December 11, 2018 § Leave a comment
This holiday season, I’m running a series of daily mini-posts, each highlighting a different book from 2018 which I love, which has mad gift potential, and which I have not had occasion to write about…yet. A range of ages and interests and formats. Be sure to subscribe with your email address if you want to be guaranteed to see them. Otherwise, take your chances on Facebook (What To Read To Your Kids) or Twitter (@thebookmommy); I kindly beg you to “like” as many posts as you can to increase the chances that others see them.
Sometimes you don’t know you’ve been waiting for a book until it’s right under your nose. David Hockney and Martin Gayford’s A History of Pictures for Children: From Cave Paintings to Computer Drawings (Ages 10-15), with illustrations by Rose Blake, is a fantastically engaging 128-page resource I didn’t even know our family was missing. We spend a good amount of time at art exhibits—mainly because I love to go and can usually convince my husband and kids (especially with the promise of brunch)—and a highlight of this past year was taking an online art class as a family. Still, as much as we talk (and read) about art, I usually end up asking my kids the same two questions: What do you see? How does it make you feel? Even on museum outings, I feel like we end up in the same rooms (my daughter always wants to see Vincent van Gogh and Jackson Pollack). I’m hopeful that A History of Pictures for Children might rejuvenate the way I talk to my kids about art. I expect it may also make them aware of how pictures are as much a part of their everyday life as they are the museums.
A History of Pictures for Children is not your standard art history fare. For one, the text is framed as an intimate conversation between Hockney, well-known contemporary artist, and Gayford, art critic and author. Secondly, the book is not organized chronologically (although there is a neat two-page pictorial timeline at the end). The chapters are themed around what Hockney and Gayford find interesting about pictures, including what tools have been used throughout history, how artists have approached challenges like perspective and shadows, or even how our understanding of self-portraiture and reflections has evolved.
Thirdly, as the title suggests, the book isn’t so much concerned with a high-brow examination of “art,” as it is with an approachable exploration of the broader meaning of “picture.” While famous drawings and paintings from history are referenced, the authors discuss a refreshingly (shockingly?) egalitarian range of pictures, encompassing film (moving pictures), computer drawings, and even iphone selfies. Pictured here is one of Hockney’s own pictures, Pearblossom Highway, an exercise on perspective which incorporates 850 photographs to create a single image.
As much as the world influences pictures, so do pictures influence the way we see the world. The detailed drawing of a bull made 17,000 years ago on a cave in southern France reveals that the artist must have observed the bull very carefully. But Hockney muses about what it might have been like to watch the drawing happen: “I like to imagine that the first person to draw an animal was watched by someone else, and when that other person saw the creature again, they would have seen it a bit more clearly.” Likewise, Claude Monet drew our attention to the shimmering beauty of ice melting on the Seine, albeit by rushing outside and painting at great speed.
Perhaps the greatest strength of Hockney and Gayford’s book is the way in which it compares and contrasts pictures from different eras and styles to discuss the interplay of the visual medium. Vincent Van Gogh’s pictures were considered revolutionary at the time because of their bold colors and absence of shadows, but they were heavily influenced by Japanese art. Likewise, no one had thought to put a mirror (or oranges or “dirty wooden clogs”) in a picture until 1434, when Jan van Eyck did in The Arnolfini Portrait. Later, painters began exploiting mirrors for social commentary, or in studies of portraiture.
Chapter six offers a look at some of the props artists of the past may have (secretly!) used to create a “photographic” effect in their paintings. Johannes Vermeer, for example, may have relied on telescopic lenses to capture the impressive detail in his landscapes. With a “camera lucida,” an invention likely used by many portrait artists in history, a prism would have reflected a subject onto drawing paper, which could then be traced to almost perfect likeness. Hockney tried out this particular tool and compares his contemporary portrait of a National Gallery guard with Jean-Auguste-Dominique Ingres’ 1829 portrait of a woman.
In the final two chapters, Hockney and Gayford take us into the 20th and 21st centuries to explore the way in which computer technologies have influenced picture making. Thanks to iphones and social media, never before have we lived at a time when it is so easy to take, manipulate, or see pictures. The sheer number of pictures being produced today mean that we can have very little idea about what will still be looked at or remembered in the future. Still, Martin proposes, it is likely “that they will have some of the qualities we have noticed in these pages.”
Because of its conversational style, A History of Pictures for Children begs to be read aloud, one chapter at a time, although older children may find the intimacy well suited to independent perusing. Either way, it’s one I see our family coming back to again and again, as much for the education into the art of the past as for the way it asks us to examine the pictures we see around us today.
Published by Abrams. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
March 22, 2018 § 2 Comments
If you had told me ten years ago, after my first child was born, that three years later I would quit my job, move across the country, and stay home with by then two young children, I would not have believed a word of it. Not in the least because I loved my job, loved the social outlet of going to work every day, loved having others validate my successes, loved a paycheck, and loved having the childcare that allowed me to do all that and still relish quality time with my little one. Sure, I had days when I felt pulled in way too many directions and fantasized about going off the grid. But I never really expected I’d feel fulfilled any other way. I was, after all, a self-identified feminist. I had minored in women’s studies in college. I always intended to model for my children what it meant to be have a successful, robust career outside the home.
And then, for a host of reasons I never saw coming, I made the choice to stay home. And it felt right for our family. It still feels right. My privilege is not lost on me: I know many people would love to make that choice but, for various reasons, will never have the chance. Still, not a day goes by when I don’t question my choice, or feel judged for it, or feel guilty. I wake up in the middle of the night in a cold sweat and wonder if I’ve come untethered from my feminism, if I’ve limited my daughter’s proximity to female power and influence. Perhaps this uncertainty is what it means to be a woman in today’s world: to question, to obsess, to wonder, to chastise ourselves and our fellow women, even when we don’t intend to, even when we don’t want to.
And yet, it also occurs to me that this very questioning is itself a tremendous gift. That there are so many ways today to be a woman—so many permutations of working or not working or volunteering (or blogging), so many ways to create a family, so many ways to model success and fulfillment—is owing in large part to the women who came before us. To the women who shook things up, who proved to the world that we were never meant to thrive beneath a single label.
My daughter was highly intrigued when Susan Hood’s Shaking Things Up: 14 Young Women Who Changed the World (Ages 6-10) showed up at our front door, especially because she instantly recognized six-year-old Ruby Bridges on the cover, icon of the Civil Rights Movement, marching bravely up the steps of an all-white New Orleans school with her lunchbox in hand. Further examination of the book revealed others whom Emily has learned about recently either in school or at home, including Frida Kahlo, whose expansive portraiture began during her months in a full-body cast, and Mary Anning, who became the youngest paleontologist in the 19th century when she unearthed an ichthyosaur on the English coast at just thirteen years of age (Stone Girl, Bone Girl is a favorite in our house, and our family just saw a play featuring Mary Anning’s ghost!).
Shaking Things Up is a fascinating trip spanning 250 years of world history, as seen through the eyes of some of its youngest female rebels. It begins in 1780 with Molly Williams, first known female firefighter in the United States, and ends in 2014 with Pakistani Malala Yousafzai, fierce advocate for girls’ education in the developing world and the youngest winner of the Nobel Peace Prize. Household names are included, like the daredevil journalist Nellie Bly, but some of the young women will be new to children and (likely) their parents, including anti-hunger activist, Frances Moore Lappe, and cancer researcher, Angela Zhang. All of these women are united by their fierce determination to do what they love or what they believe will make a difference, often staring down stereotypes and battling adversity in the process. Whether consciously or not, they’re blazing a trail for those who follow. “Never be limited by other people’s limited imaginations,” African-American astronaut Mae Jemison is quoted as saying in the book.
Tantalizing content aside, what makes this book stand apart in an increasingly popular genre of biography anthologies is its unconventional format, perfectly suited to its unconventional heroines. Susan Hood profiles the fourteen young women, not through traditional prose, but with playful and lyrical poems. She even chooses different poetic forms to represent the distinct personalities she seeks to bring to life. For Mary Anning, Hood creates a concrete poem in the shape of the ichthyosaur fossil, Anning’s signature discovery. Pura Belpre, the first Latina librarian at the New York Public Library, appropriately gets an acrostic poem, where the first letter of each line creates the full alphabet.
For 19th century athlete Annette Kellerman, who took to swimming to strengthen her legs after wearing braces as a young child, then went on to invent the modern swimsuit, a limerick-style poem begins:
There once was a mermaid queen,
lovely and lithesome and lean,
who swam afternoons
her swimsuit was deemed obscene!
The lady was quickly arrested.
Unafraid, she calmly protested:
Who can swim fifty laps
wearing corset and caps?
Her statement could not be contested.
Some of the poems tell the linear stories of their subjects, while others are more abstract, speaking to the spark of adventure underlying the accomplishments. The free-verse poem, “Lift-Off,” written about astronaut Mae Jemison, strikes a universal chord:
An African proverb says, “No one shows a child the sky.”
Head back, it’s there in her eyes;
Glittering stars, swirling galaxies
fill her, thrill her…
But wait, there’s more! As you’ve undoubtedly noticed by now, each of the thirteen poems (one poem covers two women) is accompanied by a portrait of the subject created by a different well-known children’s illustrator, including favorites like Melissa Sweet, Julie Morstad, LeUyen Pham, and Emily Winfield Martin. In a book celebrating a range of possibilities for women, we are also privy to a diversity of female artistic styles and expression, rendered in paint, crayon, pencil, and mixed-media collage. Take, for example, Erin K. Robinson’s vibrant palette surrounding the stoic face of Frida Kahlo (“I am broken. But I am happy to be alive as long as I can paint.”):
Now contrast that with Sophie Blackall’s grey-scale, highly realistic rendering of British operative Jacqueline Nearne, who parachuted down into Nazi-occupied territories to deliver secret messages during World War II:
At times, the synergies between pictures and text are breathtaking. Julie Morstad’s illustration perfectly conveys the message behind “A New Vision,” a poem about Asian-American architect Maya Lin, who at just twenty-one years of age won a competition to design the Vietnam Memorial in Washington, DC. Rather than stealing any kind of spotlight, Lin’s stance in Morstad’s portrait embodies the very ideal she sought to represent with her art: she is turned almost inside herself, hand resting on the reflective surface of the memorial as snow falls gently around her.
Maya Lin knew that,
polished to a high shine,
black granite is a mirror
for those who have come to reflect,
who gaze into the past.
Whether Shaking Things Up encourages our children to seek out additional information about the women in its pages (book lists are provided at the end); whether it lends more emotional texture to figures already introduced; or whether it makes them want to draw or paint in a million new ways, our girls (and boys) are all the better because of the way these young women lived their lives. Our young ones may, as they get older, feel overwhelmed by the different paths opening up before them, but they will ultimately be grateful that such abundant choices exist. Celebrating these choices is itself a triumphant expression of feminism.
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Review copy provided by HarperCollins. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
November 9, 2017 § 3 Comments
My son and my mother were leaning out over the Hudson River, craning to see the iconic green statue, on our recent trip to New York City to visit Grandma.
My mom looked up, confused. “They’re relocating the Statue of Liberty?”
“No,” JP said. “The statue is supposed to look like it’s moving. Her right foot is lifted like she’s taking a step. Most people don’t know that.”
In fact, this is my son’s (also my) favorite new fact to drop on people. Perhaps not quite as shocking as relaying that if all the sharks died, the oceans would eventually dry up—but pretty darn close. Because who stops on his way to gaze up at Lady Liberty’s seven-pointed crown and her iconic raised torch to look down at her heels?
We can thank literary wunderkind Dave Eggers for shedding light on this fascinating detail—and for authoring a 108-page children’s picture book that reads so quickly, so fluidly, and so hilariously, that we hardly realize we’re learning about the enduring symbolism behind the largest sculpture “in all the land.” This is a whole new interpretation of narrative non-fiction, and I love it. I can’t remember the last time a non-fiction book showed up on our doorstep and both kids promptly read the entire thing, cover to cover, to themselves, in one sitting. (Although the book is such a read-aloud delight I couldn’t resist reading it to them a few more times.)
Her Right Foot (Ages 6-12) assumes a conversational approach meant to surprise as much as delight, and artist Shawn Harris’ bold and contemporary paper collages brushed with India Ink perfectly complement Eggers’ signature irreverence. The book assumes the reader comes with a basic familiarity of the Statue of Liberty, including perhaps some mistaken assumptions.
I’ll admit to being as astounded as my children. Did you know that the most recognized symbol of immigration in the world was herself an immigrant? As the book explains in its opening pages, the Statue of Liberty was not only designed in France as a gift to the United States on its one hundredth anniversary, but it was originally assembled to completion in Paris.
But it’s so much more fun when Eggers tells it:
Did you know this? Ask your friends and even your teachers if they knew that before the Statue of Liberty was assembled in New York, she was first constructed in Paris. Your friends and teachers will be astounded. They will be impressed. They might think you are fibbing.
But you are not fibbing. This really happened. The Statue of Liberty stood there, high above Paris, for almost a year, in 1884.
After they assembled the statue in Paris, they took it apart.
But we just put it together! the workers said.
That is absurd, they said.
They said all this in French, the language of the French, a people who appreciate the absurd.
In other words, the Statue of Liberty once sailed across the sea to come to rest in America (in 214 crates, to be exact), much like the immigrants she welcomes every day.
Eggers goes on to discuss the Statue’s assembling on what was then Bedloe’s Island, across from New York’s bustling harbor. My kids were especially interested to discover that the statue originally looked brown. Or perhaps they were especially interested in how Eggers chooses to explain this to his young readers: You may have thought the illustrator of this book was not so good at his job, because we all know the Statue of Liberty to be a certain greenish-blue. But the Statue of Liberty was made of copper, and copper starts out brown. In fact, it stayed brown for 35 years.
More of the Statue’s symbolism is unpacked, from her seven-pointed crown (seven seas, seven continents) to the book she holds with the signing date of the Declaration of Independence. Readers might already know that the torch she carries “is a symbol of enlightenment, lighting the path to liberty and freedom,” but it’s unlikely any child knows that Thomas Edison once proposed to put a giant record player inside the Lady so she could speak. (In the end, though, this idea was considered a bit strange and was not pursued.) Or that a dinner party once took place inside the statue for a bunch of gourmand French writers.
All this spans the book’s first half and is a compelling build up to Eggers’ central and favorite revelation, something he noticed when visiting the Statue with his family a few years ago. The Statue of Liberty, as it turns out, is anything but statuesque. This 150-foot woman, weighing 450,000 pounds and sporting a 879 size shoe, is on the move. Her entire right leg is constructed mid-stride, her foot lifting out of bondage chains which lie broken at her feet. Why is this detail omitted in so many lessons and books about the Statue of Liberty? More importantly, Eggers asks, what does it mean?
Where is she going?
After some tongue-and-cheek responses which perhaps have more hipster than kid appeal (Is she going to the West Village for her vintage Nico records?), Eggers settles into a gentle but deeply moving 17-page meditation on what it means to honor the journey of immigrants and refugees. On what it means to welcome Italians, Polish, Norwegians, Glaswegians, Cambodians, Estonians, Somalis, Nepalis, Syrians, and Liberians.
On what it means to give promise to “the poor, the tired, the struggling to breathe free.”
If the Statue of Liberty is a symbol of freedom, if the Statue of Liberty has welcomed millions of immigrants to the United States, then how can she stand still?
Liberty and freedom from oppression are not things you get or grant by standing around like some kind of a statue. No! These are things that require action. Courage. An unwillingness to rest.
She is not content to wait.
She must meet them in the sea.
We don’t know for sure why the Statue’s foot is raised or what the artist intended. But Eggers’ theory hits all the right notes—and is as timely as ever. Our Lady Liberty is a mover, a shaker, and an empathizer.
In last night’s election results here in Virginia, a refreshing picture of inclusion emerged. Among other firsts for positions in our state government were an openly transgender female, an Asian-American woman, and two Latina delegates. The city of Hoboken, New Jersey elected its first-ever Sikh mayor. I am hopeful for the first time in many months that Americans are moving towards embracing a vision of patriotism based on the melting pot out of which our country’s greatness will emerge.
But, as Lady Liberty herself reminds us, there is always more to be done. More steps to take.
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Review copy provided by Chronicle Books. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
July 20, 2017 § 1 Comment
We left our hearts in Italy six weeks ago. It was our first family trip outside the country and a magical foray into ancient architecture, big-hearted people, and culinary delights (my son has since questioned why Americans don’t grate fresh truffles on everything). And, of course, the art. Oh, the art! Art on canvases, art on ceilings, art around doorways. Art rising up out of the ground.
I’ve learned, from previous trips to New York City and even from local excursions to museums, that any time spent sharing books with my children about sights they’re going to see, before they see them, is time well spent. If my kids are able to recall some granule of knowledge about the construction of a building, if they are able to spot a piece of art in a museum that they’ve previously seen in a picture, they are vastly more engaged.
(Case in point: last year, my six-year-old’s class studied North American artists, including Georgia O’Keefe and Jackson Pollack, reading several books in the Getting to Know the World’s Greatest Artists series. When I took her to The Met last spring, she flitted around the modern wing, waiting for her eyes to fall upon “A Georgia!” or “A Jackson!”, at which point she stood transfixed for several minutes. But anything else? Barely a pause.)
In that vein, I was not as surprised as my children were when the Easter Bunny left baskets filled with books about Michelangelo, Da Vinci, and the Ancient Romans six weeks before our trip (“I can’t believe the Easter Bunny knew we were going to Italy!”). We spent much of the weeks leading up to our departure deep in these pages. (I’ve listed our reading list at the end of this post for those planning an Italy trip of their own.)
In Florence, when my daughter walked into the Piazza della Signoria and caught her breath, I knew it wasn’t just the animated story our tour guide was delivering. “Mommy, look there,” she whispered, pulling on my arm. “It’s the lion from my Michelangelo book! The one Michelangelo is sketching when he’s a boy.” She ran over to one of the iconic Medici lions and peered up at its gaping stone eyes. “It has the sweetest face, don’t you think? And its paw is gigantic! You can’t tell any of that from the book!” Would she have felt the same connection to this work of art had she not seen that silly cartoon beforehand? Certainly, she would not have sought it out.
If reading about something beforehand deepens our connection at the moment we finally see it, then the same might also be said for reading about it afterwards. When we arrived home after our two weeks in Italy, all four of us dragging ourselves and our luggage down the front walkway, we found what turned out to be a very fortuitous package sitting by the door: an advance copy of Barbara DiLorenzo’s Renato and the Lion (Ages 5-9). Loosely based on true events, this exquisite picture book tells of a Florentine boy’s love for the art in his city—and his determination to protect it in the early days of World War Two.
A bit of the magic had followed us home.
In luminous watercolors, DiLorenzo has captured the timeless essence of Florence, the way it looked seventy years ago when the story was set and the way it still looks today. The city is itself a work of art, its orange clay-tiled rooftops creating a color scheme which enfolds cobbled alleyways, hidden piazzas, medieval bridges, and—at its center—the magnificent Duomo. As one Booklist reviewer noted, this book is nothing short of a love letter to this beauty.
The boy in the story, Renato, has grown up around the art of Florence, not only because it surrounds him as he kicks his soccer ball home from school or splashes with friends in the fountain of Neptune, but because his father works in a museum, caring for and repairing ancient sculptures.
One evening, Renato’s father, who has been working late into the night for many weeks, leads him into the Accademia Gallery, where he shows him a tall domed wall made of red bricks in the spot where Michelangelo’s famous David statue has stood for the past sixty years (having been relocated from the Piazza della Signoria).
“The sculpture is still there,” explained his father, “but if you can’t see it, you might not know it was there.”
“Who might not know?” asked Renato.
In the gentle dialogue between father and son which follows, readers begin to comprehend alongside Renato the reality of the war raging across Europe, a war which now threatens—either accidentally or purposefully—to destroy the artistic treasures of this beautiful city. While Renato’s family is fiction, DiLorenzo has based them on Italian citizens who protected ancient treasures from bombings during World War Two—for example, by encasing them in brick tombs.
Renato’s favorite statue has always been the stone lion off the Piazza della Signoria. He bids it buongiorno every morning and buona sera every evening. When Renato learns of his father’s plan for the family to flee Florence, to seek refuge from the war in America, he immediately thinks about the lion.
“But what about the lion?” Renato said. “We need to protect him, too.”
“We don’t have time,” said his father. “We must leave tomorrow.”
Renato looked around the museum.
He looked at the walled enclosures where the sculptures had been.
Before his father could object, Renato ran toward the piazza.
It is impossible not to hold your breath in the next scene. As Renato begins hurriedly to lay bricks around his beloved lion after curfew, German soldiers approach. Renato quickly climbs upon the lion’s back and attempts to make himself unnoticed behind the lion’s massive head.
What follows are several glorious pages of magical realism, as the lion suddenly comes alive beneath Renato’s body. Holding tight to the living lion’s mane, Renato is transported on a moonlit journey across the city—in many respects, a journey of goodbyes to some of his city’s most beloved landmarks—until the lion delivers him safely into the arms of his grateful father.
The next morning, moments before Renato and his family must depart for the Henry Gibbins, the ship which will take them across the ocean (named for the actual boat ordered by President Roosevelt to rescue refugees from Europe), Renato finds his father back at the Piazza della Signoria, putting the finishing touches on a brick wall around the stone lion. He has worked all night to protect the statue that protected his son.
DiLorenzo could have stopped her story there, although we’re immensely fortunate she didn’t, especially those of us with a dual love for Florence and the island of Manhattan. (As we were walking around Florence, my daughter said, “Florence is a lot like New York City. You do a lot of walking and there are a lot of pigeons.”) Not only do we learn more about Renato’s life in New York—including his regular visits to the two stone lions that flank the entrance to the New York Public Library—but we are treated to a touching inter-generational story. An old man by the end of the story, Renato returns to Florence for a short stay with his granddaughter. It is the first time he has been back, and while this time he takes an airplane across the ocean, he finds that the most important things have not changed.
Those who have had to leave behind a piece of themselves will identify with Renato’s initially subdued expression, as he walks quietly with his granddaughter through the nostalgic streets of his childhood. When they get to the piazza, though, he finally lets himself feel the swell of the moment. His granddaughter—just like my Emily—is the first to spot the lion, and she pulls her grandfather toward it. The smiles on both of their faces when they get there are as priceless as the works of art themselves.
Oh, Florence. Oh, Italy. Oh, art and travel and family. May we always fight for what we hold most dear.
Italy Reading List (things we read prior to and since our trip!):
Stone Giant: Michelangelo’s David and How He Came to Be
Michelangelo (Getting to Know the World’s Greatest Artists)
Leonardo: Beautiful Dreamer
What is the Colosseum?
You Wouldn’t Want to be a Roman Gladiator!
Pompeii: Lost and Found
What Was Pompeii?
You Wouldn’t Want to Live in Pompeii!
Ancient Rome (DK Eyewitness)
History News: The Roman News
A Renaissance Town
Olivia Goes to Venice
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Review copy by Viking, PenguinYoungReaders Group. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
May 18, 2017 § 5 Comments
It is often with trepidation that I watch my daughter prepare to work on a picture or a card. She sets out her paper, her drawing instrument of choice, and animatedly explains her Vision to anyone in the vicinity. “I’m going to draw a bird for my teacher,” she says, “because she loves birds.” I smile, but I try not to look too eager…or too stressed…or too anything. I try to look neutral. I attempt to recede into the kitchen—or, better yet, disappear into the basement to throw in a load of laundry—because I know from experience what likely lies ahead.
There are several minutes of happy humming, her preferred background music while she works. Followed by a sudden, guttural, downright masculine “UHHHHHGGGGGGHHHHHHH!” Followed by the sounds of said drawing instrument being thrown across the room. Followed by great, gasping sobs. “It doesn’t look like a bird at all! Its beak is terrible! It’s THE WORST BEAK IN THE WORLD! I hate this bird! I hate it!” Followed by the sound of paper crumpling, fists slamming, and stomping feet coming to find me. “Why did you tell me to make a bird? Don’t you know I am the WORST DRAWER OF BIRDS?!” (Ummm, I never said…)
My six and a half year old is rarely ruffled. She goes with the flow, handles curve balls with ease, and loves trying new things.
But she cannot handle mistakes. Mistakes are her Sworn Enemy. Never mind that they often derive from some subjective and unrealistic notion of perfectionism. They feel paralyzing to her. They are a giant Road Block which she cannot see past.
Because I read the Internet, I know it is my job to help my daughter embrace mistakes. Mistakes mean you are learning! Mistakes mean you are taking chances! Mommy and Daddy make mistakes all the time! So I’m supposed to say. And I do say. And her teachers say. And even her brother says. But anyone can see Emily doesn’t buy these platitudes. Not for a second. Because she doesn’t know the answer to the question she’s too afraid to ask: What do I do when I make a mistake?
And then debut author-illustrator Corinna Luyken’s exquisite The Book of Mistakes (Ages 5-99) came into our lives. I cannot stress enough the poetic power of this book. Just two pages in, and I knew—I knew deep down in that primal mothering part of my being—that this was the answer my Emily had been waiting for. An answer that’s light on the telling, heavy on the showing, and even bigger on the interacting.
“Picture books are a primer for how to be a human.” So was the powerful opening statement of a panel which I recently attended at the formidable Politics & Prose bookshop in Washington DC. Among the diverse children’s authors and illustrators gathered to discuss the theme of “journeys” in their picture books was Corinna Luyken herself. Luyken followed up this intro to say that, in conceiving The Book of Mistakes, she wanted to encourage children to find their own voice, to stop caring so much about what others want them to be. “The biggest mistake we can make is trying to be anything other than ourselves,” she said.
If picture books are to teach us how to be a human, including how to discover and embrace our unique way of doing things, then they must show us that mistakes are a natural part of this process. Even better, that the messiest, ill-conceived mistakes can sometimes be transformed into the most surprising, heartening rewards. (Could the “incorrectness” of a bird’s beak on paper be the beginning of something beautifully unusual?)
What The Book of Mistakes does so convincingly is to demonstrate that mistakes need not always be the endings they appear to be. Rather, mistakes can be beginnings. They can be springboards. The world doesn’t have to grind to a halt, the pages don’t have to be torn up, each time we make a mistake. If we open ourselves to the possibility of re-imagining, mistakes might take us to places even better than where we thought we were heading.
Luyken’s book begins and ends with a tremendous amount of white space and very sparse text, a combination which begs the child reader to pay close attention to the black line drawings which build exquisitely from page to page. (Luyken explained during the panel that her art is inspired by the greats of Gorey, Lear, and Sendak.)
Opposite the story’s opening words, “It started,” is a partial line drawing of a face—much like a child herself would do. In this face, only one eye has so far been drawn. Turning the page reveals the second half of the sentence, “with one mistake,” as it does the addition of a second eye. What is the mistake? It didn’t take long for my children to point out that the second eye has been dawn larger than the first.
On the next page, things get more problematic, as often is the case when we try a hasty correction. “Making the other eye even bigger was another mistake.” The artist has presumably tried to match the size of the first eye to the second eye and ended up with two eyes even more grossly asymmetrical. My children were by now totally captivated: their adamant sense of symmetry making them as uncomfortable with the distorted eyes as the off-page artist herself appears to be.
When we turn the page a third time, we begin to witness the magic which happens when an artist takes back creative control. “But the glasses—they were a good idea.” The artist has added a pair of wide-rimmed, seafoam-colored glasses around the eyes, intentionally detracting from their oddness.
With each turn of the page, new mistakes give way to new ideas. An extra-long neck and anatomically-challenged elbows are obscured with an Elizabethean-style collar some elbow patches. The awkward space between the girl’s feet and the ground suddenly makes sense with the addition of roller skates. Ink smears become feathers. Stray pencil marks become strings for brilliant yellow balloons, which our roller skater suddenly holds up with great purpose. Bit by bit, a story line begins to unfold.
New characters emerge. My children’s favorite is a girl with one leg (mistakenly) drawn longer than the other. No cause for alarm. Perhaps this girl is born to climb trees, our narrator imagines. (“An extra-long leg would be a really helpful thing for climbing trees,” my daughter said. “Or maybe her leg only stretches when she climbs trees—like a kind of super power?” my son offered. They have totally drunk the Koolaid by now.)
Luyken plays with perspective from page to page, as if teasing us readers to guess at what the cumulative result will be. What happens when all of the artist’s mistakes come together in a single scene? It turns out there’s no predicting the magical realism which transpires—this, of course, is the whole point—and the climactic, nearly wordless spreads mean we can gaze for hours and still devise new interpretations.
Then there’s the ending, dramatically paced across three pages, as much a metaphor as it is a literal question. “Do you see/ how with each mistake/ she is becoming?” the book asks about our roller-skating, balloon-beckoning girl, who races to join a celebratory gathering of other imperfect beings under the canopy of a large tree. And, of course, I broke out in tears, because truer words have never been spoken about my own daughter. About all of our children. About all of us.
Thank you, Corinna Luyken, for giving me a new way to talk to my children about this crazy, messy, beautiful thing called life—and their uniquely crazy, mess, beautiful “becoming” in the midst of it?
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Book published by Dial Books for Young Readers/Penguin Young Readers Group. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
October 27, 2016 § 2 Comments
Hands down, my favorite day last summer was spent with my then eight year old at Ford’s Theatre, otherwise known as The Place Where Lincoln Was Shot. If there’s anything more fun than watching our children learn, it’s learning alongside our children—and that is precisely what happened as JP and I made our way through the narrative of Abraham Lincoln’s presidency, the hours preceding and immediately following his assassination, and his legacy as it lives on today.
Plugged into our audio tour—the “kid version,” where two middle-school students conversed into our ears about the different exhibits—JP and I were totally riveted: making wide eyes at one another over something that was said, or taking off our headphones for a moment to discuss something further. I felt like a kid in a candy shop, like it was the first day of a new literature elective in college and I was scanning the syllabus for all the new books I would have an excuse to buy.
Midway through the tour, we took a break to lunch down the street at Shake Shack (because duh), and JP looked over his bacon cheeseburger at me and said, “Today is the coolest day ever, don’t you think, Mommy?” Later, as we browsed the gift shop, he added, “I think I want to read every book written about Abraham Lincoln,” and I had to resist dropping to the floor and gushing tears of joy.
It has been six years since we moved to the Washington, DC area, and I wonder if we’ll always feel like tourists. The magnitude of things to do and see here feels nearly insurmountable. But the challenge also appeals to me. In this contentious election season, I am fighting hard to remain optimistic—and, thankfully, around every corner in DC is something to squash (even temporarily) the cynic in me. At every turn, I am reminded of the ideals upon which our country was founded, the courageous and tireless leaders that have come before, and the good and hard work that still lies ahead.
If it wasn’t so darn exhausting, I’d consider pulling my kids out of school and romping around the city every day with them. Because it’s one thing to learn something in a classroom, but it’s another to stand in the face of it.
Instead, we have summer breaks and weekends. Plus, as of a few weeks ago—and ten years in the making—we now have Kathy Jakobsen’s My Washington, DC (Ages 5-10), a picture book introduction to some of the most historic and significant DC landmarks and the history behind them.
This is not the first picture book to take kids on a tour of Washington, DC, but it is arguably the best. Or, at least, it’s the one our family has been holding out for. We have been intimately acquainted with American folk artist Kathy Jakobsen for some time now. Her previous children’s book, My New York, sits atop a shelf in my mother’s closet in Manhattan, waiting to be pulled down each time my kids visit. We have planned entire weekends off this book. Just two weeks ago, when JP and I made our annual fall pilgrimage to the Big Apple, we trudged all the way to the top floor of the American Museum of Natural History to see the giant prehistoric sloth that is mentioned by the young narrator of My New York.
Like My New York, My Washington, DC showcases the city through the eyes of a young girl named Becky, who arrives by train at Union Station with her best friend, Martin, and her artist mother. The three traverse numerous sights on Capitol Hill and The Mall, including the Supreme Court, three Smithsonian museums, The White House, and four of the memorials. The route can be traced on the book’s endpapers, which (as in My New York) comprise a simple but lovely hand-drawn map of the city equally useful to kids and parents.
Along the way, Jakobsen (via our narrator, Becky) has a knack for pointing out details that will surprise and intrigue her child readers: the moon rock available to touch at the National Air and Space Museum (“even though I haven’t been to the moon, I can say I’ve touched it”), or the “whispering gallery” in the National Statuary Hall of the Capitol, where John Adams pretended to be asleep but was “really listening to his enemies talking at the other end of the hall!” (I so want to try that out with my kids.)
Did you know that, at the Library of Congress, kids can visit the Archive of Folk Culture to listen to recordings of American Indian songs and stories (in their tribal languages), as well as a “collection of jump-rope songs sung by sixth-grade girls at a Washington, DC school?” (Planning that right away, too.)
All of these narrative tidbits are monumentally enhanced by Jakobsen’s lavish oil paintings, which are packed with so much detail (not to mention stars and eagles and an orange tabby cat to find on every page) that one could pour over them for hours. I challenge you to find a child who isn’t immediately obsessed. Long after my eyes are crossing, my kids (always up for a game of Where’s Waldo?) will point out Becky in her “I Heart DC” tee. The richly colorful crowds of people, which surround Becky on almost every page, are a fine tribute to the diversity that comprises both the American people and those that vacation here from around the world. (The crowds are, of course, both the blessing and the curse of living here.)
My kids’ personal favorite: a double-page spread showcasing the hundreds of pets that at one time or another have lived at The White House, from the goat that Abraham Lincoln’s son once drove through his mother’s party, to the alligator that John Adams housed in a bathtub after it was re-gifted to him by a French general (I had to look up the details of this last point, as I did many of the animals pictured, but that is half the fun of this book!).
My personal favorite is the fold-up-and-out page of the Washington Monument, which shows on one side the way it looks from afar and on the other the diversity of stones that make up much of the obelisk—engraved stones that were donated by states, countries, tribes, and organizations, after the Washington National Monument Society ran out of money and issued a plea for help (even the Boy Scouts are in there!). ! I remember getting a cursory look at these stones from the glass elevator that took the kids and I down from the top of the monument two years ago. Now that we’ve poured over them in detail, we need to go back and see how many we can spot.
Ornate borders frame many of the illustrations, and Jakobsen rarely misses a chance to incorporate quotations that adorn the walls of the buildings and memorials (“Eternal vigilance is the price of liberty.”). The Star-Spangled Banner, The Declaration of Independence, The Presidential Oath, The Gettysburg Address: all of these are seamlessly worked in, not to mention a spread devoted to The Bill of Rights in its entirety (and which is reproduced inside the book’s cover as well, in case you want to hang it up).
Mind you, the book is not perfect. There are a few bizarre omissions (the paragraph about the Martin Luther King, Jr. memorial doesn’t directly mention race, even as it speaks of equality). To JP’s great disappointment, Ford’s Theater is not mentioned at all. Still, most of what’s left out of the book lies in our echoed cries for MORE! MORE! MORE!, as we wish the book would go on for another 35 pages.
With 250 years of history, Washington, DC is, after all, a city that cannot be explored in a single bound. But this book gives us a pretty cool start, don’t you think?
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All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
September 22, 2016 § 2 Comments
A few days before summer break ended, a giant box arrived from Candlewick publishing, containing a number of advance copies of fall releases. Candlewick is one of my favorite publishers—also one of the most generous supporters of my blog—and the buzz in our house when one of their boxes arrives is akin to Christmas morning. The kids and I tore open the box and quickly identified new installments in some of our favorite series (the new Princess in Black comes out in November, as well as the third in the “hat” stories by the dry-witted Jon Klassen; both are fabulous).
But there was one book that—hands down!—got the loudest squeals and the highest jumps as soon as my kids laid eyes on it. Aaron Becker’s Return (Ages 5-10) is the much-anticipated finale of a wordless trilogy about a girl, her red crayon, and the otherworldly adventures to which her art and her imagination transport her (I wrote about the first title, Journey, back in 2013, before it went on to win a Caldecott Honor).
Wordless books can be a hard sell. They can be an especially hard sell for parents, because what exhausted parent wants the pressure of making up a narrative when the relief of bedtime is so near? How can I read a book with no words? Can’t my kid just look at that on his own?
Hear me out.
For starters, education researchers have long touted the value of wordless picture books as a tool for pre-literacy. When children are learning to read—when they’re caught in that delicate balance of needing to cherish small successes but not fully versed in phonograms and sight words—they can look to pictures for valuable clues about what the text might be saying. (He’s picking up a fork, so that word must be “fork”; there’s a grimace on his face as he’s eating, so that must mean the words are going to be about him not liking it).
When children are forced to extract a narrative from pictures alone, they become well versed at using visual clues to decode text.
I would argue that the value of wordless picture books extends well past the early-reading stage. Wordless books can help make close readers of our children, a vital skill for academic success at every grade level.
Especially in the hands of a visual wizard like Becker, the reader is rewarded for every extra second he or she takes to study the pictures. On nearly every spread in Journey, Quest, and Return, there is mystery, intrigue, wonder, and confusion. Repeated readings only deepen our experience, reveal things that our eyes—in our haste—missed the first time.
Let’s talk about that haste for a minute. (We are listening to Charlotte’s Web in the car these days, so I feel inspired to quote the wise Charlotte: “…with men it’s rush, rush, rush, every minute. I’m glad I’m a sedentary spider.”)
When my nine year old tears through beloved series like The Hardy Boys, Hazardous Tales, and I Survived, I can’t help but wonder: how carefully does he read? Does he skip over passages when he doesn’t understand? Does he take time to notice the language, the details of a setting, or the way a character is described? Does he have an opinion about the book, other than “It was epic!”?
I try very hard not to scrutinize or judge (outwardly) my children’s reading habits. If my kids are reading, I want them to read—without my asking loaded questions about whether they’ve finished a book or what they are learning from the story or whether they will read aloud parts to me. I want them to read for the love of the thing. I want them to discover their own motivations for reading outside parental or adult pressure.
Instead, I try to model good books and good reading practices. I choose books to read aloud that showcase beautiful language, complex characters, and plots rich in shades of grey and murky emotions. I often share aloud my own feelings about the things we’re reading. I tell them which questions are giving me pause. Much of the time, they are quick to join me in conversation.
As it turns out, I don’t have to be reading books with words to accomplish that.
Weeks back, when that box showed up at our doorstep and my kids jumped up with Return in their hands, then ran through various rooms to locate the first two titles in the trilogy so that we could read all three books straight through, I was reminded that sharing wordless picture books with our children can be another immensely valuable way to teach them to slow down and cherish the intricacies of a story.
It’s a credit to Aaron Becker just how hard my children and I are willing to work to interpret his lantern-hung forests, his purple skies, and the rock-clad walls of his prophetic caves. (Interesting side note: in the author’s bio printed on the jacket cover of the newest book, we learn that the exotic kingdom depicted in the trilogy, with its lavish domes and flowing canals and frenetic kings and emperors, is inspired by Becker’s visit as a child to Mont-Saint-Michel in Normandy, France—the same walled island we all grew to love in the 2015 Pulitzer Prize winner, All the Light We Cannot See).
Here’s the gist of what my kids and I have surmised from the time we’ve spent with these books.
In Journey, a girl escapes boredom by drawing a doorway into a magical land and inadvertently finding herself in the center of an enslavement plot. Her creativity, along with the artistic aid of a like-minded boy, guides her safely home again, while at the same time giving her the companionship she has been seeking.
In Quest, Becker’s second book, the girl with the red crayon and her new friend with the purple crayon are drawn back into the mysterious world, where greater intrigue and suspense greet them. We learn that their crayons are part of a larger set of six that, in the right hands, can return color and freedom and prosperity to this grey and conflict-laden kingdom.
Now at last, in Return, we are given the final pieces of the puzzle. It was my son who came up with the idea that the bad guys aren’t simply after the crayons; they’re after art. Or, rather, they’re out to destroy the transformative power of making art. It was also my son who pointed out details that I initially missed: how the green emanating from the emperor’s boat is a sickly, unnatural green, a slime green, a green that somehow instinctively identifies him as evil.
Our reading of these books is full of “Wait, look at that!” and “Oh, now I get it,” and “But what it THAT?” Three heads huddled over the same book. Three sets of fingers pointing. Three voices contributing to one shared understanding.
Perhaps there’s a third, even more powerful benefit that comes from sharing wordless picture books with our children—and that’s the opportunity to collaborate with them.
I’ve been thinking about this issue a lot, as we make the difficult transition into the rigidity of fall routines: of rushing to school, of rushing home from school, of trying to get dinner on the table and everyone to bed at an early hour so that we can make some semblance of an attempt at doing it all over again the next day.
Too often, I parent from a place of authority rather than a place of collaboration. But how can I insist that my children develop flexibility unless I am willing to demonstrate It myself? Wordless picture book, like the Journey trilogy (and I’ve listed other favorites at the end of this post), present a rare gift for us parents to embrace the benefits of honoring our children as partners, rather than progeny.
Appropriately, this happens to be precisely how the trilogy concludes. If the first book casts a less-than-favorable light on the girl’s parents—her mother chatting on the phone while cooking, her father too busy on his computer to respond to the girl’s entreaties to play—the third book spins a more optimistic narrative.
Return begins when the father looks up from his work and, seeing his daughter’s kite dropped at his feet, goes in search of her.
When he finds her red door, he ducks and enters—until he, too, is a character in the vivid magical world that has bewitched his daughter on so many occasions. As it turns out, and as the girl only recognizes once she has forgiven his indifference and welcomed him into her imagination, the father has a critical role to play in the unfolding drama. The two share an adventure which, not only brings them closer together, but reveals a secret about the father’s own history with art and imagination. A door once closed has opened again for him.
We do not need words on a page to comprehend the sheer joy on the girl’s face at the realization that she has an accomplice in her beloved parent. (Hint: see if your child picks up on the subtle change in the endpapers from the beginning of Return to the end; my daughter had to show me, and I almost broke down sobbing, so close to home did it hit.)
In a few months—and at a time when we aren’t rushing—I plan to get out these books again and encourage my kids to look at them alongside me with fresh eyes. I imagine they won’t need convincing. I think we’ve only scratched the surface of what we can discover and interpret and learn from these sensational pages.
Updated Nov 2017: The Journey trilogy BOX SET is now available: gorgeously packaged and including a never-before-released print!
Other Favorite Wordless Picture Books:
Hank Finds an Egg, by Rebecca Dudley (Ages 3-6)
Flashlight, by Lizi Boyd (Ages 3-6)
The Farmer and the Clown, by Marla Frazee (Ages 4-8; I challenge you to get through this story of connection without tearing up.)
Sidewalk Flowers, by JonArno Lawson & Sydney Smith (Ages 4-8)
Pool, by Jihyeon Lee (Ages 4-8, reviewed by me here)
The Girl and the Bicycle and The Boy and the Airplane, by Mark Prett (Ages 4-8)
Fox’s Garden, by Princesse Camcam (Ages 4-8)
Review copy provided by Candlewick. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!