Autobiography and Biography
He was trouble, into everything at once, with an imagination that just wouldn't quit. Neither his teachers nor his parents knew quite what to do with him. But when he opened his mouth the most beautiful sounds came out. Young Jack Prelutsky had a glorious voice, so good they called him a prodigy, and the New York Metropolitan Opera's choirmaster gave him free lessons. But he gave up his dream of being the world's best opera singer when he heard Luciano Pavarotti perform. He knew he couldn't match that amazing voice, and he did know for certain that whatever he did in his life, he wanted to be the very best at it.
"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.
This interview airs beginning May 18.
Lifetime Achievement Award winner Fred Franklin was recognized for his work with young people as an outstanding drama teacher for 38 years. He talks about his career and his approach to life with Debby Klein on CRRL Presents, a Central Rappahannock Regional Library production.
Ella Fitzgerald developed a love for music and singing while she was a young girl growing up in New York. She and her mother Tempie used to dance around their apartment while Ella's younger sister Frances repeatedly put the needle back to the beginning of the record so that they could dance and sing the day away. They had such a grand time that they forgot all about the washing and the ironing. The book Skit Skat Raggedy Cat Ella Fitzgerald by Roxanne Orgill and illustrated by Sean Qualls introduces us to the young Ella. At thirteen, Ella and her friend Charlie were singing and dancing on Morgan Street outside the apartment building. It was 1930 in Yonkers New York and people did not have much money. But some folks were able to spare some change for Ella and Charlie. They occasionally had a nickel or two tossed at them.
Charlie and Ella put their nickels together and they were able to take the Number 1 trolley to the end of the line. From there they climbed aboard the subway train to 125th Street. They were in Harlem. Ella watched the dancers at the Savoy Ballroom on Lenox Avenue. When Ella and Charlie danced outside the theatre, people tossed them their loose change. They were making more money than the shoeshine boys. Ella knew that she was going to be famous and she told everyone so.
The constant beating of the winds against the house, the roaring, shrieking, howling of the storm, made it hard even to think. It was possible only to wait for the storm to stop. All the time, while they ground wheat, twisted hay, kept the fire burning in the stove, and huddled over it to thaw their chapped, numb hands and their itching, burning, chilblained feet, and while they chewed and swallowed the coarse bread, they were all waiting until the storm stopped.
When Phyllis Reynolds was in first grade, she had a hard time making sense of the stories her teacher wrote on the blackboard. Those little, squiggly characters danced crazily across the open space and didn't mean a thing to her. One day, her teacher asked her to read a story out loud. Phyllis didn't hesitate for a second. She plunged into an exciting story-- her own story-- about a cat and a tree and an autumn day. The teacher shook her head sadly at Phyllis. No, she hadn't gotten it. But she had gotten it-- the desire to tell stories. In time, she did learn to read, and soon she was writing her own books on notebook paper. Phyllis had found a love for writing that she has never lost through the tough times and the good.
How does this master of dry wit create? He imagines a boy, very much like he was, and tries to write a story that would please him. Like many excellent writers for kids and young adults, he has a terrific recall of what it feels like to be a bright, out-of-sync, yet amazingly well-adjusted, kid in a not totally indifferent world.
Daniel Manus Pinkwater was a well-traveled soul by his teens. He was born in Memphis, Tennessee, moved to Chicago, then on to Los Angeles at age eight and back to Chicago again as a teenager. Not being a particularly tanned or svelte person, he found Chicago to be a much more friendly residence, although Los Angeles was where he first discovered art supplies. In high school, his friends were like the "Snarkout Boys" from his books-- not socially gifted in the mainstream, but together they formed a clever, friendly group of creative goofballs and truth-seekers.
"Log on to your imagination - that's the real internet - and you can access it just by opening a book." – Helen Cresswell
At 5 o'clock in the morning, a curly-headed toddler went missing from his bed in the spacious mansion in the English countryside, never to be seen alive again.
Young Saville Kent's soon-to-be-discovered vicious murder at the hands of someone who was surely a family member or trusted servant excited the press, the populace, and the authorities and ultimately drew the attention of one of Scotland Yard's first and finest detectives, Jack Whicher. Like the fictional Sherlock Holmes, Detective Whicher had a keen mind and almost sixth sense for uncovering criminals in the most unlikely places. With no forensics lab modern or otherwise to help him discover the identity of Saville's killer, Whicher used reason and intuition when setting about his task.
“Alec heard a whistle—shrill, loud, clear, unlike anything he had ever heard before. He saw a mighty black horse rear on its hind legs, its forelegs striking out into the air. A white scarf was tied across its eyes. The crowd broke and ran.”
Walter Farley first imagined the Black Stallion, a wild creature of blazing speed and mysterious origins, when he was a teenager and high school track star in 1930s. He kept working on the story, sometimes turning parts of it into class assignments at college. After graduation, he began writing for a New York advertising agency, but he still kept working on his horse stories.