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Posts Tagged ‘children’s books’

27 MAY, 2014

The Pilot and the Little Prince: Beloved Illustrator Peter Sís Captures the Bittersweet Story of Antoine de Saint-Exupéry

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How an adventurous little boy came to dream up the loveliest children’s book of all time.

“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 | IndieBound) — 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.

The Pilot and the Little Prince is a thing of beauty for both eye and spirit, and a fine addition to other delightful graphic biographies, including those of Sigmund Freud, Charles Darwin, Richard Feynman, Hunter S. Thompson, Steve Jobs, Andy Warhol, and Salvador Dalí. Complement it with Saint-Exupéry’s original watercolors for The Little Prince and his soul-stretching meditations on solitude and the meaning of life and our shared humanity.

Illustrations courtesy of Macmillan

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22 MAY, 2014

I Am Cow, Hear Me Moo: A Charming Illustrated Ode to Courage and Confidence

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Why true heroism feeds on humility.

Courage, Seth Godin reminded us in his spectacular conversation with Debbie Millman about vulnerability, is about “dancing with the fear” — not about making the fear ago away. “Character — the willingness to accept responsibility for one’s own life — is the source from which self-respect springs,” Joan Didion memorably wrote. And yet, with our Pavlovian voraciousness for constant positive reinforcement, we hang our self-respect on external validation all too often and keep ourselves small by people-pleasing, afraid of what others might think. It’s a toxic habit of mind and spirit that starts early and rarely relents, which is what makes I Am Cow, Hear Me Moo! (public library) especially wonderful — a lovely illustrated parable of courage, confidence, and what happens when we construct our identity around how others perceive us.

Written by Jill Esbaum and illustrated by Australian artist Gus Gordon, who also gave us the immeasurably delightful Herman and Rosie, it tells the story of a brave cow named Nadine who boasts being afraid of nothing and parades her fearlessness across various adventures as her friends look on admiringly.

One day, Nadine finds herself in the woods with her two friends, enjoying every bit of the venturesome exploration. But when night falls, Nadine suddenly finds herself alone and, to her own surprise, afraid. Terrified.

She takes the touch of her own tail for a dangerous intruder and jolts into a rocket-like run for her life, falling off a cliff and into a creek.

Miraculously, her friends are there, having spent hours wandering through the woods lost.

They mistake Nadine’s frightened foray for a courageous mission to find and save them, so they gush over her heroism as she comes to realize that bravery is not about being unafraid but about having the confidence to withstand the fear.

Complement I Am Cow, Hear Me Moo! with a similarly-spirited story from a very different folkloric tradition, the Indian gem Alone in the Forest, then revisit Gordon’s touching debut, Herman and Rosie.

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21 MAY, 2014

Children’s Endearing Letters to Judy Blume About Masturbation, and the Beloved Author’s Response

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“Dear Judy, I want to ask you a very important question…”

In 1879, Mark Twain delivered a brilliant satirical lecture about masturbation, mocking the cultural hypocrisies around a practice so prevalent, so natural, yet so condemned. Nearly 130 years later, science writer extraordinaire Mary Roach traced the perilous religious roots of these hypocrisies. But the most poignant reflections on the subject come from those that suffer from such stigmas most acutely and with the least social support available: children. It’s no surprise, then, that kids whose parents and teachers either don’t address the subject or shroud it in censorship and condemnation would look for solace elsewhere.

Generations have found such solace — as well as a comforting sense of being less alone and less abnormal in their unwitting normalcy — in the books of beloved author Judy Blume, who has tackled many timelessly tricky subjects in her young-adult novels, including masturbation in the 1973 classic Deenie. But Blume addresses the subject directly in a chapter of the wholly excellent Letters to Judy (public library) — the same wonderful vintage compendium that gave us children’s moving letters to Blume about being queer.

Judy Blume signing a copy of Deenie (photograph by Mariah Jasmine Bonifacio)

In one letter, 13-year-old Nikki sends an itemized list of questions that might appear amusing at first glance, but is, upon closer inspection, emblematic of a profound cultural failure — a failure to inform, and an implicit failure to comfort by normalizing the very thing that is so natural and common yet so capable of instilling a soul-shattering sense of isolation in children made intentionally unaware of this prevalence:

Dear Judy,

I read your book Deenie. You wouldn’t believe how happy I was to know that I’m not the only person to do what Deenie does. You are the only person who has ever mentioned anything about this. So could you please answer my questions.

  1. How did you find out about this?
  2. Is it a kind of disease?
  3. How did I know to start doing this?
  4. Am I weird?
  5. How many other letters have you received saying that other people do this (if any)?
  6. Approximately how many people do this?
  7. Is what I do going to harm my insides (like by not letting me have children)?
  8. Am I a fag?

I hope to hear from you very soon. Please!

Blume targets the source and addresses the parents who make such anguishing and unnecessary spirals of anxiety possible, relaying a story at once heartening in showing that kids will always find a way to pursue their curiosity, and heartbreaking in revealing the outrageous acts of censorships of which adults are capable in their efforts to curtail that boundless curiosity:

When you are choosing books about sexuality for your kids make sure that there is an honest discussion of masturbation included. Chances are, they’re not going to want to talk about it with you, but just finding out that it’s okay will be a relief for them.

A young man wrote that he didn’t get a good night’s sleep during his adolescent years. He tried to train his mind before he went to sleep to think about mathematical problems. He tried to concentrate on them so he wouldn’t have erections, or worse, wet dreams.

When Then Again, Maybe I Won’t was published I met a woman who told me that her son had been given a copy for his twelfth birthday. She read the book first but before giving it back to him she cut out two pages. “How did you do that?” I asked. “With a scissors,” she said. When I asked why she had cut out those two pages she told me that she didn’t think her son was old enough to read about wet dreams or masturbation.

Last year I met her son. He is twenty-four now. I asked him if he remembered the book. “Sure,” he said. “And I always knew that my mother had cut out those pages even though she told it was a printing error. So I went down to the public library and I read the rest of the book there.”

Another 13-year-old, Jolene, speaks to the precious gift of Blume’s books in pulverizing that sense of isolation and aberration:

Dear Judy,

I have read all of your books. They helped me not to be afraid and they answer my questions. I thought I was different but I’m not. In your books are things I would never bring out in the open with my mother. Like in your book Deenie — she touches her special place. Well, I do that too, but I always thought I was the only one.

14-year-old Barbara is on the same page:

Dear Judy,

My mom and I have a very open relationship. But the one thing I cannot bring myself to mention to anyone is masturbation. I know (and your books helped me to understand) that it’s not bad. Just something about it is really embarrassing.

In this heartbreaking letter, 12-year-old Heather offers another account of the traumatic and toxic cultural narrative purveyed to children about one of the body’s most natural physical experiences:

Dear Judy,

I want to ask you a very important question. Okay, I’ll start from the beginning. When I was little, about four or five, I started touching my special place. And I got a nice feeling. I had a baby-sitter during this time. Her name was Donna. And she knew that I touched my special place. She said that if I kept touching it, it would get big, then it would bleed, then it would fill with pus and pop! Then I would have to have an operation. So I stopped touching it.

When I was going into sixth grade I started again. And one day this stuff came out of me. My mom said it was discharge and that it’s normal. But I’m scared to even touch my special place now. I think it will pop. This is serious. I told my mom and she told me that Donna was just lying but I’m still scared. Can you explain what happened? Please answer this letter as I am very scared.

Blume addresses the all too pervasive issue:

Yes, there are still myths about masturbation! The stories that Donna told Heather were frightening and destructive. A grown man wrote that his adolescent years were “a quiet hell of silent suffering.” He said that he thought it was the fact that nobody ever talked about masturbation that led him to believe that he was the only disgusting, degenerate pervert in the world.

I never heard the word masturbation when I was growing up. Yet at twelve I knew I had a special place and that I could get that good feeling by touching it. I talked about it with some of my friends, who had also discovered that they had special places. I never found anything relating to my early sexuality in books, so there was some comfort in finding out from my friends that I was not alone.

For an added delight, complement Letters to Judy with Amanda Palmer’s tribute to Judy Blume, from the altogether fantastic collaborative record An Evening with Neil Gaiman & Amanda Palmer:

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20 MAY, 2014

Lisbeth Zwerger’s Rare and Soulful 1984 Illustrations for Oscar Wilde’s “The Selfish Giant”

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A bittersweet tale of transformation and self-transcendence through a single act of kindness.

From Austrian artist Lisbeth Zwerger — who also gave us those impossibly imaginative illustrations for Alice in Wonderland and The Wizard of Oz — comes a rare 1984 illustrated edition of The Selfish Giant (public library), one of the five short stories in Oscar Wilde’s 1888 collection for children, The Happy Prince and Other Tales.

The story was written at a pivotal time in Wilde’s life: professionally, it was wedged between his foray into professional journalism in 1887 as editor of The Woman’s World and his only novel, the 1890 classic The Picture of Dorian Gray; personally, it was nestled between the peak of his marital troubles and his intense love affair with Lord Alfred “Bosie” Douglas.

In that turbulent context, it is perhaps befitting that Wilde would gravitate toward something soulful, symbolic, and ultimately bittersweet: When the selfish giant bans the children from playing in his garden, Spring refuses to come and the garden sinks into an unending winter. One day, the giant is awakened to discover that the children have found a way to sneak in through a hole in the wall. He is gripped with regret over his surly behavior and vows to demolish the wall, but as he emerges from his castle to welcome the children, they all run for their lives — except one little boy in the midst of trying to climb a tree. Rather than scold, the giant helps the child climb the tree and gets a hug and a kiss in return, which melts his heart. But then, the giant disappears, only to come back many years later, as an old man returning to die under the tree, covered in white spring blossoms.

It’s a simple yet immeasurably sweet story — the story of transformation and self-transcendence through one’s own single act of kindness, and Zwerger’s subtle yet infinitely expressive illustrations add beautiful dimension to Wilde’s wistful hopefulness.

Zwerger’s The Selfish Giant is long out of print, but surviving copies can still be found online and at some libraries. Complement it with Oscar Wilde on art, then revisit Zwerger’s enchanting reimaginings of Wonderland and Oz.

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