“...it makes me uncomfortable to know that my story Tuck Everlasting is required reading in some classrooms. My sympathies are entirely with the children, for many will react to Tuck as I well might have--with a shudder. Many will find its language too ‘fancy,’ its pace too slow, its topic unsettling, the behavior of its hero incomprehensible.”--Natalie Babbitt in "Saying What You Think." The Quarterly Journal of the Library of Congress*
It is perhaps surprising that an author would almost prefer her books were not required reading. But it is less surprising in Natalie Babbitt’s case. Her best-beloved books are sweet and strong and true in spirit while containing enough wonder and marvel to lend a sparkle to a reader’s otherwise mundane childhood. This children’s author, like many of the best, remembers what it is like to be a child. What she liked to read--and what she didn’t. She understands that children have strong opinions on their favorite books, even if they may not be comfortable in expressing them. She certainly remembers what she liked:
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.
“I think there is a destiny laid on me that I am not to know anything interesting, go anywhere interesting, or do anything interesting.”
In The Book of Three by Lloyd Alexander, Taran feels that nothing exciting happens in his life and that nothing ever will. And yet, Taran longs to be a hero, like his idol Prince Gwydion, the famed warrior who fights in the name of the High King of Prydain. Taran lives on a farm called Caer Dallben, named after the ancient enchanter who dwells there. Dallben, between reading from his mysterious tome, The Book of Three, and giving Taran wise but confusing advice, spends most of his time meditating--an endeavor that he often undertakes lying down with his eyes closed while snoring. The only other person on the farm is Coll, who instructs Taran in making horseshoes, despite there not being any horses.
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.
Every year the American Library Association gives awards for the best new books for children and young adults. Probably the oldest and most famous of these prizes are the Randolph Caldecott Medal, given for illustration, and the John Newbery Medal, given for children’s literature. This year, life stories and family stories feature prominently in the prizes.
The 2012 Newbery Award-winning young adult novel, Dead End in Norvelt, is set in the 1960s. Norvelt, Pennsylvania—named for EleaNOR RooseVELT--was created by the federal government in the 1930s as a place for laid-off coal miners to live. By 1962, Norvelt has become the author’s small-town hometown…a place for spending his 12th summer getting into trouble in all kinds of interesting and often funny ways. Jack Gantos has written something here that blends fiction with autobiography for a really entertaining and memorable read.
That every piece
Is a piece of
In faraway times, the artisans of the Southwest peoples smoothed the clay they collected. They painted it with their symbols and heated it to make it strong. When these tribes left their homes, pieces of their past remained behind. When the shards are gathered together, the pictures they make seem to summon the spirits of the people who created them so long ago. When Clay Sings, by Byrd Baylor and illustrated by Tom Bahti, is a melding of archaeology and word craft that brings a unique and subtle sense of the past to today’s students.
Beginning-to-be-eleven-year-old Portia and her little brother Foster are excited to be visiting their relatives in the countryside for the summer in Elizabeth Enright’s Gone-Away Lake. Besides seeing their favorite aunt and uncle, there is Katy the boxer dog who has just had a litter of puppies “with flat faces like pansies, and ears that felt like pieces of silk, and claws like the tips of knitting needles”—but best of all for Portia is having time to hang out with her cousin Julian, he of the hundred-thousand freckles. Closer than a friend and nicer than a brother is how she thinks of him. Julian is interesting and interested in everything that goes on around him.
“New folks coming!”
That’s the important news that the young rabbit, Little Georgie, has to share with all of his neighbors, from the stately deer to the excitable field mouse on Rabbit Hill. Will they be good providers or “slatternly” like the last batch? Most everyone hopes for a garden, but Phewie, the skunk, is hoping for some quality “garbidge.” All of the residents of Robert Lawson’s Rabbit Hill have an opinion and a hope about what will come.
So many things could go wrong if the new folks that come aren’t nice. There might be vicious dogs. They might bring traps. They might even cut down and plow up the thicket where the burrow lies. Mother Rabbit is beside herself with worry, but Little Georgie and the rest are mostly just excited.
"I think of writing--particularly of writing picture books--as a kind of choreography. A picture book must have pace and movement and pattern. Pictures and text should, together, create the pattern, rather than simply run parallel." -- Beatrice Schenk de Regniers*
Born: in Lafayette, Indiana, on August 16, 1914
Favorite writing genres: picture books, folk tales, poetry, and plays
Well-known books: May I Bring a Friend?; What Can You Do with a Shoe?; Everyone Is Good for Something; David and Goliath; It Does Not Say Meow, and Other Animal Rhymes; Little Sister and the Month Brothers
Her last name is pronounced, “drain-yay”
Education: Attended University of Illinois, 1931-33; University of Chicago, Ph.B., 1935, graduate study, 1936-37; Winnetka Graduate Teachers College, M.Ed., 1941.
Career: Member of the Eloise Moore Dance Group, Chicago, 1942-43; copywriter, Scott Foresman, publishers, Chicago, 1943-44; welfare officer, UNRRA, Egypt, 1944-46; copywriter, American Book Company, New York, 1948-49; director of educational materials, American Heart Association, New York, 1949-61; editor, Lucky Book Club, Scholastic Book Services, New York, 1961-81.
Awards: May Children's Spring Book Festival honor book, New York Herald Tribune, 1958, for Cats Cats Cats Cats Cats; Boys' Clubs Junior Book Award, 1960, for The Snow Party; Indiana Authors Day Award, honorable mention, 1961, for The Shadow Book; Caldecott Award, 1965, for May I Bring a Friend? ‘s illustrations by Beni Montresor; certificate of excellence, American Institute of Graphic Arts, for communicating with children; Brooklyn Art Books for Children citation, 1973, for Red Riding Hood: Retold in Verse for Boys and Girls to Read Themselves.
Memberships: Authors Guild, Authors League of America, Dramatists Guild, PEN, Society of Children's Book Writers.
Died: March 1, 2000, from a stroke at her home in Washington, D.C.