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.
When it first appeared in 1963, Maurice Sendak’s Where the Wild Things Are didn’t look like or read like any other children’s book out there. It was full of mystery and wonder--and Wild Things with attitude, including the King of all Wild Things, our hero Max.
But Max of the wolf suit wasn’t originally supposed to voyage to the Land of the Wild Things. He was first scheduled to be visiting the Land of the Wild Horses--which was how the book was planned and given to Maurice Sendak to write and illustrate. The problem was, the author/illustrator did not know how to draw horses. So his editor let him change them to Wild Things, a take on the Yiddish phrase "Vilde chaya,” meaning boisterous children.* This changeover was magic.
Set in the first decade of the 20th century, In the Shadow of Gotham, by Stefanie Pintoff, combines the atmosphere of a gothic novel with the more invigorating pace of a police procedural. Simon Ziele has buried himself in a quiet town in Westchester County to escape the memory of his lost love. He was an up-and-coming detective in the New York City police force when tragedy drove him to seek a quieter position, far away from the violence of Manhattan’s darker quarters.
And yet, when the call came to investigate a murder at the home of one of Westchester’s finest families, Detective Ziele is drawn in by duty to find out who killed the lovely, young mathematics genius in such a shocking and brutal way before it happens again.
It's true: most people would do just about anything to get out of having to speak in public, whether it's the standard "everyone in this class will give an oral report" situation or an acceptance speech for some nifty award you've just received. The knees knock, the heart pounds, and the words you've practiced and practiced and practiced fly right out of your mind. You find yourself resorting to reading from the index cards with your eyes down, your voice a droning monotone, and the sweat beading on your forehead. Yuck. Not a good situation. It's painful for you as the presenter and even more painful for your audience to watch. Here's a bit of advice for beginning public speakers.
May is the perfect time to visit a zoo. It's not too hot or crowded, and the animals are at their springtime best. If your kids are begging for pandas, then the National Zoo in Washington is the place to go, but there are some places about an hour's drive from our area where kids can get a different kind of beastly experience.
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.
Upon first glancing at Dorie Greenspan’s Around My French Table, I very nearly put it aside to be reshelved. It was too beautiful. Huge and heavy--laden with photographs--and featuring a cover shot of something that looked as though it took a heck of a lot of time, money and energy to pull off, it didn’t seem like something that would work for me.
But first glances can be deceiving. Almost every recipe involves relatively normal if delicious ingredients. The techniques used are not difficult at all for someone who knows her way around a basic kitchen. These are the sort of recipes which will be made again and again--and be shared with demanding friends. Each is introduced very charmingly, in a way that conveys much about the author’s French experiences.
The Seventeenth Child, by Dorothy Marie Rice & Lucille Mabel Walthall Payne, sets down the memories of a childhood lived in the countryside of 1930s Virginia by a black woman who grew up before the Civil Rights Movement made so many gains. These remembrances are plain, soft-spoken and ring true to an age that was certainly different from the one we know. In some ways, it was a harder time as in her earliest years even basic food was very hard to come by and the sharecropping system made it difficult for all farmers, black and white, to get ahead or even stay afloat during the bad harvest years.
But it was the warmth of family, faith, shared hardship and simple joys that made those days good as well as difficult. The children worked, not only because their help was needed but because it was understood that working was a good thing in and of itself. They helped pull and tend tobacco, can vegetables, sew quilts, raise chickens, and shell corn. Lucille Payne tells of how hard it was to earn money. How sometimes her mother might not be paid much more than fifty cents for a hard day’s washing of filthy clothes in a dark and cold shed. Well, fifty cents and a hambone that might not be fit to eat without it being scrubbed, too, and sometimes not even then. But her mother said, “Well, you accept what they give you; next time it might be better.”
It wasn’t all about acceptance. Sometimes Lucille would see her mother spit in the water while she washed and she would ask her why she did that. “That helps to get them clean.” But I know she was just so angry because she had to survive. When you have so many children you have to survive the best way you can. Likewise, when white children rode the bus to their segregated school, leaving the black children to walk and even calling them names, the black children got a bit of revenge…and a chance to be better than their so-called betters with an act of charity.
It’s 1900, and lovely, smart Hilda Johansson is one of many immigrants working as live-in servants to rich households in Southbend, Indiana. In Jeanne M. Dams’ Death in Lacquer Red, Hilda has a pleasant if strenuous life, working hard to save money to bring her other family members over from Sweden. She is being courted by a handsome Irish fireman who won’t let the fact that their families wouldn’t approve--he’s Catholic and she’s Lutheran--get in the way of the romance. Even so, a dead body in the lilac bushes does put a damper on their day out together.
The recent movie War Horse, based on the book by Michael Morpurgo, succeeded in showing the strong emotional connections between horses and people. Indeed, this bond was much a part of human history and everyday life up to the middle of the 20th century. Tamsin Pickeral’s book, The Horse: 30,000 Years of the Horse in Art, is as much about history of this relationship as it is about art.
From Neolithic horse hunters’ vivid and probably shamanic cave paintings in France to portraits of proud aristocrats and royalty with their prized possessions to scenes such as the mournful “Ownerless Horse on the Battlefield at Mozhaisk in 1812,” by Adam Albrecht, the horses depicted are as much a projection of human feeling as they are simple studies in landscape or nature.