Finding the Artist in His Art: A Week with the James Marshall Papers

By Julie Danielson

James Marshall (called “Jim” by friends and family) created some of children’s literature’s most iconic and beloved characters, including but certainly not limited to the substitute teacher everyone loves to hate, Viola Swamp, and George and Martha, two hippos who showed readers what a real friendship looks like. Since I am researching Jim’s life and work for a biography, I knew that visiting the James Marshall Papers in Archives and Special Collections at the University of Connecticut’s Northeast Children’s Literature Collection would be tremendously beneficial. In fact, Jim’s works and papers are also held in two other collections in this country (one in Mississippi and one in Minnesota), which I hope to visit one day, but I knew that visiting UConn’s Archives and Special Collections 017revwould be especially insightful, since Jim made his home there in Mansfield Hollow, not far at all from the University. Indeed, I spent my evenings, as I wanted to maximize every possible moment during my days for exploring the collection, talking to people there in Connecticut who knew and loved Jim, including his partner William Gray, still living in the home they once shared.

The collection is vast and impressive, just what a biographer needs. I had five full days, thanks to the James Marshall Fellowship awarded to me, to explore the archives and see, up close, many pieces of original artwork, as well as a great deal of his sketchbooks. I saw manuscripts, sketches, storyboards, jacket studies, character studies, preliminary drawings, dummies, proofs, original art, and much more from many of Jim’s published works, including a handful of his early books — It’s So Nice to Have a Wolf Around the House, Bonzini! The Tattooed Man, Mary Alice, Operator Number 9, and more. To see sketches and art from his earlier books was thrilling, because I’m particularly fond of many of those titles. (Bonzini!, I learned in the sketchbooks, was originally titledCairo.) Also on hand in the collection are sketches and art from his more well-known books, as well as books published at the end of his career (he died in 1992), including the popular George and Martha books and Goldilocks and the Three Bears, which received a 1989 Caldecott Honor.  Read more…

Eleanor Estes: Chronicler of the Family Story

by Claudia Mills

I came to Archives and Special Collections at the Thomas J. Dodd Research Center on a mission, as an avenging angel, if you will. My self-imposed charge: to defend an author I loved as a child, and continue to love, from criticism of her work that I felt was mistaken, or at least misguided.

EleanorEstesphotoyoungEleanor Estes (1906-1988) was one of the most highly acclaimed children’s authors of the mid-twentieth century. I grew up reading her classic stories about the Moffats and the Pyes, and her hauntingly beautiful, iconic tale of childhood bullying, The Hundred Dresses. Born in West Haven, Connecticut, and launching her career as a children’s librarian in the New Haven Free Public Library, Estes reaped three Newbery Honors in three successive years for The Middle Moffat (1942), Rufus M (1943), and The Hundred Dresses (1944) and finally went on to win the John Newbery Medal, awarded for the most distinguished contribution to American literature for children, for Ginger Pye (published in 1951), followed by a sequel, Pinky Pye, in 1958. Praised for her microscopically careful observation of the inner life of children, she’s invariably heralded as a leading figure in any discussion of the genre of the “family story.” But she’s also been criticized for what is taken to be her failed attempts, in her later books, to provide more of a sustained and satisfying plot.

The two books about the Pyes (Ginger Pye and Pinky Pye) differ notably from the three earlier books about the Moffats in shifting from an episodic format to a plot structure built around a single, unifying dramatic question, in both cases involving the solving of a mystery. Who stole the Pyes’ dog Ginger Pye? What happened to the little owl lost at sea that ends up becoming Owlie Pye? In both books, the solution to the mystery is extremely obvious, with insistent foreshadowing of the ultimate resolution and blatant, repetitive telegraphing of every clue. This has been widely regarded by adult critics as unsatisfying.

eleanorestesgingerpyecoverThus, John Rowe Townsend complains that, in contrast to the Moffat family stories, “[i]n Ginger Pye  . . . there are plots of mystery and detection which call for a dramatic build-up, a logical progression toward climax, which the author is infuriatingly unable or unwilling to provide.” [1] Virginia L. Wolf writes that while Ginger Pye “more effectively focuses on a problem and builds suspense than do any of the Moffat books, [i]t does not, however, as the critics have charged, offer the tightly constructed plot of a successful mystery. . . .” [2]

But as I read these two books, Estes isn’t trying and failing to provide a suspenseful mystery. Instead, both books can be read as positively cautioning readers against traditional storytelling techniques, with their “dramatic build-up” and “logical progression toward climax.” Read carefully, both books suggest that suspenseful storytelling can be actually dangerous, its risks greater than its rewards. Estes shows her characters themselves engaging in sensationalist, overly dramatic storytelling with near-disastrous results: for the missing owl (in Pinky Pye) and missing dog (in Ginger Pye. As Papa insists upon theatrical revelation of the discovered location of the little owl, he prolongs the telling of the story to such an extent that the owl is meanwhile endangered by the predatory kitten; as Jerry and Rachel Pye fashion a sensationalist account of Ginger’s kidnapping by an “unsavory character,” they misdirect the police and fail to notice the actual, far more humdrum, culprit. Both books, then, contain within themselves material for a critique of exactly the kind of suspenseful fiction Estes is chided for not providing.

I wondered, however, if Estes herself would share my reading of her books. Perhaps the critics were correct, and she tried and failed to provide more satisfying suspense. Or perhaps I was correct, and her philosophy of storytelling pointed her in a very different direction.

eleanorestesrufuscoverSo I spent an enchanted week the Thomas J. Dodd Research Center examining Eleanor Estes’s papers – drafts of speeches she gave throughout her career and extensive editorial correspondence from Ginger Pye’s editor, the legendary Margaret McElderry – in search of support for my claims that Estes did not try and fail to provide suspenseful storytelling in her Pye books, but chose not to do so because of her commitment to a different way of engaging with young readers.

And find it I did.

The collection contains, for the most part, only letters sent to Estes from her editors, rather than letters by Estes herself, so scholars have to read between their lines to recover what Estes must have written to provoke these replies. I learned that Estes apparently considered not resolving the mystery of Ginger Pye’s disappearance at all! McElderry writes to her, as the work is in progress, “Not having read any of it, it is a little difficult to say anything about the problem of who stole him, but I am inclined to agree with you that children reading the book would probably want to know who the culprit is.” McElderry also writes to reassure Estes that certain scenes are not too frightening for children: “I can well imagine the qualms that any author feels at this point but I am perfectly sure you should have none of them. The tramp chapter isn’t the least bit too scary, for look what our modern children have become used to from the radio, television, and the movies. And I expect children will always try to climb rocky cliffs whether they read about it first or not, so that you will not be held responsible for any bruises or cuts.” Indeed, Estes’s lack of interest in traditional plot was so great that in a speech to the Onondaga Library System, she admitted, “Sometimes I write a whole book first, like The Moffats, and then put the plot in.”

The clearest answers to my questions about Estes’s literary method came in Box 16, Folder 201, which contained a sheaf of 4 x 6 index cards with handwritten answers to interview questions for a talk at Albertus Magnus College in 1973. In response to the query “Do you think that violence in children’s literature can psychologically damage a ‘normal’ child?” she first problematizes the whole idea of a “normal child,” noting that children have a wide range of sensitivities; she then confesses that she was one of the more sensitive, who tended “to shy away from extreme violence in life, and on the screen and stage. Even not look when the bad man came on.” She goes on to say, “I am not an escapist. But in books for children . . . I don’t see the necessity of depicting life as it really is.” For Estes, then, it was permissible, even commendable, to prioritize comfort over eleanoresteshundreddressscoverdanger, and to center her story less on what happens than on children’s quiet and wry observations in response.

Of course, along the way I found much, much more. What a window into a now-vanished world of publishing is provided by the yellow Western Union telegram from Margaret McElderry with its all-caps shout of joy: CHEERS FOR GINGER. SEND EXPRESS IN BOX. INTEREST AT BOILING POINT. LOVE MARGARET.

Struggling writers may be cheered to know that Estes, now working for the New York Public Library, showed the manuscript of The Moffats to her supervisor, the formidable Miss Anne Carroll Moore before whose pronouncements authors and editors trembled, only to receive this sole comment: “Well, Mrs. Estes, now that you have gotten this book out of your system, go back to being a good children’s librarian”! (Estes reports that Miss Moore had earlier found it difficult to forgive her for marrying fellow librarian Rice Estes: “she did not like her children’s librarians to get married.”) Once Ginger Pye received the Newbery Medal, however, a friend of Estes’s wrote to her of Miss Moore’s quite different public account of their relationship: now Estes had “risen to the top in the esteem of Annie Carolly Moorey. This great friend through all your struggling years, this inexhaustible dealer-outer of encouragement, has finally had her judgment vindicated. I nearly vomited.”

And then there were the pages of scribbled notes with their wonderful revelation of how Estes gathered her ideas in wandering, random bursts of creativity:

Once when I was a dog

A Lion I knew

The story of the pants

These are not the notes of someone who prioritizes the construction of tightly ordered plots, but someone who celebrates the shifting, fragmented way that children look upon and inhabit the fleeting world of childhood.

Claudia Mills is Associate Professor emerita in the Philosophy Department at the University of Colorado at Boulder and a frequent visiting professor at DePauw University in Greencastle, Indiana. Most of her essays on children’s literature explore ethical and philosophical themes in children’s books.  She is also the author of over fifty books of her own for young readers, including most recently The Trouble with Ants (Knopf, 2015, launch title of the Nora Notebooks series about a girl who wants to grow up to be a myrmecologist) and Simon Ellis, Spelling Bee champ (Farrar, 2015, the fourth book in the Franklin School Friends series).  Claudia Mills is a 2015 recipient of the Billie M. Levy Travel and Research Grant.

Notes:

[1] Townsend, John Rowe. “Eleanor Estes.”  In A Sense of Story: Essays on Contemporary Writers for Children. Philadelphia and New York: J. B. Lippincott, 1971: 79-85.

[2] Wolf, Virginia L., “Eleanor Estes,” in American Writers for Children, 1900-1960, ed. John Cech, Detroit: Gale, 1983: 146-56.

Esphyr Slobodkina – Modernist (Children’s Book) Illustrator/Author

by JoAnn Conrad, Recipient of the 2015 Billie M. Levy Travel and Research Grant

Part of my ongoing research into children’s picturebooks of the mid-twentieth century has to do with the ways in which the work of illustrators has insinuated itself into the public memory even as the names of individual artists may be relatively obscure. This is the case with the rare female artist and, particularly, Esphyr Slobodkina, as her influence is inversely proportional to the obscurity of her name.  “Esphyr Slobodkina . . .helped pave the way for the acceptance of abstract art in the United States and translate[d] European modernism into an American idiom.”[1]

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A simple and serendipitous anecdote demonstrates this: While researching her papers at UConn’s Archives and Special Collections this summer, I was living across the street from the UConn Bookstore. One day, I noticed a display in the window announcing “Caps for Sale” [Fig. 1], clearly alluding to one of Slobodkina’s most popular books of the same name [Fig. 2]. The power of the sale poster derives from and depends on the reference to the book, which is assumed to be automatic.

There is a fair amount about Slobodkina’s life and work available. The Finding Aid for the Slobodkina Papers at Archives and Special Collections provides a brief biography as does the website of the Esphyr Slobodkina Foundation.  The 2009 Rediscovering Slobodkina: A Pioneer of American Abstraction includes information on her life as well as her contributions to the art world, but the full biography has yet to be written.  Esphyr Slobodkina anticipated that it would be written, however, and drafted a comprehensive, detailed, 5-volume manuscript “Notes for a Biographer” which resides in her papers. The Slobodkina Papers contain much more than is in her books – things that would never be published but which give a researcher like me access to insights into the thoughts and motivations of the artist. One of the pleasures of this kind of archival research is not only this intimate and personal connection one makes across time, but also the unexpected revelations into the personality of the artist that informs her work. My intention here is to provide some of those “off the books” glimpses into the work and person – Esphyr Slobodkina.

Esphyr Slobodkina was born to a wealthy Russian-Jewish family in Russia before the Revolution.  Continue reading…

 

 

Emily Arnold McCully gets a new finding aid

A new finding aid is now available for the Emily Arnold McCully Papers.  The collection consists of sketches, dummies, research materials and artwork for eight of her books: The Taxing Case of the Cows,  the Divide,  Old Home Day,  Ballot Box Battle,  Ballerina Swan,  My Heart Glow,  Secret Seder, and  The Helpful Puppy.  Emily Arnold McCully, an American writer and illustrator, won the Caldecott Medal for U.S. picture book illustration in 1993, for Mirette on the High Wire which she also wrote.

Ballot Box Battle (New York : Alfred A. Knopf, 1996)

Ballot Box Battle (New York : Alfred A. Knopf, 1996).  All rights reserved.

 

She was born in Galesburg, Illinois, in 1939, and grew up in Garden City, New York. She attended Pembroke College, now a part of Brown University, and earned an M.A. in Art History from Columbia University. At Brown she acted in the inaugural evening of Production Workshop and other plays, co-wrote the annual musical, Brownbrokers, and earned a Phi Beta Kappa key.

 

In 1976, she published a short story in The Massachusetts Review. It was selected for the O’Henry Collection: Best Short Stories of the Year. Two novels followed:  A Craving in 1982, and  Life Drawing in 1986. In 2012, Ms. McCully published  Ballerina Swan with Holiday House Books for Young People, written by legendary prima ballerina Allegra Kent. It has received rave reviews from The New York Times, Kirkus Reviews, and School Library Journal and was praised in the “Talk of the Town” column in The New Yorker

Secret Cave: Discovering Lascaux (New York : Farrar Straus Giroux, 2010)

Secret Cave: Discovering Lascaux (New York : Farrar Straus Giroux, 2010).  All rights reserved.

 

As an actor, she performed in Equity productions of Elizabeth Diggs’ Saint Florence at Capital Rep in Albany and The Vineyard Theater in New York City.  In addition to the Caldecott Award, Ms. McCully has received a Christopher Award for Picnic, the Jane Addams Award, the Giverney Award and an honorary doctorate from Brown University.

Book Launch for Dr. Katharine Capshaw

Civil Rights Childhood: Picturing Liberation in African American Photobooks (University of Minnesota Press).

Civil Rights Childhood: Picturing Liberation in African American Photobooks (University of Minnesota Press).

 

 

Dr. Capshaw’s latest book, Civil Rights Childhood: Picturing Liberation in African American Photobooks was published by University of Minnesota Press in 2014.  In it Dr. Capshaw “…draws on works ranging from documentary photography, coffee-table and art books, and popular historical narratives and photographic picture books for the very young.” (http://generalbooks.bookstore.uconn.edu/event/book-launch-katherine-capshaw).  Please join us on Wednesday, March 25, 2015 at 4:00pm at the UConn Co-op Bookstore, One Royce Circle, 101 Storrs Center, Storrs, CT 06268.  For more information call 860-486-8525.

 

Hilary Knight on HBO tonight

Kay Thompson's Eloise (New York : Simon and Schuster, 1955).  Illustrated by Hilary Knight.  Pg. 7.

Kay Thompson’s Eloise (New York : Simon and Schuster, 1955). Illustrated by Hilary Knight. Pg. 7.

 

 

 

 

At 9pm on March 23, 2015, HBO will present a documentary produced by Lena Dunham, titled It’s me, Hilary: the Man who Drew Eloise, in commemoration of the 50th anniversary of the first Eloise book.  Lena Dunham, now 28, bears a tattoo of Eloise that is visible at times during her appearances on the HBO show Girls, so Hilary Knight sent her a signed book and a letter asking Ms. Dunham to share Indian food with him.  The rest, as they say, is history.  Read the full LA Times story.  The Northeast Children’s Literature Collection holds some of Mr. Knight’s archival papers.  Don’t miss the show tonight at 9pm.

 

 

Unpublished Seuss manuscripts rediscovered

Random House announced yesterday that it will publish What pet should I get? which features the brother and sister from One Fish Two Fish Red Fish Blue Fish.  The manuscript and sketches were found in a box along with the original materials for at least two other books.  Random House will announce the publication dates for the other new releases later.

(The cover of a previously unknown Dr. Seuss book titled, What Pet Should I Get?)

Dr. Seuss’s widow, Audrey Geisel, set the box aside after her husband’s death in 1991, during a renovation of their home.  She and a longtime friend recently rediscovered the box, explaining in a statement to Random House:  “Ted always worked on multiple projects and started new things all the time — he was constantly drawing and coming up with ideas for new stories.”

ABC’s Good Morning America announced the story this morning as well as USA Today. 

What fantastic news for fans of Dr. Seuss.

 

Dr. Kate Capshaw launches new book

Civil Rights Childhood: Picturing Liberation in African American Photobooks (University of Minnesota Press).

Civil Rights Childhood: Picturing Liberation in African American Photobooks (University of Minnesota Press).

From Cathy J. Schlund-Vials, Ph.D., Director, Asian and Asian American Studies Institute Associate Professor of English and Asian/Asian American Studies:

 

On February 12, 2015 (at 4 PM) the UConn Co-op (in Storrs Center) will be hosting a book launch for Kate Capshaw’s recently published book, Civil Rights Childhood: Picturing Liberation in African American Photobooks (University of Minnesota Press). What follows is a brief description of the book and a link:

Civil Rights Childhood explores the function of children’s photographic books and the image of the black child in social justice campaigns for school integration and the civil rights movement. Drawing on works ranging from documentary photography and popular historical narratives to coffee-table and art books, Katharine Capshaw shows how the photobook-and the aspirations of childhood itself-encourage cultural transformation.  (https://www.upress.umn.edu/book-division/books/civil-rights-childhood)

Katharine Capshaw

Dr. Katharine Capshaw

 

This event is sponsored and hosted by the University Co-Op. For more information, please feel free to contact Cathy Schlund-Vials (cathy.schlund-vials@uconn.edu<mailto:cathy.schlund-vials@uconn.edu>).

 

Penn Libraries’ Children’s Book Symposium

The Penn Libraries’ Children’s Book Symposium Creating Children’s Books: Collaboration and Change will take place in conjunction with two fall exhibitions in the University of Pennsylvania Libraries. The exhibitions are “As the Ink Flows: Works from the Pen of William Steig” which will explore the life and career of the artist, cartoonist, and children’s book author/illustrator William Steig, and “The School of Atha: Collaboration in the Making of Children’s Books” which celebrates the life and work of Atha Tehon, children’s book designer and longstanding Art Director for Dial Books for Young Readers. The symposium will be held on October 17-18, 2014. For more information and the registration form, go to www.library.upenn.edu/exhibits/childrensbooks_symposium.html.

Janet Lawler’s blog post 2: Looking at Layers

Looking at Layers

A picture book starts with a great story told in words (and in the sound of words read out loud). Illustrations accompany the author’s story. In the best picture books, the illustrations actually expand the story. The adult reader, as well as the child listening, feast visually on these layers that enrich the text in delightful and often unexpected ways.

As a picture book author, I focus my drafting and revision efforts on the story I want to tell. An illustrator’s considerable contribution to the final product most often comes long after I am done with my personal revision process (and any revisions guided by an acquiring editor). The publisher’s editor and art director usually select, guide, and supervise the artist. So the illustrator’s role seems a bit remote to me as I ply my craft. But remembering that layers can and should be added via art will help me create opportunities for an illustrator to deepen and expand my stories.

As I study the NCLC author/illustrator archives, I am examining the layering of art in picture books created by author/illustrators, whose creative talents allow them to tackle the words and art together. Author/illustrators don’t forget to leave room for layers—they create them as the picture book progresses in a unified way. They revise both words and illustrations to create balance and get it “just right.”

What does one find in the layers added to a picture book by illustration? Here are some thoughts, based on examples from author/illustrator archival material.

 Emotion

Anita Riggio writes and illustrates from the heart. Emotion is the starting point for her wonderful stories. In Smack Dab in the Middle, Rosie Roselli is “smack dab in the middle” of her large, busy Italian family. Her many joyful accomplishments at school are ignored when she tries to share them at home, and she starts to wonder if maybe she isn’t the center of her loving family universe after all.

As I reviewed Anita’s process for Smack Dab in the Middle, I studied the text and illustrations on each spread, comparing what each separately communicates to readers. A particularly touching spread contains these words on page 20:

Rosie Roselli

really needed a hug.

She needed a hug

right this minute,

but her mother’s arms

were full of Rosie’s sister.

Rosie Roselli couldn’t wait.

She stepped up close.

She breathed in.

Talcum powder

and lavender water.

It smelled like a hug.

But it didn’t feel

like one.

Then and there,

Rosie Roselli decided

just want she

must do.

Anita’s evocative words tell us of Rosie’s need; they give the reader an expanded sense of story by dwelling on the scents (which can’t be illustrated) that she associates with her mother.

The related illustration (see below) shows Rosie’s mom’s back turned; she is attending to Rosie’s sister. Rosie’s head is bowed, her eyes are closed. The text doesn’t say, “Rosie felt disappointed, ignored, and rejected.” Those emotions are flowing from the illustration, creating a strong emotional layer to add to and support the text. (Even Anita’s placement of text and art emphasize Rosie’s loneliness here; the text snakes down the left page of this spread; there is empty space continuing onto the right page, where mom is facing away, almost out of the picture at the far right margin.)

lawler 1Riggio, Anita. Smack Dab In the Middle! (New York: G.P. Putnam’s Sons, 2002), 21. Photo taken from CLDC776, Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries.

Plot expansion

Sometimes, illustrations take readers to places not even mentioned in the text. In Mabel the Tooth Fairy and How She Got Her Job, Katie Davis had some ideas about what might happen to a tooth fairy who works in the dark. The starting point for such an opportunity (to take the reader places) is text that is spare and full of possibilities. Here are three variations of a line of text Katie entertained (the third is final text):

After a few false starts, Mabel was considered an expert in the field.

After a few false starts, Mabel got to really like her work.

 Working in the dark presented its own challenges.

All text versions support the three scenes shown below, although the final version perhaps is the funniest, with its spare understatement. The illustrations show the tooth fairy being accosted by the household mutt, slipping and falling on spilled “marbles,” and making noise by stepping on a toy horn.

The pictures transport the reader; the text does not say, “The dog of the house attacked me. I stumbled over a jar of spilled eyeballs…” Another whole layer of action/plot (with humor—the marble jar reads, “Slimy Eyeball Game”) has been added to the story through these illustrations.

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Davis, Katie. Mabel the Tooth Fairy and How She Got Her Job (Orlando: Harcourt, Inc., 2003), 16. Photo taken from CLCD1438, Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries.

 

 

 

 

Humor

Author/illustrator Tomie dePaola also shares humor via his illustrations. His creative process for Strega Nona Meets Her Match began with a handwritten story accompanied by parenthetical notes to his editor. In this picture book, Big Anthony (Strega Nona’s loyal lunk of an assistant) “defects” to work for the competition, Strega Amelia. When Strega Amelia is away and Big Anthony is left in charge, he messes up the magic big time. Tomie’s earliest draft includes pertinent text (italicized) as well as his illustration ideas set forth in parentheses:

Big Anthony was in charge! (Series of pictures showing Big Anthony reading instructions and making big mistakes on the Husband and Wife wheel – mismatched couples – confusing wart cream and hair restorer – hair falls out, warts increase.)

Things weren’t going too well. (Source:Tomie dePaola Papers Box 41:125K).

Tomie then created illustrations (see below example of mixing up wart cream and hair restorer) to develop the humor of Big Anthony’s bumbling efforts.

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Illustration for Strega Nona Meets Her Match, folder 125Y, Box 41 of Tomie dePaola papers. All rights reserved. No reproduction of any kind allowed.

 

 

 

What is interesting, however, is that Tomie’s editor suggested adding text to provide more at this point in the story, explaining that “for read aloud purposes it was important to have a few words.”  (Source:  Letter from Margaret Frith, Tomie dePaola Papers: Box 41:125L).  Ultimately, the spare text was revised as suggested, and lengthened to:

Big Anthony smiled. He was in charge.

The first day he ran the husband and wife machine backwards.

The second day he confused the wart cream with the hair restorer.

Things weren’t going well.

As an author, I suspect that this lengthier text is where I would start my writing process for the same story action. How else would a reader know of the funny mishaps I envision? One possibility would be to include brief illustration suggestions to go with spare text. However, unlike an author/illustrator, who can write such notes to him or herself or to the editor (as Tomie did), an author must tread carefully when making suggestions for art so as not to be directing or limiting the illustrator’s creativity.

The right balance of text and art is achieved on pages 21–23 of the published book (see below). The complexity of Tomie’s illustration panels benefit from the added text that helps communicate his intent and humor regarding Big Anthony’s bumbling. The added text also nicely paces the story, allowing the reader to dwell on these silly mishaps.

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[text: Big Anthony smiled. He was in charge.]

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[text: The first day he ran the husband-and-wife machine backward.]

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[text: The second day he confused the wart cream with the hair restorer.]

 

dePaola, Tomie. Strega Nona Meets Her Match (New York: G.P. Putnam’s Sons, 1993), 21–23. Photo taken from CLDC776, Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries.

Authors as well as author/illustrators must be mindful that there is a balance to be found between the read-aloud component and the illustrations in a picture book. However, an author who writes minimal text (even though he or she has a vision for what an illustrator might add) may run the risk of creating a manuscript that seems too slight or unclear to an editor, or perhaps, to young readers who may need some words to decode illustrations.

Conclusion

As I write and revise stories, I’ll keep thinking about layers. I’ll remember that my words need not dwell on emotions that an artist can convey with illustrations. I will deepen stories by words that can’t be shown in the art. I’ll choose words that may give an illustrator opportunities to take my protagonist to places (literally) other than those I may have had in mind. And if I am writing “funny,” I’ll strive for spare text that will encourage a clever artist to add visual jokes and hyperbole. I shall have trust to let an illustrator help tell my story—so that “our” story will marry text and art in a truly memorable picture book.

 About Janet Lawler:

A recipient of a 2014 Billie M. Levy Research grant, Janet Lawler of Farmington, CT, is studying the relationship between art and text in picture books at the Northeast Children’s Literature Collection. Through studying the work and process of author-illustrators, she hopes to better understand how a story’s text interfaces with the art. She is searching for a deeper comprehension of why the best picture books are those where the final product is “greater” than the sum of the parts (text + illustrations). She looks forward to applying knowledge gleaned from her research to her own work process as a children’s author.

Ms. Lawler’s picture books have been published by major and specialty publishers. Two have been Children’s Book of the Month Club main selections, and two have been licensed into the Scholastic Book Clubs. If Kisses Were Colors has been translated into Spanish, Japanese, Hebrew, and Korean. Her recent credits include Ocean Counting (National Geographic, 2013 (named a 2014 Outstanding Science Trade Book by the National Science Teachers Association)) and Love Is Real (HarperCollins, 2014). National Geographic will publish Rain Forest Colors in November of 2014.