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Posts Tagged ‘e. e. cummings’

13 APRIL, 2015

Creative Courage for Young Hearts: 15 Emboldening Picture Books Celebrating the Lives of Great Artists, Writers, and Scientists

By:

Jane Goodall, Julia Child, Pablo Neruda, Marie Curie, E.E. Cummings, Albert Einstein, Ella Fitzgerald, Antoine de Saint-Exupéry, Frida Kahlo, and more.

Margaret Mead extolled the value of “spiritual and mental ancestors” in how we form our identity — those people to whom we aren’t related but whose values we try to cultivate in ourselves; role models we seek out not from our immediate genetic pool but from the pool of culture the surrounds us, past and present. Seneca saw in reading, one of the oldest and most reliable ways to identify and contact these cultural ancestors, a way of being adopted into the “households of the noblest intellects.” And what better time to meet such admirable models of personhood than in childhood, that fertile seedbed for the flowering of values and identity?

Collected here are thirteen wonderful picture-books celebrating such worthwhile “spiritual and mental ancestors.” It is, of course, an incomplete reading list, yet it is a deliberate one — a great many such books exist, but few feature the trifecta of wonderfulness: a cultural icon notable for his or her lasting contribution to humanity beyond mere fame; an intelligent and nuanced life-story lovingly told; and beautiful, imaginative illustrations rewarding in their own right. Please enjoy.

JANE GOODALL

“One should want only one thing and want it constantly,” young André Gide half-observed, half-resolved in his journal. “Then one is sure of getting it.” More than a century later, Werner Herzog wrote passionately of the “uninvited duty” that a sense of purpose plants in the heart, leaving one with “no choice but to push on.” That combination of desiring something with inextinguishable intensity — which begins with letting your life speak and daring to listen — and pursuing it with steadfast doggedness is perhaps the single common thread in the lives of those we most admire as luminaries of enduring genius. It is also at the heart of what it means to find your purpose and live it.

In Me…Jane (public library), celebrated cartoonist, author, and animal rights advocate Patrick McDonnell chronicles the early life of pioneering primatologist Jane Goodall (b. April 3, 1934) and tells the heartening story of how the seed planted by a childhood dream blossomed, under the generous beams of deep dedication, into the reality of a purposeful life.

McDonnell’s protagonist is not Jane Goodall the widely influential and wildly revered science and spiritualitysage of science and the human spirit — one of a handful of people in history to have both the titles Dame and Doctor — but little Jane, the ten-year-old girl who decided that she was going to work with animals in Africa when she grew up and, despite her family’s poverty, despite living in an era when girls were not encouraged to live the life of science or adventure, despite nearly everyone telling her that it was impossible, turned her dream into reality.

With simple, enormously expressive illustrations and an eloquent economy of words, McDonnell — creator of the beloved MUTTS comic strip — begins at the very beginning: that fateful day when little Jane was given a stuffed monkey named Jubilee.

Jane and Jubilee became inseparable, and she shared with him everything she loved — especially the outdoors. Together, they watched the birds and the spiders and the squirrels fill the backyard with aliveness.

At night, Jane and Jubilee read books to better understand what they saw.

One day, tickled to find out where eggs came from, they snuck into grandma’s chicken coop and observed the miracle of life.

It was a magical world full of joy and wonder, and Jane felt very much a part of it.

Jane liked to climb her beloved beech tree with Jubilee on her back, then sit perched on its branches reading and rereading Tarzan, imagining herself in place of that other Jane, wild and filled with wonder amid the jungles of Africa.

That dream soon became an all-consuming desire not just to go to Africa but to live there, trying to understand the animals and help them.

Every night Jane tucked Jubilee into bed and fell asleep with that dream, until one day — and such is the genius of McDonnell’s elegantly simple message of the dreamer’s doggedness — she awakes in a tent in the Gombe, the seedbed of what would become a remarkable career and an extraordinary life of purpose.

Goodall herself — who founded the heartening youth-led learning and community action initiative Roots & Shoots — writes in the afterword:

We cannot live through a single day without making an impact on the world around us — and we have a choice as to what sort of difference we make… Children are motivated when they can see the positive results their hard work can have.

See more, including a wonderful jazz tribute to Goodall, here.

PABLO NERUDA

Nobel laureate Pablo Neruda was not only one of the greatest poets in human history, but also a man of extraordinary insight into the human experience and the creative impulse — take, for instance, his remarkable reflection on what a childhood encounter taught him about why we make art, quite possibly the most beautiful metaphor for the creative impulse ever committed to paper.

His story and spirit spring alive in Pablo Neruda: Poet of the People (public library) by writer Monica Brown, with absolutely stunning illustrations and hand-lettering by artist Julie Paschkis.

The story begins with the poet’s birth in Chile in 1904 with the given name of Ricardo Eliecer Neftalí Reyes Basoalto — to evade his father’s disapproval of his poetry, he came up with the pen name “Pablo Neruda” at the age of sixteen when he first began publishing his work — and traces his evolution as a writer, his political awakening as an activist, his deep love of people and language and the luminosity of life.

Neftalí wasn’t very good at soccer or at throwing acorns like his friends, but he loved to read and discovered magic between the pages.

Embedded in the story is a sweet reminder of what books do for the soul and a heartening assurance that creative genius isn’t the product of conforming to common standards of excellence but of finding one’s element.

In fact, the book is as much a celebration of Neruda as it is a love letter to language itself — swirling through Paschkis’s vibrant illustrations are words both English and Spanish, beautiful words like “fathom” and “plummet” and “flicker” and “sigh” and “azul.”

Originally featured here.

E.E. CUMMINGS

“In a Cummings poem,” Susan Cheever wrote in her spectacular biography of E. E. Cummings, “the reader must often pick his way toward comprehension, which comes, when it does, in a burst of delight and recognition.” Such a burst is what rewards the reader, whatever his or her age, in Enormous Smallness: A Story of E. E. Cummings (public library) — an uncommonly delightful picture-book celebration of Cummings’s life by Brooklyn-based poet Matthew Burgess, illustrated by Kris Di Giacomo (the artist behind the wonderful alphabet book Take Away the A).

To reimagine the beloved poet’s life in a tango of word and image is quite befitting — unbeknownst to many, Cummings had a passion for drawing and once described himself as “an author of pictures, a draughtsman of words.”

The project comes from Brooklyn-based indie powerhouse Enchanted Lion Books — publisher of some of the most daring and tender children’s books of our time — and was first envisioned by ELB founder Claudia Zoe Bedrick, who approached Burgess about writing a children’s biography of Cummings. Miraculously, Burgess had visited Cummings’s home at 4 Patchin Place in New York City three years earlier, after a serendipitous encounter with the current resident — an experience that had planted a seed of quietly germinating obsession with the legendary poet’s life.

And so the collaboration stretched between them, as Cummings might say, like “a pleasant song” — Burgess and Bedrick worked side by side for four years to bring this wonder of a book to life.

The story begins with Cummings, already known as “E. E.” and living in his New York City home where he spent the last forty years of his life, typing away as the love of his life, the fashion model and photographer Marion Moorehouse, summons him to tea-time with an elephant-shaped bell.

From there, Burgess takes the reader on an affectionate biographical detective story, tracing how Edward Estlin became E. E., what brought him to Manhattan from his native Cambridge, and how elephants (and trees, and birds) became his lifelong creative companions in the circus of his imagination.

Young Estlin’s first poem “poured out of his mouth when he was only three.”

With the loving support of the unsung champions with whom the history of creative culture is strewn — the mother who began recording his spontaneous recitations in a little book titled “Estlin’s Original Poems”; the father who stomped on his hands and knees, play-pretending into existence the mighty elephant that was little Estlin’s creative muse; the teacher who encouraged him to pursue his love of words; the uncle who gave him a book on how to write poetry — he eventually made it to Harvard.

There, he came upon the words of his favorite poet, John Keats — “I am certain of nothing but the holiness of the Heart’s affections and the truth of the Imagination” — which awakened young Estlin’s creative courage. After graduation, he began experimenting with poetry and moved to New York City, falling in love with its “irresistibly stupendous newness.”

But then World War I struck and Estlin went to France, volunteering as an ambulance-driver. While working in the French countryside, he was mistaken for a spy and sent to prison for several months.

When the war ended, he wrote a book about his experience, titled The Enormous Room. Estlin was reborn as E. E.

The following year, he published his first book of poems, Tulips & Chimneys.

Burgess writes:

Using a style all his own,
e. e. put lowercase letters where capitals normally go,
and his playful punctuation grabbed readers’ attention.

His poems were alive with experimentation
and surprise!

And because of his love for lowercase letters,
his name began to appear with two little e’s (& a little c, too).

But his expansive experimentation was too much for the small-minded literary pantheon:

Some people criticized him for painting with words.
Other said his poems were
too strange
too small.
Some said they were
no good at all.

And yet Cummings, who viewed society’s criteria for what it means to be a successful artist with mischievous wryness, was undeterred. A century before Neil Gaiman’s memorable advice that the artist’s only appropriate response to criticism is to make good art, Cummings embodied this ethos. Burgess captures this spirit with quiet elegance, weaving one of Cummings’s poems into the story:

But no matter what the world was giving or taking,
E. E. went right on dreaming and making.
For inside, he knew his poems were new and true.

love is a place

love is a place
& through this place of
love move
(with brightness of peace)
all places

yes is a world
& in this world of
yes live
(skillfully curled)
all worlds.

His poems were his way
of saying YES.

YES to the heart
and the roundness of the moon,
to birds, elephants, trees,
and everything he loved.

YES to spring, too
which always brought him back
to childhood, when the first
sign of his favorite season
was the whistling arrival
of the balloon man.

The book’s epigraph is a celebration of this unflinching yes-saying: “It takes courage to grow up and become who you really are.”

With that courage he catapulted himself into the open arms of those who also hungered for beauty and meaning, and became one of the world’s most beloved poets — a capital-A Artist of his own lowercase making.

Originally featured here.

ALBERT EINSTEIN

Albert Einstein (March 14, 1879–April 18, 1955) may have eventually bequeathed some excellent advice on the secret to learning anything, but the great scientist himself didn’t learn one of the most basic human skills — speaking — until he was nearly four years old. On a Beam of Light: A Story of Albert Einstein (public library) by Jennifer Berne, illustrated by Vladimir Radunsky — the talent behind Mark Twain’s irreverent Advice to Little Girls — tells the tale of how an unusual and awkward child blossomed into becoming “the quintessential modern genius” by the sheer virtue of his unrelenting curiosity.

The story begins with Albert’s birth — a beautiful but odd baby boy who turns one and doesn’t say a word, turns two, then three, and nary a word.

Instead, he “just looked around with his big curious eyes,” wondering about the world. His parents worried that there might be something wrong, but loved him unconditionally. And then:

One day, when Albert was sick in bed, his father brought him a compass — a small round case with a magnetic needle inside. No matter which way Albert turned the compass, the needle always pointed north, as if held by an invisible hand. Albert was so amazed his body trembled.

Suddenly, he knew there were mysteries in the world — hidden and silent, unknown and unseen. He wanted, more than anything, to understand those mysteries.

This was that pivotal spark of curiosity that catapulted his young mind into a lifetime of exploring those mysteries. (One can’t help but wonder whether a similar child, today, would have a similar awakening of mind while beholding a smartphone’s fully automated GPS map. But, perhaps, that modern child would be developing a wholly different type of intelligence.)

Young Albert began asking countless questions at home and at school — so much so, that his teachers chastised him for being a disturbance, admonishing the little boy that he would get nowhere in life unless he learned to follow the rules and behave like the other kids. And yet the mysteries of the universe drew Albert deeper into inquiry.

One day, while riding his bicycle, he gazes at the rays of sunlight beaming from the Sun to the Earth and wonders what it would be like to ride on them, transporting himself into that fantasy:

It was the biggest, most exciting thought Albert had ever had. And it filled his mind with questions.

So he set out to answer them by burying himself in books, reading and discovering the poetry of numbers, that special secret language for decoding the mysteries of the universe.

Once he graduated from college, unable to find a teaching position, he settled for a low-key, quiet government job that allowed him to spend plenty of time with his thoughts and his mathematical explorations, pondering the everyday enigmas of life, until his thoughts coalesced into ideas that made sense of it all — ideas about atoms and motion and space and time. Soon, Albert became an internationally celebrated man of genius.

But with that came the necessary amount of eccentricity — or at least what seemed eccentric from the outside, but is in fact a vital part of any creative mind. Albert, for instance, liked to play his violin when he was having a hard time solving a particularly tricky problem — a perfect way to engage the incubation stage of the creative process, wherein the mind, engulfed in unconscious processing, makes “no effort of a direct nature” in order to later arrive at “sudden illumination.”

Some of his habits, however, were decidedly, and charmingly, quirky: He regularly wandered around town eating an ice-cream cone, and he preferred to wear no socks — not because he tried to be a pseudo-nonconformist, but because he “even chose his clothes for thinking,” often clad in his signature “comfy, old saggy-baggy sweaters and pants.”

Still, everywhere he went, he remained mesmerized by the mysteries of the universe, and the echoes of his thoughts framed much of our modern understanding of the world:

Albert’s ideas helped build spaceships and satellites that travel to the moon and beyond. His thinking helped us understand the universe as no one ever had before.

And yet the central message of this altogether wonderful picture-book is that despite his genius — or, perhaps, precisely because of it — Einstein’s greatest legacy to us isn’t all the answers he bequeathed but all the open questions he left for today’s young minds to grow up pondering. Because, after all, it is “thoroughly conscious ignorance” that drives science and our understanding of life.

The final spread, reminiscent of these illustrated morphologies of Susan Sontag’s favorite things and Ronald Barthes’s likes and dislikes, captures Einstein’s life in eight essentials:

Originally featured here.

ELLA FITZGERALD

From writer Roxanne Orgill and mixed-media artist Sean Qualls comes Skit-Scat Raggedy Cat: Ella Fitzgerald (public library) — the wonderfully illustrated rags-to-riches story of how The First Lady of Song sang her way from the streets of Yonkers to the cultural hall of fame, with a National Medal of Art, a Presidential Medal of Freedom, and thirteen Grammys, including one for Lifetime Achievement.

From how she cranked the phonograph as a little girl to hear the Boswell Sisters’ honey-voices to how she saved her nickels to take the train to Harlem “forty-five minutes and a world away” for an audition to how her early passion for dancing became a lifelong love affair with song, the story captures not only her journey to public stardom but also the private gleam of this beautiful soul’s inner starlight.

For a touch loveliness, interwoven throughout the biographical narrative are snippets of Fitzgerald’s most celebrated songs, extending to kids a warm invitation to discover the wonders of jazz — a modern-day counterpart to Langston Hughes’s vintage treasure The First Book of Jazz.

HENRI MATISSE

At 8PM on the last day of 1869, a little boy named Henri entered the world in a gray textile-mill town in the north of France, in a rundown two-room cottage with a leaky roof. He didn’t have much materially, but he was blessed with perhaps the greatest gift a child could have — an unconditionally loving, relentlessly supportive mother. Like many creative icons whose destinies were shaped by the unflinching encouragement of loved ones, little Henri became the great Henri Matisse thanks to his mother’s staunch support, which began with an unusual ignition spark: At the age of twenty, Henri was hospitalized for appendicitis and his mother brought him a set of art supplies with which to occupy his recovery. “From the moment I held the box of colors in my hands,” Matisse recounted, “I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” And that thing flowed from love, too — it was Matisse’s mother who encouraged her son, like E.E. Cummings encouraged all aspiring artists, to disregard the formal rules of art and instead paint from the heart. “My mother loved everything I did,” he asserted. Decades later, thanks to Gertrude Stein’s patronage, which catalyzed his career and sparked his friendship with Picasso, the world too would come to love what Matisse did.

In The Iridescence of Birds: A Book About Henri Matisse (public library), writer Patricia MacLachlan and illustrator Hadley Hooper tell the heartening story of young Henri’s childhood and how it shaped his artistic path long before he began painting — how his mother, in an attempt to brighten the drab and sunless days, put bright red rugs on the floors and painted colorful plates to hang on the walls, letting little Henri mix the paints; how his father gave him pigeons, whose iridescent plumage the boy observed with endless fascination; how the beautiful silks woven by the townspeople beguiled him with their bright patterns.

With a gentle sidewise gleam, the story offers a nuanced answer to the eternal nature-versus-nurture question of whether genius is born or made. Embedded in it is a wonderful testament to the idea that attentive presence rather than praise is the key to great parenting, especially when it comes to nurturing young talent. (Indeed, such maternal presence is what legendary editor Ursula Nordstrom provided for many of the young authors and artists — including, most notably, Maurice Sendak — whom she nurtured over the course of her reign as the twentieth century’s greatest patron saint of children’s books.)

For a delightful touch of empathy via a twist of perspective, MacLachlan places the reader in little Henri’s shoes:

If you were a boy named Henri Matisse who lived in a dreary town in northern France where the skies were gray

And the days were cold

And you wanted color and light

And sun,

And your mother, to brighten your days,

Painted plates to hang on the walls

With pictures of meadows and trees,

Rivers and birds,

And she let you mix the colors of paint…

… And you raised Pigeons

Watching their sharp eyes
And red feet,

And their colors that changed with the light
As they moved…

… Would it be a surprise that you became
A fine painter who painted
Light
and
Movement

And the iridescence of birds?

Beneath the biographical particulars of the story itself is MacLachlan’s larger inquiry into the enduring question of whether artists draw what they see or what they feel and remember — Matisse’s life, she writes in the afterword, attests to the fact that the two are inextricably entwined: “He painted his feelings and he painted his childhood.”

Hooper’s illustrations are themselves a masterwork of artistry, scholarship, and creative ingenuity. She spent considerable time studying Matisse’s sensibility and colors in reproductions of his drawings, cutouts, and paintings, then researched textile patterns from the era of his childhood and even used Google Maps to picture the actual streets that he walked as a little boy. The result is not imitation but dimensional celebration. Hooper reflects on the unusual and inventive technique she chose:

I decided to try relief printing, which forced me to simplify my shapes and allowed me to focus on the color and composition. I cut the characters and backgrounds out of stiff foam and cardboard, inked them up, made prints, and scanned the results into Photoshop. The approach felt right.

Originally featured here.

MARIE CURIE

Marie Curie (November 7, 1867–July 4, 1934) is one of the most extraordinary figures in the history of science and a tireless champion of curiosity and wonder. A pioneer in researching radioactivity, a field the very name for which she coined, she was not only the first woman to win a Nobel Prize but also the first person to win two Nobel Prizes in two different sciences: chemistry and physics. In Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout (public library), artist Lauren Redniss tells the story of Curie through the two invisible but immensely powerful forces that guided her life: radioactivity and love. It’s a turbulent story — a passionate romance with Pierre Curie (honeymoon on bicycles!), the epic discovery of radium and polonium, Pierre’s sudden death in a freak accident in 1906, Marie’s affair with physicist Paul Langevin, her coveted second Noble Prize — under which lie poignant reflections on the implications of Curie’s work more than a century later as we face ethically polarized issues like nuclear energy, radiation therapy in medicine, nuclear weapons and more.

Most remarkable of all, however, is the thoughtfulness with which Redniss tailored her medium to her message, turning the book into a work of art in and of itself, every detail meticulously moulded to fit the essence of the narrative.

To stay true to Curie’s spirit and legacy, Redniss rendered her poetic artwork in an early-20th-century image printing process called cyanotype, critical to the discovery of both X-rays and radioactivity itself — a cameraless photographic technique in which paper is coated with light-sensitive chemicals. Once exposed to the sun’s UV rays, this chemically-treated paper turns a deep blue color. The text in the book is a unique typeface Redniss designed using the title pages of 18th- and 19th-century manuscripts from the New York Public Library archive. She named it Eusapia LR, for the croquet-playing, sexually ravenous Italian Spiritualist medium whose séances the Curies used to attend. The book’s cover is printed in glow-in-the-dark ink.

See more, including a behind-the-scenes look at Redniss’s impressive creative process, here.

HARVEY MILK

“Injustice anywhere is a threat to justice everywhere,” Martin Luther King, Jr. wrote in his indispensable 1963 letter from Birmingham City Jail. “We are caught in an inescapable network of mutuality.” One rainy January Sunday fifteen years later, long before Edie Windsor catalyzed the triumph of marriage equality, Harvey Milk (May 22, 1930–November 27, 1978) was sworn into office on the steps of San Francisco’s City Hall and became the first openly gay elected city official in America. His assassination eleven months later devastated millions and rendered him modernity’s great secular martyr for love. His tenure, however tragically brief, forever changed the landscape of civil rights.

In The Harvey Milk Story (public library) — a wonderful addition to the best LGBT children’s books — writer Kari Krakow and artist David Gardner tell the heartening and heartbreaking story of how a little boy with big ears grew up to hear the cry for social justice and how he answered it with a groundbreaking clarion call for equality in the kingdom of love.

Harvey was Born the second child of a middle-class Jewish family in upstate New York. He was a boy at once brimming with joy, frequently entertaining the family by conducting an invisible orchestra in the living room, and full of deep sensitivity to the suffering of others.

He was deeply moved when his mother, Minnie, told him the story of the Warsaw Ghetto Jews who courageously defended themselves even as the Nazis outnumbered them — a story that imprinted him with a profound empathy for the oppressed even before he had a clear sense that he would grow up to be one of them.

Although Harvey was athletic and popular in school, he anguished under the burden of a deep wistfulness — by the time he was fourteen, he knew he was gay, but like many queer people of his time, he kept this centerpiece of identity a closely guarded secret for a great many years to come.

He came of age, after all, in an era when queer couples celebrated their love only in private and when geniuses as vital to humanity as computing pioneer Alan Turing were driven to suicide after being criminally prosecuted by the government for being gay.

After graduating from college, Harvey joined the Navy, becoming an expert deep-sea diver and ascending through the ranks until he came to head a submarine rescue vessel.

When he went to his bother Robert’s wedding, he looked so handsome in his navy uniform that his family and friends all wondered when he would settle down and get married to the “right girl.”

But instead, like the hero of the heartwarming King & King fairy tale, Harvey fell in love and settled down with the right boy, a young man named Joe.

They moved together to a little town in New York, where Harvey became a high school math and science teacher. But after six years, Harvey and Joe separated — as Krakow points out, the pressure to hide their relationship in fear of losing their jobs put an undue strain on their love. Weary of hiding his identity, Harvey moved to San Francisco’s gay-friendly Castro neighborhood — where queer couples walked down the street holding hands like any other couple would in any other city — and he fell in love again.

Together with Scott, his new partner, Harvey opened a small store called Castro Camera, which soon turned into a community center as Harvey became a one-man Craigslist, counseling neighbors on everything from finding apartments to applying for jobs.

The more Harvey listened to the people, the more he sensed that they needed a leader — not only an informal one, but one who fought on their behalf in the eyes of the law, standing up to the police who harassed them constantly and fighting against the daily indignities of discrimination, from which the political system failed to protect them. Harvey saw only one course of action — to apply for office. His customers and the community embraced his campaign and volunteered their time.

Eleven-year-old Medora Payne came every day after school to lick envelopes and hand out brochures for Harvey. She organized a fundraiser at her school, earning $39.28 for his campaign.

Bigots believed that it wasn’t right or even possible for an openly gay candidate to be elected. Indeed, Harvey lost three consecutive election cycles between 1973 and 1976, but didn’t lose faith. He remained emboldened by the unflinching conviction that the rights of minorities — not only the LGBT community, but also African Americans, Asian Americans, senior citizens, and the disabled — weren’t adequately represented in and protected by the government. His people loved him for the dedication.

At last, in 1977, he was elected to the city’s Board of Supervisors and sworn into office the following January as Supervisor Milk. He immediately set out to champion greater quality of life for the people of the city — a kind of Robert Moses without the evil genius, bolstering the city’s parks, schools, and police protection. Eventually, he introduced a pioneering gay bill of rights. After ten of the city’s eleven supervisors voted for it, Mayor George Moscone signed it into law, proclaiming with gusto as Milk stood by his side:

I don’t do this enough, taking swift and unambiguous action on a substantial move for civil rights.

It was a historic moment, marked by a moving speech Milk made in front of City Hall, calling for a gay rights march in Washington.

But as the city celebrated, one man sat consumed with hateful bigotry and personal jealousy — Dan White, the only Supervisor who hadn’t voted for Milk’s bill and who had resigned from office in a petty act of protest, only to ask for his job back ten days later. Sensing his ill will, Mayor Moscone had refused to hire him back.

On a gloomy November morning, White crept into City Hall through a basement window, with a loaded gun. He barged into Moscone’s office and shot the mayor, promptly reloading his gun and heading down the hall to Harvey Milk’s office. Five shots echoed through the marble building.

Harvey Milk was dead.

People everywhere were stunned by the news of the double assassination. They left their homes, jobs and schools to mourn the loss of these two great leaders. Crowds began forming in front of City Hall. By nightfall thousands filled the mile-long street and ran from the Castro to City Hall. They stood in silence, carrying candles. That night the people of San Francisco wept.

Harvey Milk was gone, but his legacy only gained momentum in the fight for civil rights. The following October, a hundred thousand people brought his dream to life and took to the streets of Washington in the capital’s first-ever Gay Pride March, many carrying portraits of the slain San Francisco hero.

Thirty-four years later, one brave woman picked up where he left off and made possible a dream even Milk didn’t dare to dream — one which the president himself proclaimed “a victory for American democracy,” the triumphant road to which Milk had paved.

Originally featured here.

MARIA MERIAN

Inspired children’s books about science are woefully rare in our culture — as rare, perhaps, as are homages to pioneering female scientists and celebrations of the intersection of art and science. The confluence of these three rarities is what makes Summer Birds: The Butterflies of Maria Merian (public library) — a young-readers counterpart to Taschen’s lavish volume Maria Sibylla Merian: Insects of Surinam — so wonderful. Writer Margarita Engle and artist Julie Paschkis tell the story of 17th-century German naturalist and illustrator Maria Merian, whose studies of butterfly metamorphosis are among the most important contributions to the field of entomology in the history of science and forever transformed natural history illustration.

There are many ennobling and empowering threads to the story of Merian’s life — how she began studying insects as a young girl, two centuries before the dawn of science education for women; how she trained tirelessly in art, then brought those skills to illuminating science, all while raising her daughters; how she traveled to South Africa with her young daughter in an era when women had practically no agency of mobility; how she continued to work even after a stroke left her paralyzed.

But perhaps most pause-giving of all is the reminder of just how much superstition early scientists had to overcome in the service of simple truth: In Merian’s time, people considered insects evil and found the “supernatural” process of metamorphosis particularly ominous, believing it was witchcraft that transformed the insect from one state to another.

By meticulous and attentive observation, Merian proved that the process was very much a natural one, and beautifully so. She was only thirteen. Her groundbreaking work was a prescient testament to Richard Feynman’s famous assertion that science only adds to the mystery and the awe of the natural world.

When people understand the life cycles of creatures that change forms, they will stop calling small animals evil. They will learn, as I have, by seeing a wingless caterpillar turn into a flying summer bird.

On her site, Paschkis shares her research process and offers a fascinating history of insect illustration.

Originally featured here.

ANTOINE DE SAINT EXUPÉRY

“The Little Prince will shine upon children with a sidewise gleam. It will strike them in some place that is not the mind and glow there until the time comes for them to comprehend it.” So sang a 1943 review of The Little Prince, published a few months before the beloved book’s author disappeared over the Bay of Biscay never to return. But though it ultimately became the cause of his tragic death, Antoine de Saint-Exupéry’s experience as a pilot also informed the richness of his life and the expansive reach of his spirit, from his reflection on what his time in the Sahara desert taught him about the meaning of life to his beautiful meditation on the life-saving potential of a human smile. It was at the root of his identity and his imagination, and as such inspired the inception of The Little Prince.

That interplay between Saint-Exupéry the pilot and Saint-Exupéry the imaginative creator of a cultural classic is what celebrated Czech-born American children’s book author and illustrator Peter Sís explores in the beautiful graphic biography The Pilot and the Little Prince (public library) — a sensitive account of Saint-Exupéry’s life, underpinned by a fascinating chronicle of how aviation came to change humanity and a poignant undercurrent of political history, absolutely magical it its harmonized entirety.

Saint-Exupéry was born in 1900, a golden age of discovery, just as airplanes had been invented in France and the dawn of aviation was emanating an exhilarating spirit of exploration and invention. Young Antoine quickly became enchanted with that exhilaration and at the age of twelve, he built a makeshift flying machine.

Sís writes:

It did not take off, but this didn’t discourage him.

That summer, he rode his bike to a nearby airfield every day to watch the pilots test planes. He told them he had permission from his mother to fly, so one pilot took him up in the air. His mother was not happy. Antoine couldn’t wait to go up again.

The obsession had permanently lodged itself into his psyche. When the war came and he was summoned to military duty, young Saint-Exupéry requested the air force but was assigned to the ground crew. Again, he remained unperturbed. Two years later, when he heard about a new airline operated by the postal service to deliver the mail, he got himself hired — first as a mechanic, and soon as a test pilot, eventually learning to fly by accompanying other pilots on mail routes. Sís writes:

One day, he heard the news he had been waiting for: he would fly the mail from France to Spain by himself. Henri Guillaumet, another pilot and later Antoine’s good friend, told him not just to depend on the map but to follow the face of the landscape.

Saint-Exupéry was living his dream, flying in Europe and West Africa. Eventually, the airline assigned him to an airfield in Cape Juby in southern Morocco, and the two years he spent in the desert were among the happiest in his life, a period he would go on to cherish with beautiful and bittersweet wistfulness for the rest of his days. Sís captures the romantic poetics of the experience:

He lived in a wooden shack and had few belongings and fewer visitors. With an ocean on one side and desert everywhere else, it seemed like one of the loneliest places in the world. But he loved the solitude and being under millions of stars.

The locals came to call him Captain of the Birds as he rescued stranded pilots and appeased hostile nomads who had shot down planes and kidnapped flyers. His time in the desert became powerful fuel for his writing and the raw inspiration for The Little Prince. But the skies remained his greatest love. Sís traces the trajectory of Saint-Exupéry’s travels and passions:

Eager to explore other skies, Antoine joined his fellow aviators in creating new mail routes in South America. Nothing could stop them as they crossed glaciers, rain forests, and mountain peaks, battling fierce winds and wild storms.

Antoine spent more time in the air here than anywhere else because the pilots now also flew at night. With stars above and lights below, his world felt both immense and small.

Upon returning to France, Saint-Exupéry fell in love, got married, and reached significant fame as both a pilot and an author. But driven by his chronic adventurer’s restlessness, he continued to dream up expeditions that came to border on stunts. In one, he competed for a prize for the fastest flight between Paris and Saigon, but he and his copilot crashed in North Africa, surviving by a hair and wandering the desert for days before being rescued. In another, he set out to become the first French pilot to fly from New York to the tip of South America. The plane crashed near Guatemala City but, miraculously, he survived once more.

As World War II engulfed Europe, Saint-Exupéry was called for military duty once more, this time as a pilot, observing from high in the skies the atrocities the Germans inflicted all over. Once his war service ended, he decided he couldn’t continue to live in France under German occupation and fled to Portugal on a ship — a trip that would stir the very foundations of his soul and inspire his magnificent Letter to a Hostage — eventually ending up in New York, where he found himself lonesome and alienated.

After writing Flight to Arras and sending a copy to President Roosevelt with the inscription “For President Franklin Roosevelt, whose country is taking on the heavy burden of saving the world,”Saint-Exupéry bought a set of watercolor paints and began working on the illustrations for the story that would become The Little Prince. Sís captures the layered message of the book, informed both by Saint-Exupéry’s passions and his forlorn homesickness, with beautiful simplicity:

He described a planet more innocent than his own, with a boy who ventured far from home, questioned how things worked, and searched for answers.

But the author grew increasingly restless once more. Longing to fly again and to see his family, who had remained in France, he rejoined his old squadron in North Africa, requesting flights that would take him back to France. Sís captures the tragic bluntness of how Saint-Exupéry’s story ended, at once almost sterile in its abruptness and richly poetic in the context of his lifelong obsession:

On July 31, 1944, at 8:45am, he took off from Borgo, Corsica, to photograph enemy positions east of Lyon. It was a beautiful day. He was due back at 12:30.

But he never returned. Some say he forgot his oxygen mask and vanished at sea.

Maybe Antoine found his own glittering planet next to the stars.

Originally featured here.

IBN SINA

Humanity’s millennia-old quest to understand the human body is strewn with medical history milestones, but few individual figures merit as much credit as Persian prodigy-turned-polymath Ibn Sina (c. 980 CE–1037 AD), commonly known in the West as Avicenna — one of the most influential thinkers in our civilization’s unfolding story. He authored 450 known works spanning physics, philosophy, astronomy, mathematics, logic, poetry, and medicine, including the seminal encyclopedia The Canon of Medicine, which forever changed our understanding of the human body and its inner workings. This masterwork of science and philosophy — or metaphysics, as it was then called — remained in use as a centerpiece of medieval medical education until six hundred years after Ibn Sina’s death.

His story comes to life in The Amazing Discoveries of Ibn Sina (public library) by Lebanese writer Fatima Sharafeddine, Iran-based Iraqi illustrator Intelaq Mohammed Ali, and Canadian indie powerhouse Groundwood Books — a fine addition to the loveliest children’s books celebrating science.

In stunning illustrations reminiscent of ancient Islamic manuscript paintings, this lyrical first-person biography traces Ibn Sina’s life from his childhood as a voracious reader to his numerous scientific discoveries to his lifelong project of advancing the art of healing.

A universal celebration of curiosity and the unrelenting pursuit of knowledge, the story is doubly delightful for adding a sorely needed touch of diversity to the homogenous landscape of both science history and contemporary children’s books — here are two Middle Eastern women, telling the story of a pioneering scientist from the Islamic Golden Age.

Originally featured here.

FRIDA KAHLO

Mexican painter Frida Kahlo (July 6, 1907–July 13, 1954) was a woman of vibrantly tenacious spirit who overcame an unfair share of adversity to become one of humanity’s most remarkable artists and a wholehearted human being out of whom poured passionate love letters and compassionate friend-letters.

The polio she contracted as a child left her right leg underdeveloped — an imperfection she’d later come to disguise with her famous colorful skirts. As a teenager, having just become one of only thirty-five female students at Mexico’s prestigious Preparatoria school, Kahlo was in a serious traffic accident that sent an iron rod through her stomach and uterus. She spent three months in a full-body cast and even though the doctors didn’t believe it possible, she willed her way to walking again. Although the remainder of her life was strewn with relapses of extreme pain, frequent hospital visits, and more than thirty operations, that initial recovery period was a crucial part of her creative journey.

True to Roald Dahl’s conviction that illness emboldens creativity, Kahlo made her first strides in painting while bedridden, as a way of occupying herself, painting mostly her own image. Today, she remains best-known for her vibrant self-portraits, which comprise more than a third of her paintings, blending motifs from traditional Mexican art with a surrealist aesthetic. Above all, she became a testament to the notion that we can transcend external limitations to define our scope of possibility.

Kahlo’s singular spirit and story spring to life in the immeasurably wonderful Viva Frida (public library) by writer/illustrator Yuyi Morales and photographer Tim O’Meara.

In simple, lyrical words and enchanting photo-illustrations, this dreamlike bilingual beauty tells the story of an uncommon Alice in a luminous Wonderland of her own making.

Morales, who painstakingly handcrafted all the figurines and props and staged each vignette, writes in the afterword:

When I think of Frida Kahlo, I think of orgullo, pride. Growing up in Mexico, I wanted to know more about this woman with her mustache and unibrow. Who was this artist who had unapologetically filled her paintings with old and new symbols of Mexican culture in order to tell her own story?

I wasn’t always so taken by Frida. When I was younger, I often found her paintings tortuous and difficult to understand. The more I learned about Frida’s life, the more her paintings began to take on new light for me. I finally saw that what had terrified me about Frida’s images was actually her way of expressing the things she felt, feared, and wanted.

[…]

Her work was proud and unafraid and introduced the world to a side of Mexican culture that had been hidden from view.

As a child, while learning to draw, I would often study my own reflection in the mirror and think about Frida. Did she know how many artists she influenced with her courage and her ability to overcome her own limitations?

See more, including a behind-the-scenes look at Morales’s meticulous craftsmanship and creative process, here.

ERNEST SHACKLETON

In August of 1914, legendary British explorer Ernest Shackleton led his brave crew of men and dogs on a journey to the end of the world — the enigmatic continent of Antarctica. That voyage — monumental both historically and scientifically — would become the last expedition of the Heroic Age of Antarctic Exploration, which stretched from 1888 to 1914. From Flying Eye Books — the children’s book imprint of British indie press Nobrow, which gave us Freud’s comic biography, Blexbolex’s brilliant No Man’s Land and some gorgeous illustrated histories of aviation and the Space Race — comes Shackleton’s Journey (public library), a magnificent chronicle by emerging illustrator William Grill, whose affectionate and enchanting colored-pencil drawings bring to life the legendary explorer and his historic expedition.

As Grill tells us in the introduction, Shackleton was a rather extraordinary character:

Shackleton was the second of ten children. From a young age, Shackleton complained about teachers, but he had a keen interest in books, especially poetry — years later, on expeditions, he would read to his crew to lift their spirits. Always restless, the young Ernest left school at 16 to go to sea. After working his way up the ranks, he told his friends, “I think I can do something better, I want to make a name for myself.”

And make it he did. Reflecting on the inescapable allure of exploration, which carried him through his life of adventurous purpose, Shackleton once remarked:

I felt strangely drawn to the mysterious south. I vowed to myself that some day I would go to the region of ice and snow, and go on and on ’til I came to one of the poles of the Earth, the end of the axis on which this great round ball turns.

From the funding and recruitment of the famed expedition, to the pioneering engineering of the Endurance ship, to the taxonomy of crew members, dogs, and supplies, Grill traces Shackleton’s tumultuous journey from the moment the crew set sail to their misfortune-induced change of plans and soul-wrenching isolation “500 miles away from the nearest civilization” to their eventual escape from their icy prison and salvation ashore Elephant Island.

As a lover of dogs and visual lists, especially illustrated lists and dog-themed illustrations, I was especially taken with Grill’s visual inventories of equipment and dogs:

Despite the gargantuan challenges and life-threatening curveballs, Shackleton’s expedition drew to a heroic close without the loss of a single life. It is a story of unrelenting ambition to change the course of history, unflinching courage in the face of formidable setbacks, and above all optimism against all odds — the same optimism that emanates with incredible warmth from Grill’s tender illustrations.

Years later, Shackleton himself captured the spirit that carried them:

I chose life over death for myself and my friends… I believe it is in our nature to explore, to reach out into the unknown. The only true failure would be not to explore at all.

Originally featured here.

JULIA CHILD

Legendary chef Julia Child (August 15, 1912–August 13, 2004) not only revolutionized the world of cookbooks but was also a remarkable beacon of entrepreneurship and perseverance more than a decade before women started raising their voices in the media world. Her unrelenting spirit and generous heart cast her as one of modern history’s most timeless role models, and that’s precisely what writer and illustrator Jessie Hartland celebrates in the endlessly wonderful Bon Appetit! The Delicious Life of Julia Child (public library) — a heartening illustrated biography of the beloved chef, intended to enchant young readers with her story but certain to delight all of us. Hartland’s vibrant drawings — somewhere between Maira Kalman, Wendy MacNaughton, and Vladimir Radunsky — exude the very charisma that made Childs an icon, and infuse her legacy with fresh joy.

Amidst the beautiful illustrations are practical glimpses of Child’s culinary tricks and the context of her recipes:

At the end of the story, as at the end of her life, Child emerges not only as a masterful cook but also as a fierce entrepreneur, a humble human, and restlessly creative soul.

Originally featured here.

HENRI ROUSSEAU

“People working in the arts engage in street combat with The Fraud Police on a daily basis,” Amanda Palmer wrote in her fantastic manifesto for the creative life, one of the best books of the year, “because much of our work is new and not readily or conventionally categorized.” Few artists in history have lived through this street combat with more dignity and resilience of spirit than French Post-Impressionist painter Henri Rousseau (May 21, 1844–September 2, 1910). Long before history came to celebrate him as one of the greatest artists of his era, long before he was honored by major retrospectives by such iconic institutions as the MoMA and the Tate Museum, long before Sylvia Plath began weaving homages to him into her poetry, he spent a lifetime being not merely dismissed but ridiculed. And yet Rousseau — who was born into poverty, began working alongside his plumber father as a young boy, still worked as a toll collector by the age of forty, and was entirely self-taught in painting — withstood the unending barrage of harsh criticism with which his art was met during his entire life, and continued to paint from a deep place of creative conviction, with an irrepressible impulse to make art anyway.

In The Fantastic Jungles of Henri Rousseau (public library, writer Michelle Markel and illustrator Amanda Hall tell an emboldening real-life story, and a stunningly illustrated one, of remarkable resilience and optimism in the face of public criticism; of cultivating a center so solid and a creative vision so unflinching that no outside attack can demolish it and obstruct its transmutation into greatness; of embodying Ray Bradbury’s capacity for weathering the storm of rejection and Picasso’s conviction about never compromise in one’s art.

Henri Rousseau wants to be an artist.
Not a single person has ever told him he is talented.
He’s a toll collector.
He’s forty years old.

But he buys some canvas, paint, and brushes, and starts painting anyway.

Rousseau’s impulse for art sprang from his deep love of nature — a manifestation of the very thing that seventeen-year-old Virginia Woolf intuited when she wrote in her diary that the arts “imitate as far as they can the one great truth that all can see”.

Unable to afford art lessons, Rousseau educated himself by going to the Louvre to study the paintings of his favorite artists and examining photographs, magazines, and catalogs to learn about the anatomy of the human body.

At the age of forty-one, he showed his work as part of a big art exhibition, but his art — vibrant, flat, seemingly childish — was met, as Markel writes, with “only mean things.” Even so, Rousseau saved the reviews and pasted them into his scrapbook.

With his voracious appetite for inspiration, Rousseau visited the World’s Fair, where he was especially enchanted by the exhibits of exotic lands. “They remind him of adventure stories he loved when he was a boy,” Markel writes. The vivid images haunted him for days, until he finally turned to the easel to exorcise his restless imagination.

He holds his paintbrush to the canvas. A tiger crawls out. Lightning strikes, and wind whips the jungle grass.

Sometimes Henri is so startled by what he paints that he has to open the window to let in some air.

But for all his earnest creative exuberance, he is met with derision.

Every year Henri goes back to the art exhibition to show new paintings. He fusses over the canvases and retouches them until the last minute.

And every year the art experts make fun of him. They say it looks like he closed his eyes and painted with his feet.

And yet Rousseau manages to embody Georgia O’Keeffe’s credo that “whether you succeed or not is irrelevant… making your unknown known is the important thing” — he continues to paint, to study nature, and to rejoice in the process itself.

One night, he dreams up a painting of which he is especially proud, depicting a lion looking over a sleeping gypsy with friendly curiosity.

Once again he takes his work to the art show. This time, perhaps, he’ll please the experts. His pulse races.

The experts say he paints like a child. “If you want to have a good laugh,” one of them writes, “go see the paintings by Henri Rousseau.”

By now Henry is used to the nasty critics. He knows his shapes are simpler and flatter than everyone else’s, but he thinks that makes them lovely.

Everything he earns by giving music lessons, he spends on art supplies. But he lives by Thoreau’s definition of success.

His home is a shabby little studio, where one pot of stew must last the whole week. But every morning he wakes up and smiles at his pictures.

At sixty-one, Rousseau is still living in poverty, but happily paints his jubilant junglescapes. He continues to hope for critical acclaim and continues to be denied it, cruelly, by the “experts,” one of whom even says that “only cavemen would be impressed by his art.”

At last, Rousseau, already an old man, gets a break — but the recognition comes from a new generation of younger artists, who befriend him and come to admire his work. More than his talent and his stomach for criticism, however, one comes to admire his immensely kind and generous heart.

Whenever Henri has money to spare, and stages a concert in his little studio, all the artists come. Along with the grocer, locksmith, and other folks from the neighborhood, they listen to Henri’s students and friends play their musical instruments. Henri gives the shiniest, reddest apples to the children.

Eventually, even Picasso pays heed and throws old Henri a banquet, at which “the old man sits upon a makeshift throne” playing his violin as people dance and celebrate around him, his heart floating “like a hot-air balloon above the fields.”

At the end of his life, Rousseau paints his masterwork “The Dream” and finally becomes successful by a public standard as the critics, at last, grant him acclaim. But the beautiful irony and the ennobling message of the story is that he was successful all along, for he had found his purpose — a feat with which even Van Gogh struggled for years — and filled each day with the invigorating joy of making his unknown known.

A hundred years later, the flowers still blossom, the monkeys still frolic, and the snakes keep slithering through Henri’s hot jungles. His paintings now hang in museums all over the world. And do you think experts call them “foolish,” “clumsy,” or “monstrous”? Mais non! They call them works of art.

By an old man,
by a onetime toll collector,
by one of the most gifted self-taught artists in history:
Henri Rousseau

Originally featured here.

* * *

For a different, more grownup celebration of notable lives, complement these children’s-books treasures with the graphic-novel biographies of Sigmund Freud, Salvador Dalí, Karl Marx, Robert Moses, Andy Warhol, Charles Darwin, Francis Bacon, Richard Feynman, Steve Jobs, and Hunter S. Thompson.

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30 MARCH, 2015

Enormous Smallness: The Sweet Illustrated Story of E. E. Cummings and His Creative Bravery

By:

“It takes courage to grow up and become who you really are.”

“In a Cummings poem,” Susan Cheever wrote in her spectacular biography of E. E. Cummings, “the reader must often pick his way toward comprehension, which comes, when it does, in a burst of delight and recognition.” Such a burst is what rewards the reader, whatever his or her age, in Enormous Smallness: A Story of E. E. Cummings (public library) — an uncommonly delightful picture-book celebration of Cummings’s life by Brooklyn-based poet Matthew Burgess, illustrated by Kris Di Giacomo (the artist behind the wonderful alphabet book Take Away the A).

To reimagine the beloved poet’s life in a tango of word and image is quite befitting — unbeknownst to many, Cummings had a passion for drawing and once described himself as “an author of pictures, a draughtsman of words.”

The project comes from Brooklyn-based indie powerhouse Enchanted Lion Books — publisher of some of the most daring and tender children’s books of our time — and was first envisioned by ELB founder Claudia Zoe Bedrick, who approached Burgess about writing a children’s biography of Cummings. Miraculously, Burgess had visited Cummings’s home at 4 Patchin Place in New York City three years earlier, after a serendipitous encounter with the current resident — an experience that had planted a seed of quietly germinating obsession with the legendary poet’s life.

And so the collaboration stretched between them, as Cummings might say, like “a pleasant song” — Burgess and Bedrick worked side by side for four years to bring this wonder of a book to life.

The story begins with Cummings, already known as “E. E.” and living in his New York City home where he spent the last forty years of his life, typing away as the love of his life, the fashion model and photographer Marion Moorehouse, summons him to tea-time with an elephant-shaped bell.

From there, Burgess takes the reader on an affectionate biographical detective story, tracing how Edward Estlin became E. E., what brought him to Manhattan from his native Cambridge, and how elephants (and trees, and birds) became his lifelong creative companions in the circus of his imagination.

Young Estlin’s first poem “poured out of his mouth when he was only three.”

With the loving support of the unsung champions with whom the history of creative culture is strewn — the mother who began recording his spontaneous recitations in a little book titled “Estlin’s Original Poems”; the father who stomped on his hands and knees, play-pretending into existence the mighty elephant that was little Estlin’s creative muse; the teacher who encouraged him to pursue his love of words; the uncle who gave him a book on how to write poetry — he eventually made it to Harvard.

There, he came upon the words of his favorite poet, John Keats — “I am certain of nothing but the holiness of the Heart’s affections and the truth of the Imagination” — which awakened young Estlin’s creative courage. After graduation, he began experimenting with poetry and moved to New York City, falling in love with its “irresistibly stupendous newness.”

But then World War I struck and Estlin went to France, volunteering as an ambulance-driver. While working in the French countryside, he was mistaken for a spy and sent to prison for several months.

When the war ended, he wrote a book about his experience, titled The Enormous Room. Estlin was reborn as E. E.

The following year, he published his first book of poems, Tulips & Chimneys.

Burgess writes:

Using a style all his own,
e. e. put lowercase letters where capitals normally go,
and his playful punctuation grabbed readers’ attention.

His poems were alive with experimentation
and surprise!

And because of his love for lowercase letters,
his name began to appear with two little e’s (& a little c, too).

But his expansive experimentation was too much for the small-minded literary pantheon:

Some people criticized him for painting with words.
Other said his poems were
too strange
too small.
Some said they were
no good at all.

And yet Cummings, who viewed society’s criteria for what it means to be a successful artist with mischievous wryness, was undeterred. A century before Neil Gaiman’s memorable advice that the artist’s only appropriate response to criticism is to make good art, Cummings embodied this ethos. Burgess captures this spirit with quiet elegance, weaving one of Cummings’s poems into the story:

But no matter what the world was giving or taking,
E. E. went right on dreaming and making.
For inside, he knew his poems were new and true.

love is a place

love is a place
& through this place of
love move
(with brightness of peace)
all places

yes is a world
& in this world of
yes live
(skillfully curled)
all worlds.

His poems were his way
of saying YES.

YES to the heart
and the roundness of the moon,
to birds, elephants, trees,
and everything he loved.

YES to spring, too
which always brought him back
to childhood, when the first
sign of his favorite season
was the whistling arrival
of the balloon man.

The book’s epigraph is a celebration of this unflinching yes-saying: “It takes courage to grow up and become who you really are.”

With that courage he catapulted himself into the open arms of those who also hungered for beauty and meaning, and became one of the world’s most beloved poets — a capital-A Artist of his own lowercase making.

Complement the immeasurably wonderful Enormous Smallness with a very differently delightful grownup biography of Cummings and his own little-known children’s book, then revisit the picture-book biographies of other creative icons: Frida Kahlo, Henri Matisse, Pablo Neruda, and Henri Rousseau.

Illustrations courtesy of Enchanted Lion Books; photographs my own

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09 FEBRUARY, 2015

The Agony of the Artist (with a capital A): E.E. Cummings on What It Really Means to Be an Artist and His Little-Known Line Drawings

By:

“The Artist is no other than he who unlearns what he has learned, in order to know himself.”

“You’re an artist when you say you are,” Amanda Palmer offered in her emboldening reflection on the creative life. “And you’re a good artist when you make somebody else experience or feel something deep or unexpected.” Nearly a century earlier, Sherwood Anderson advised his aspiring-artist son: “The object of art is not to make salable pictures. It is to save yourself.” But one of the greatest meditations on what art is and isn’t, on the pleasures and perils of the creative life, comes from E.E. Cummings, whose lesser-known prose enchants very differently and yet by the same mechanism that his celebrated poetry does — by inviting the reader to “pick his way toward comprehension, which comes, when it does, in a burst of delight and recognition.”

A concentrated burst of such delight and recognition is delivered in E. E. Cummings: A Miscellany Revised (public library) — a most unusual and satisfying compendium Cummings himself described as “a cluster of epigrams, forty-nine essays on various subjects, a poem dispraising dogmata, and several selections from unfinished plays.” Many of the pieces had been previously published under clever pseudonyms (for instance, “An Ex-Millionaire’s Rules for Success in Life” by a C.E. Niltse, “Success Editor” at Vanity Fair), and a few had appeared anonymously in various magazines. It was originally published as a limited edition in 1958, when Cummings was sixty-four, and reissued three years after his death to include a number of the author’s previously unseen line drawings — a fine addition to the canon of great authors with lesser-known talents in other fields, including Vladimir Nabokov’s butterfly studies, J.R.R. Tolkien’s illustrations, Richard Feynman’s sketches, Sylvia Plath’s drawings, William Faulkner’s Jazz Age etchings, Flannery O’Connor’s cartoons, and Zelda Fitzgerald’s watercolors.

With his usual mischievous charisma and elegant acrobatics oscillating between wit and wisdom, Cummings writes in the preface to the original edition:

Taken ensemble, the forty-nine astonish and cheer and enlighten their progenitor. He’s astonished that, as nearly as anyone can make out, I wrote them. He’s cheered because, while re-reading them, I’ve encountered a great deal of liveliness and nothing dead. Last but not least; he’s enlightened via the realization that, whereas times can merely change, an individual may grow.

One of the finest pieces in the collection — an exquisite wellspring of such lively growth — is a satirical yet remarkably profound essay titled “The Agony of the Artist (with a capital A),” originally published in Vanity Fair in 1927 under Cummings’s own name. (A name the capitalization of which has itself been the subject of much misunderstanding.)

'THE DOG IN THE MANGER ... Aesop knew ...'

Cummings begins by a humorous taxonomy of the three types of artists:

First we have the ultrasuccessful artist, comprising two equally insincere groups: “commercial artists,” who concoct almost priceless pictures for advertising purposes, and “fashionable portrait painters,” who receive incredible sums for making unbeautifully rich women look richly beautiful. Very few people, of course, can attain the heights of commercial and fashionable art. Next we have the thousands upon thousands of “academicians” — patient, plodding, platitudinous persons, whose loftiest aim is to do something which “looks just like” something else and who are quite content so long as this undangerous privilege is vouchsafed them. Finally there exists a species, properly designated as the Artist (with capital A) which differs radically from the ultrasuccessful type and the academic type. On the one hand, your Artist has nothing to do with success, his ultimate function being neither to perpetuate the jeweled neck of Mrs. O. Howe Thingumbob nor yet to assassinate dandruff. On the other hand he bears no likeness to the tranquil academician — for your Artist is not tranquil; he is in agony.

'THE FIRST ROBIN ... if the punishment fitted the crime ...'

Cummings considers the source of the Artist’s disquiet:

Most people merely accept this agony of the Artist, as they accept evolution. The rest move their minds to the extent of supposing that anybody with Art school training, plus “temperament” — or a flair for agony — may become an Artist. In other words, the Artist is thought to be an unsublimated academician; a noncommercial, anti-fashionable painter who, instead of taking things easily, suffers from a tendency to set the world on fire and an extreme sensibility to injustice. Can this be true? If not, what makes an Artist and in what does an Artist’s agony consist?

The agony, Cummings argues, has to do with the path one takes to becoming a capital-A Artist. Half a century before Teresita Fernandez’s spectacular commencement address on what it really means to be an artist, Cummings jeers at the misleading cultural narratives about that path:

You may have always secretly admired poor Uncle Henry who, after suddenly threatening to become an Artist with a capital A, inadvertently drank himself to death with a small d instead… Or both you and I may have previously decided to become everything except Artists, without actually having become anything whatever. Briefly, a person may decide to become an Artist for innumerable reasons of great psychological importance; but what interests us is the consequences, not the causes, of our decisions to become Artists.

'THE HELPING HAND ... nobody is exempt ...'

The obvious decision for those who decide to become Artists, Cummings notes as he sets up his wry critique of standard education, is to go to Art school:

Must not people learn Art, just as people learn electricity or plumbing or anything else, for that matter? Of course, Art is different from electricity and plumbing, in that anybody can become an electrician or a plumber, whereas only people with temperament may become Artists. Nevertheless, there are some things which even people with temperament must know before they become Artists and these are the secrets which are revealed at Art school (how to paint a landscape correctly, how to make a face look like someone, what colors to mix with other colors, which way to sharpen pencils, etc.). Only when a person with temperament has thoroughly mastered all this invaluable information can be begin to create his own hook. If you and I didn’t absorb these fundamentals, reader, we could never become Artists, no matter how temperamental we were.

'THE SWAN AND LEDA ... protect your dear ones ...'

But the travesty of the system, Cummings points out, is that at Art school the future capital-A artist ends up at the mercy of the “academician” who learned from the “fashionable portrait painter.” The future Artist is being taught technique by “the renowned Mr. Z, who was formerly a pupil of the great Y,” who in turn “studied at various times under X, W and V and only came into the full possession of his own great powers shortly before his untimely death.” In a sentiment that calls to mind Pete Seeger’s assertion that all artists are “links in a chain,” Cummings concludes:

We are not really studying with Mr. Z at all. We are really studying through Mr. Z.

'THE GARDEN OF EDEN ... before the dawn of history ...'

He then turns to the prevalent notion, perhaps best captured by Anaïs Nin and tightly woven into the mythology of genius, that temperamental excess is essential for creativity:

If you and I didn’t have temperament, we should now become ordinary humdrum academicians. But, being temperamental, we scorn all forms of academic guidance and throw ourselves on the world, eager to suffer — eager to become, through agony, Artists with capital A.

He considers the particular problem of the American artist:

Our next problem is to find the necessary agony. Where is it, gentle reader?

Your answer: the agony lies in the fact that we stand no chance of being appreciated… Not only is there a complete absence of taste anent the domestic product, but once an Artist is found guilty of being a native of the richest country on earth he must choose between spiritual prostitution and physical starvation. What monstrous injustice!

'THE SPINSTER'S DILEMMA ... but a parrot did ...'

Cummings goes on to illustrate the pretentious and posturing of reducing art to objects and forgetting that it is primarily a contagious experience:

Let me show you a painting which cost the purchaser a mere trifle and which is the work (or better, play) of some illiterate peasant who never dreamed of value and perspective. How would you category this bit of anonymity? Is it beautiful? You do not hesitate: yes. Is it Art? You reply: it is primitive, instinctive, or uncivilized Art. Being “uncivilized,” the Art of this nameless painter is immeasurably inferior to the civilized Art of painters like ourselves, is it not? You object: primitive Art cannot be judged by the same standards as civilized Art. But tell me, how can you, having graduated from an Art school, feel anything but scorn for such a childish daub? Once more you object: this primitive design has an intrinsic rhythm, a life of its own, it is therefore Art.

And therein lies Cummings’s most serious — solemn, even — point: That what we learn about art through formulaic instruction takes us further away from what Jeanette Winterson aptly termed “the paradox of active surrender” which art asks of us in order to work us over with its transformative power. In a passage that could well be the Modernist’s manifesto, Cummings considers what ordains that hypothetical peasant’s painting capital-A Art:

It is Art because it is alive. It proves that, if you and I are to create at all, we must create with today and let all the Art schools and Medicis in the universe go hang themselves with yesterday’s rope. It teaches us that we have made a profound error in trying to learn Art, since whatever Art stands for is whatever cannot be learned. Indeed, the Artist is no other than he who unlearns what he has learned, in order to know himself; and the agony of the Artist, far from being the result of the world’s failure to discover and appreciate him, arises from his own personal struggle to discover, to appreciate and finally to express himself.

'THE FRIEND IN NEED ... a boon to travelers ...'

This condition — which the wise and wonderful Ann Truitt would come to capture perfectly two decades later in considering the difference being doing art and being an artist, asserting that “artists have no choice but to express their lives” — is the sole requirement of being a capital-A Artist. With an eye toward a far more luminous and liberating definition of success, Cummings urges:

Look into yourself, reader, for you must find Art there, if at all… Art is not something which may or may not be acquired, it is something which you are not or which you are. If a thorough search of yourself fails to reveal the presence of this something, you may be perfectly sure that no amount of striving, academic or otherwise, can bring it into your life. But if you are this something — then, gentle reader, no amount of discrimination and misapprehension can possibly prevent you from becoming an Artist. To be sure, you will not encounter “success,” but you will experience what is a thousand times sweeter than “success.” You will know that when all’s said and done (and the very biggest Butter Baron has bought the very last and least Velasquez) “to become an Artist” means nothing: whereas to become alive, or one’s self, means everything.

Or, as Sherwood Anderson wrote three decades earlier his magnificent letter of life-advice to his son, “The thing of course, is to make yourself alive. Most people remain all of their lives in a stupor. The point of being an artist is that you may live.”

'THE DEATH OF ABRAHAM LINCOLN ... even prominent people ...'

E. E. Cummings: A Miscellany Revised is, sadly, out of print — but it’s well worth the hunt. Complement it with Susan Cheever’s spectacular biography of Cummings and the unusual story of the fairy tales he wrote for his only daughter, then revisit Georgia O’Keeffe’s exquisite letter on success and what it means to be an artist and some of today’s most prominent artists contemplating this slippery subject.

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11 DECEMBER, 2014

A Burst of Delight and Recognition: E.E. Cummings, the Art of Noticing, and the Spirit of Rebellion

By:

“Cummings despised fear, and his life was lived in defiance of all who ruled by it.”

“The art of seeing has to be learned,” Marguerite Duras memorably wrote. Half a century earlier, a young poet began teaching the world this art, and teaching us to question what is seen, then made another art of that questioning. In E. E. Cummings: A Life (public library | IndieBound), memoirist, biographer, and journalist Susan Cheever chronicles the celebrated poet’s “wildly ambitious attempt at creating a new way of seeing the world through language.”

Cheever considers the three ways in which modernists like Cummings and his coterie — which included such icons as Gertrude Stein, James Joyce, Pablo Picasso, Henri Matisse, and Marcel Duchamp — reshaped culture:

Modernism as Cummings and his mid-twentieth-century colleagues embraced it had three parts. The first was the exploration of using sounds instead of meanings to connect words to the reader’s feelings. The second was the idea of stripping away all unnecessary things to bring attention to form and structure: the formerly hidden skeleton of a work would now be exuberantly visible. The third facet of modernism was an embrace of adversity. In a world seduced by easy understanding, the modernists believed that difficulty enhanced the pleasures of reading. In a Cummings poem the reader must often pick his way toward comprehension, which comes, when it does, in a burst of delight and recognition.

One can’t help but feel the particular timeliness, today, of the third — how often are we offered “a burst of delight and recognition” in our culture of monotonously shrill linkbait as we struggle to glean any semblance of wisdom in the age of information? Cummings knew that equally essential was the capacity to notice the invitation to experience that burst — a capacity ever-shrinking, ever-urgently longed for in our age of compulsive flight from stillness — and he made an art of that noticing. Cheever writes:

[The modernists] were trying to slow down the seemingly inexorable rush of the world, to force people to notice their own lives. In the twenty-first century, that rush has now reached Force Five; we are all inundated with information and given no time to wonder what it means or where it came from. Access without understanding and facts without context have become our daily diet.

(Cummings’s name itself provides tragicomic evidence of our modern hubris in flaunting half-understood, partially correct “facts” — while many people believe, and some would adamantly insist, that the only acceptable spelling of the poet’s name is lowercase, he himself used both lowercase and capitalized versions in signing his work; in fact, he capitalized more frequently than not.)

Cummings cultivated this art of noticing one’s own life with emboldening tenacity. Despite being one of the most popular poets of the 1950s and 1960s, Cheever writes, Cummings lived in a tiny, dilapidated Green Village apartment and often struggled to make rent. And yet, “this bothered Cummings not at all”:

He was delighted by almost everything in life except for the institutions and formal rules that he believed sought to deaden feelings.

Indeed, the spirit of rebellion against institutions was central to Cummings’s character and permeated his art. Cheever met Cummings in 1958, toward the end of “his brilliant and controversial forty-year career as this country’s only true modernist poet,” when he did a reading at the “uptight girls’ school” where she was an unhappy teenager “with failing grades.” Cummings was a friend of her father’s — the famed novelist John Cheever — so the evening of the reading ended with the trio sharing a car ride together, during which Cummings delighted himself and his companions by making fun of young Susan’s teachers:

He said the place was more like a prison than a school. It was a hatchery whose goal was to produce uniformity. I was unhappy there? No wonder! I was a spirited and wise young woman. Only a mindless moron (Cummings loved alliteration) could excel in a place like that. What living soul could even survive a week in that assembly line for obedient girls, that pedagogical factory whose only purpose was to turn out so-called educated wives for upper-class blowhards with red faces and swollen bank balances?

When the small party stopped to grab a bite at a burger joint, the two men proudly shared a flask to spike their coffee, but Cheever recalls being “already drunk on a different kind of substance — inspiration” as she fathomed for the first time the idea that authority is to be questioned, that “being right was a petty goal,” and that “being free was the thing to aim for.” Noting that “history has given us very few heretics who have not been burned at the stake,” she anoints Cummings her generation’s “beloved heretic, a Henry David Thoreau for the twentieth century.” (Thoreau, of course, was the grand master of the art of noticing.) Cheever writes of Cummings’s ennobling heretical sensibility:

In his almost three thousand poems he sometimes furiously, sometimes lovingly debunked anything or anyone in power — even death, in his famous poem about Buffalo Bill, with its spangled alliterations and intimate last lines: “and what i want to know is / how do you like your blueeyed boy / Mister Death.”

Cummings despised fear, and his life was lived in defiance of all who ruled by it.

Illustration from the little-known fairy tales Cummings wrote for his only daughter, whom he almost lost. Click image for story.

Both the great irony and the great affirmation of Cummings’s spirit of rebellion against culture’s soul-deadening institutions is that he grew up with parents who were “Harvard royalty,” was educated at the iconic institution himself, and even stayed an extra year after graduation to earn a master’s degree in Classics. But he also — and perhaps precisely because of that brush with privilege — exiled himself from the Cambridge community and only returned, reluctantly, shortly before his death thirty years later. Cheever writes of the formative act of rebellion that was his self-expulsion:

His self-imposed exile from Cambridge — a town he had come to hate for its intellectualism, Puritan uptightness, racism, and self-righteous xenophobia — had seemed necessary for him as a man and as a poet. Soon after his 1915 class lecture and after serving in World War I, Cummings had permanently fled to sexy, law-breaking Greenwich Village, where he could hang out with other modernist poets like Marianne Moore, talk with writers like Hart Crane, be admired by Dylan Thomas and Edna St. Vincent Millay, have an affair with another man’s wife, go to burlesque performances at the National Winter Garden, and ask William Carlos Williams for medical advice.

Even though he wrote in one early poem that “the Cambridge ladies who live in furnished souls / are unbeautiful and have comfortable minds,” the reason for his eventual return was that he was offered the Charles Eliot Norton Professorship of Poetry at Harvard — the same prestigious yearlong lectureship that produced Calvino’s unforgettable final legacy and over the years featured such luminaries as Jorge Luis Borges, T.S. Eliot, Aaron Copland, Leonard Bernstein, John Cage, and Umberto Eco. But while Cummings took the gig, he brought to it his own rules and co-opted its conventions for his mission of rebellion.

When 58-year-old Cummings arrived at Harvard that fall, wearing a neck-to-hip corset prescribed by his doctor that he called “the Iron Maiden,” he left no doubts as to his irreverence. He titled what he was about to deliver “nonlectures” and lived up to the promise by delivering them with the same galvanizing, acrobatic, highly performative technique he had developed for his poetry readings. Cheever captures the mesmeric mischief of Cummings’s presence at Harvard by quoting one woman, then a Radcliffe student dragged to the lecture by her mother:

There was a hush when he walked out onto the stage. He was enchanting, captivating, and magnetic. He was very virile and sexual on the stage. I think he made some of the men uncomfortable.

Despite having anguished over whether or not to accept the lectureship, and having almost cancelled it on several occasions, Cummings, according to his wife Marion, never worked harder on anything. Perhaps he saw them as a way to solidify what he stood for, to claim position as a generation’s “beloved heretic” and claim it from within the walls of the institution that stood for the very authority he had made an art of defying and deriding. Cheever writes:

Everything he stood for— a puncturing of pretension, an openness to adventure, a deliciously uncensored attitude when it came to sex, a sly sense of humor fueled by a powerful defiance — is in his opening phrases. He stood at the lectern under the fifty-foot carved ceilings and won the hearts of the audience in a few words. “Let me cordially warn you, at the opening of these so called lectures, that I haven’t the remotest intention of posing as a lecturer.”

Exactly ten years later, he died in the same defiant spirit. Cheever recounts the bittersweet story her father so loved telling:

Marion had called him in to dinner as day faded and the glorious sky lit up with the fires of sunset. “I’ll be there in a moment,” Cummings said. “I’m just going to sharpen the axe.” A few minutes later he crumpled to the ground, felled by a cerebral hemorrhage. He was sixty-seven. That, my father let us all know, was the way to die— still manly and useful, still beloved, still strong. “‘how do you like your blueeyed boy / Mister Death,’ ” my father growled, his eyes wet with tears.

In the remainder of the altogether entrancing E. E. Cummings: A Life, Cheever goes on to explore the beliefs, irreverences, and experiences that coalesced into the character of this extraordinary man who rebelled through the art of noticing and who continues to bewitch us with his undying “burst of delight and recognition.”

Complement it with the little-known story of Cummings’s only children’s book, which he wrote for the daughter he almost lost, this enchanting album of seventeen songs based on his poems, and the poet’s magnificent reading of “anyone lived in a pretty how town.”

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