constitutional Convention of 1787, Christopher Award; Jump Ship to Freedom, Notable Social Studies Trade Book for Young People; The Making of Jazz, American Book Award Finalist.
Leo Lionni was born into a family that appreciated art, and, from a very young age, he knew he wanted to be an artist. He loved nature and started keeping small creatures--minnows, birds, fish, and more--in his attic room in Amsterdam. He also created terrariums, and many of these natural details found their way into his later work. Like so many successful children’s authors, Leo Lionni was able to remember and tap into the things that were important to him when he was a child.
As his interest in drawing grew, he was mentored by his Uncle Piet, who was both an architect and an artist. Leo was very lucky to live just a few blocks from two wonderful museums. Further, as a child he had a special pass so he could go there to draw whenever he wished. He learned to draw details from great works--plaster casts of famous statues, and they made such an impression on him that many decades later he could still remember them perfectly, as he could with clarity recall so much about his tiny pets and naturescapes.
“Any memorable children’s book will possess drama, vitality, vividness, possibly wit and humor, and its own dignity—that is, a deep respect for the child’s quick and devastating perceptions. As for the story itself, it will convey a sense of complete inevitability, a feeling of rightness throughout the whole structure. This can only be attained by the writer’s evoking the true aura of childhood through re-experiencing that emotional state he lived in as a child, a state composed of delight in the simplest, most secret, sometimes the oddest things, of sadnesses and fears and terrors one could not or would not explain, of a continuing wonder about much that seems drab and familiar to adults”
--Eleanor Cameron writing in The Green and Burning Tree: On the Writing and Enjoyment of Children’s Books, pg. 14
Eleanor Cameron was capable of doing all these things, whether writing science fiction, fantasy or more everyday stories. She was a celebrated children’s writer of the 1960s and 1970s and was known for her lyrical style and the honesty with which she told her tales. A mature reader of That Julia Redfern, featuring an aspiring young writer living in the 1910s Berkley, can easily find grown-up themes that are layered into the story and come to fruition in books about an older Julia, such as A Room Made of Windows.
Picture book writer and illustrator Uri Shulevitz came into a world on the brink of a devastating war. The son of son of Abraham and Szandla (Hermanstat) Shulevitz, Uri (pronounced oo-ree), he was only four years old when German bombs falling on Warsaw drove his Jewish family out of the city and into an eight-year period of travel in exile throughout Europe before finally settling in Paris in 1947, when Uri was twelve years old.
"As soon as he entered the wood all those great trees, and the interlaced brambles and thorns, separated to let him pass. He walked towards the castle, which he could see at the end of a great avenue. He was surprised that none of his companions had been able to follow him, since the trees had closed in again as soon as he had passed. But he did not falter. A young prince in love is always brave."
Sleeping Beauty. Cinderella. Puss in Boots. Little Red Riding Hood.
These enduring stories were created as we know them by a brilliant man who lived in 17th-century France. Although similar, but simpler stories were gathered more directly by the folklorists Jacob and Wilhelm Grimm in the 19th century, it was Charles Perrault's addition of delicate and amusing words, crafted to entrance a noble audience, that caught fire with readers' imaginations and were the basis for the way these stories are remembered today. It is easy to see the difference between a story collected by Grimm and a tale sculpted by Perrault. A Grimm tale is simple and direct and sometimes alarming while Perrault's are laced with details that still fire modern imaginations.