"This anthology of essays on writing and illustrating for children reveals a formidable intelligence and a remarkable degree of empathy with fellow toilers in the field."--Publisher's Weekly
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Book Description
Editorial Reviews
From Publishers Weekly
This seems to be the year of Maurice Sendak. On the heels of Dear Mili comes this slim anthology of his essays and musings on writing and illustrating for children. It reveals a formidable intelligence, and a remarkable degree of empathy with fellow toilers in what is too often regarded as a somewhat lesser field of endeavor: as if writing and drawing for children were a distinctly second-best activity. Without being weighty about it, Sendak shows the degree of imagination, craft and humanity that goes into the best of this work. There are notably generous appreciations of well-known artists like Randolph Caldecott, Beatrix Potter and Jean de Brunhoff, and sharp-eyed essays on Andersen, the "Mother Goose" tradition and the best and worst of Walt Disney. There are also more ephemeral pieces like award acceptances, interviews and brief prefaces to booksthough almost none is without some worthwhile observation. What comes through above all is Sendak's open-hearted admiration for craft and respect for true, ageless imagination. Illustrations not seen by PW.
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Sendak's first collection of critical writings has a dual focus. It offers commentary on children's books and their illustration by a knowledgeable, working artist and, in an autobiographical second section that suggests Sendak's development and philosophy, helps us understand the author's own work. Among the illustrators and writers Sendak extols are Randolph Caldecott, George MacDonald, Beatrix Potter, Winsor McCay, Edward Ardizzone, and a handful of contemporary practitioners. Sendak's criticism, whether essay-length or just a few paragraphs, is infused with personal feeling as well as professional judgment and a sound historical sense, and his own contributions to the art of the children's book animates his "appreciations" of others'. Patricia Dooley, Lib. Sch., Univ. of Washington, Seattle
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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More About the Author
For more than forty years, the books Maurice Sendak has written and illustrated have nurtured children and adults alike and have challenged established ideas about what children's literature is and should be. The New York Times has recognized that Sendak's work "has brought a new dimension to the American children's book and has helped to change how people visualize childhood." Parenting recently described Sendak as "indisputably, the most revolutionary force in children's books."
Winner of the 1964 Caldecott Medal for Where the Wild Things Are, in 1970 Sendak became the first American illustrator to receive the international Hans Christian Andersen Award, given in recognition of his entire body of work. In 1983, he received the Laura Ingalls Wilder Award from the American Library Association, also given for his entire body of work.
Beginning in 1952, with A Hole Is to Dig by Ruth Krauss, Sendak's illustrations have enhanced many texts by other writers, including the Little Bear books by Else Holmelund Minarik, children's books by Isaac Bashevis Singer and Randall Jarrell, and The Juniper Tree and Other Tales from Grimm. Dear Mili, Sendak's interpretation of a newly discovered tale by Wilhelm Grimm, was published to extraordinary acclaim in 1988.
In addition to Where the Wild Things Are (1963), Sendak has both written and illustrated
The Nutshell Library (1962), Higglety Pigglety Pop! (1967), In the Night Kitchen (1970), Outside Over There (1981), and, We Are All in the Dumps with Jack and Guy (1993). He also illustrated Swine Lake (1999), authored by James Marshall, Brundibar (2003), by Tony Kushner, Bears (2005), by Ruth Krauss and, Mommy? (2006), his first pop-up book, with paper engineering by Matthew Reinhart and story by Arthur Yorinks.
Since 1980, Sendak has designed the sets and costumes for highly regarded productions of Mozart's The Magic Flute and Idomeneo, Janacek's The Cunning Little Vixen, Prokofiev's
The Love for Three Oranges, Tchaikovsky's The Nutcracker, and Hans Krása's Brundibár.
In 1997, Sendak received the National Medal of Arts from President Clinton. In 2003 he received the first Astrid Lindgren Memorial Award, an international prize for children's literature established by the Swedish government. Maurice Sendak was born in Brooklyn in 1928. He now lives in Connecticut.
Winner of the 1964 Caldecott Medal for Where the Wild Things Are, in 1970 Sendak became the first American illustrator to receive the international Hans Christian Andersen Award, given in recognition of his entire body of work. In 1983, he received the Laura Ingalls Wilder Award from the American Library Association, also given for his entire body of work.
Beginning in 1952, with A Hole Is to Dig by Ruth Krauss, Sendak's illustrations have enhanced many texts by other writers, including the Little Bear books by Else Holmelund Minarik, children's books by Isaac Bashevis Singer and Randall Jarrell, and The Juniper Tree and Other Tales from Grimm. Dear Mili, Sendak's interpretation of a newly discovered tale by Wilhelm Grimm, was published to extraordinary acclaim in 1988.
In addition to Where the Wild Things Are (1963), Sendak has both written and illustrated
The Nutshell Library (1962), Higglety Pigglety Pop! (1967), In the Night Kitchen (1970), Outside Over There (1981), and, We Are All in the Dumps with Jack and Guy (1993). He also illustrated Swine Lake (1999), authored by James Marshall, Brundibar (2003), by Tony Kushner, Bears (2005), by Ruth Krauss and, Mommy? (2006), his first pop-up book, with paper engineering by Matthew Reinhart and story by Arthur Yorinks.
Since 1980, Sendak has designed the sets and costumes for highly regarded productions of Mozart's The Magic Flute and Idomeneo, Janacek's The Cunning Little Vixen, Prokofiev's
The Love for Three Oranges, Tchaikovsky's The Nutcracker, and Hans Krása's Brundibár.
In 1997, Sendak received the National Medal of Arts from President Clinton. In 2003 he received the first Astrid Lindgren Memorial Award, an international prize for children's literature established by the Swedish government. Maurice Sendak was born in Brooklyn in 1928. He now lives in Connecticut.
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This review is from: Caldecott & Co.: Notes on Books and Pictures (Hardcover)
Although this book sadly appears to be out of print, it is worth getting your hands on a copy if you appreciate the work of Maurice Sendak. The book is a collection of essays divided into two parts: the first includes essays about writers and illustrators Sendak admires and has been influenced by; the second part includes speeches, interviews, and miscellaneous writings about his own art. All of the essays give wonderful insight into Sendak's intelligence and creative process, and will provide a reading list to anyone who is interested in the precedents of a master.
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