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Mr. Tiger Goes Wild: A Charming Modern-Day Fable about Authenticity and Acceptance

Exorcising our repressed selves’ longing for freedom through lovely vintage-inspired illustrations.

Lovers of exceptional picture-books will be instantly enamored with Mr. Tiger Goes Wild (public library) by Caldecott Honor artist Peter Brown — a charming modern-day fable about authenticity, daring to be different, and the often challenging quest for acceptance. Witty, wise, and full of Brown’s vibrant, vintage-inspired illustrations reminiscent of Charley Harper and The Provensens, it tells the story of a very proper Mr. Tiger who finds himself suffocated by social mores and, one fine day, decides to go wild. To craft the book’s distinctive, expressive sensibility, which bears a certain kinship to D. B. Johnson’s recently admired children’s adaptation of Thoreau’s philosophy, Brown blends watercolor, ink, pencil, and digital with a masterful sensitivity to color and texture.

On his Facebook page, Brown shares this lovely page of his sketchbook — a fine addition to the private sketchbooks of celebrated artists and designers — showing the very first Mr. Tiger drawing he made when he first began working on the book, followed by some character development sketches:

Mr. Tiger Goes Wild is just as delightful as it appears to be. It comes on the heels of Brown’s 2012 collaboration with author Aaron Reynolds, Creepy Carrots.

BP

Emma Darwin’s Stirring Love Letter to Charles

“I feel in my inmost heart your admirable qualities & feelings & all I would hope is that you might direct them upwards.”

Given my soft spot for exquisite love letters, particularly those exchanged between yesteryear’s greats — including Frida Kahlo and Diego Rivera, Virginia Woolf and Vita Sackville-West, Georgia O’Keeffe and Alfred Stieglitz, Charles and Ray Eames, Henry Miller and Anaïs Nin, Jean-Paul Sartre and Simone de Beauvoir, and Oscar Wilde and Lord Alfred “Bosie” Douglas, E. B. White and Katharine White — I was hopelessly heartened to discover a missive addressed to Charles Darwin from Emma Wedgwood, with whom the father of evolution spent the remaining forty years of his life and raised ten children. Found in The Correspondence of Charles Darwin, Volume 9 (public library), the letter comes nearly thirty years into their marriage, long after young Darwin penned his famous and timelessly endearing list of the pros and cons of marriage.

In June of 1861, shortly after Darwin faced a major confrontation with the British clergy over their accusations that his theory of evolution was heresy, Emma sends Charles this exquisite testament to love’s power of spiritual elevation:

I cannot tell you the compassion I have felt for all your sufferings for these weeks past that you have had so many drawbacks. Nor the gratitude I have felt for the cheerful & affectionate looks you have given me when I know you have been miserably uncomfortable.

My heart has often been too full to speak or take any notice I am sure you know I love you well enough to believe that I mind your sufferings nearly as much as I should my own & I find the only relief to my own mind is to take it as from God’s hand, & to try to believe that all suffering & illness is meant to help us to exalt our minds & to look forward with hope to a future state. When I see your patience, deep compassion for others self command & above all gratitude for the smallest thing done to help you I cannot help longing that these precious feelings should be offered to Heaven for the sake of your daily happiness. But I find it difficult enough in my own case. I often think of the words “Thou shalt keep him in perfect peace whose mind is stayed on thee.” It is feeling & not reasoning that drives one to prayer. I feel presumptuous in writing thus to you.

I feel in my inmost heart your admirable qualities & feelings & all I would hope is that you might direct them upwards, as well as to one who values them above every thing in the world. I shall keep this by me till I feel cheerful & comfortable again about you but it has passed through my mind often lately so I thought I would write it partly to relieve my own mind.

To further celebrate the intersection of science and romance, see Darwin’s life adapted in poems by his great-granddaughter, then revisit Richard Dawkins’s beautiful letter to his daughter on the importance of evidence in science and in love.

BP

F. Scott Fitzgerald Reads John Keats’s “Ode to a Nightingale”

“Was it a vision, or a waking dream? Fled is that music: — Do I wake or sleep?”

F. Scott Fitzgerald may be the source of some timeless wisdom on the theory of writing and a feisty literary idealist, but he was also a man of uncommon sensitivity to the living fabric of language. In this chillingly beautiful recording, Fitzgerald reads John Keats’s 1819 classic “Ode to a Nightingale,” found in the indispensable The Oxford Book of English Verse (public library) — enjoy:

My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
‘Tis not through envy of thy happy lot,
But being too happy in thine happiness,—
That thou, light-winged Dryad of the trees
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been
Cool’d a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Cluster’d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm’d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is fam’d to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now ’tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music: — Do I wake or sleep?

Complement with Keats on “negative capability” and the art of remaining in doubt and F. Scott Fitzgerald’s heartening advice to his young daughter.

BP

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