Comics philosophy & practice conference

Amazing conference at University of Chicago on comics organized by Hillary Chute and the U of C. A few more sessions tomorrow morning. Great hearing Art Spiegelman, R. Crumb and his wife Aline Kominsky-Crumb, Francoise Mouly, Chris ware, Dan Clowes and now going to hear Alison Bechdel.

Maurice Sendak, brilliant picture book creator, dies

Maurice Sendak — the acclaimed, innovative, and challenging children’s picture book illustrator and writer — Maurice Sendak signing the ""Faithful Nutcracker"" lithograph at Tyler Graphics Ltd., Bedford Village, New York, 1984. Kenneth Tyler Photographerdied Tuesday at 83 in his Connecticut home.  Sendak’s detailed knowledge of book illustration combined with his ability to create beautiful picture books that dealt with difficult subjects for children positioned him as a acclaimed traditionalist who brilliantly broke conventional boundaries of children’s literature.  He is the Randolph Caldecott of American picture books. 

[Since I have posted this, WGLT's Charlie Schlenker posted his interview of me today about Sendak.  Here's a link to that interview where I add to this blog post.]

Sendak distinctly changed children’s literature with his famous trilogy of Where The Wild Things Are (1963), In the Night Kitchen (1970), and Outside Over There (1981).  He said that these books are about the same themes —boredom, fear, frustration, jealousy — and how children manage to come to grips with the realities of their lives.  He was often confronted by adults who found his books “troubling and frightening.” He accused them of wanting to sentimentalize childhood.  Sendak understood that children want to confront their fears and work through them.

Sendak believed that children deserved well-designed, beautiful books.  At the same time, he fearlessly wrote about difficult subject matters.  While parents, critics, and librarians may not have warmed to some of the topics, Sendak’s books were best sellers precisely because the topics they addressed touched a nerve while being stunning works of art. 

Not only was Sendak a brilliant picture book creator, he was also an insightful critic.  His brilliant essays in Caldecott & Co.: Notes on Books and Pictures (1990) ought to be read by anybody interested in children’s literature and picture books.  Sendak had an appreciation and sweep of understanding of both illustration and picture books that informed his work and is evident in these valuable essays.

In 1997, I nominated Sendak to be an Honorary Fellow of the Modern Language Association.  He is the only children’s picture book author to be in the company of authors who were nominated and elected since 1959 including such writers as Gabriel Garcia Marquez, Carlos Fuentes, Toni Morrison, Tom Stoppard, Margaret Atwood, and Seamus Heaney.  While Sendak was unable to attend that year’s MLA, he was courteous and collegial in our correspondence.

Sendak said that

“a picture book is not only what most people think it is, an easy thing to read to small children with a lot of pictures in it.  For me, it is a damned difficult thing to do… very much like a complicated poetic form that requires absolute concentration and control.”

A fitting book to read upon Sendak’s death may be Higgelty Pigglety Pop! or There Must be More to Life (1967), which he later developed into an opera – one of many opera projects that he collaborated on beginning in the 1980s.  Containing some of his best illustrations, the book is about Sendak’s beloved shaggy dog Jennie, a Sealyham Terrier.The Little Bear series is great for early readers. This illustration is from A Kiss for Little Bear with illustrations by Sendak, story by Elsie Holmelund Minarik

To read more about Sendak, I would suggest John Cech’s Angels and Wild Things: The Archetypal Poetics of Maurice Sendak and Amy Sonheim’s Maurice Sendak in the Twayne United States Author Series. The Rosenbach Museum and Library in Philadelphia has Sendak's papers and always celebrates his work with stylish enthusiasm.  Worth visiting if you are in Philadelphia.

And to see perhaps one of the last interviews of Sendak, check out Stephen Colbert’s interviews with him in January 20120 (here's part 2). In this lively interview, Sendak is curmudgeonly, gracious, gregarious, spunky, liberal, gay, free-wheeling, slightly mean, and smart.  "I don't write for children.  I write and somebody says that's for children.  I didn't set out to make children happy," he says.

Yesterday,  I gave my final exam in the ENG 372: Studies of Contemporary Literature for Young People.  Sendak appeared in his illustrations and quotations.  I am sure he would have hated it, but his place in the canon of children’s literature is undeniable.

Here's a link to more materials I have compiled about Sendak, particularly in relation to the book and film Where the Wild Things Are.

Sendak's bookplate

Nice Review of Place of Lewis Carroll in Children's Literature in IRSCL

Thanks to Elisabeth R. Gruner of the University of Richmond, for the positive, thoughtful review of The Place of Lewis Carroll in Children's Literature in the review section of the International Research Society of Children's Literature website . Gruner writes that she found "particularly enlightening" the chapter comparing the social class differences bewteen Alice and Hesba Stretton's Jessica's Last Prayer and the similar class issues in Victorian Britian between coffee and tea. Gruner writes:

Susina’s great contribution here, it seems to me, is that by situating the Alice books alongside Jessica’s First Prayer—by setting up the tea-or-coffee dichotomy—he is able to make an important claim about the oft-repeated truism that Wonderland “almost single-handedly helped to revise the nature of children’s literature in the nineteenth century” (108). It did so, Susina here claims, by ignoring poor children.

I appreciate that Gruner understands the interesting issues that ensue as Carroll's imaginative book becomes rises in popularity among critics while the didactic social tracts, such as Jessica's First Prayer, is dismissed.

Gruner continues that, "Susina does not rest here, however—the book as a whole goes on to provide interesting links between Alice and the Christmas pantomime tradition and, in the last three chapters, the Alice books and many of the larger trends in children’s consumer culture today."

Thanks again for the great review.  It's much appreciated!

Graphic novel interview in ISU Report newsletter

Okay, it is rather cool to be featured in an article in ISU's Report Newsletter.  The article is about the Comics and Graphic Novels class I'm teaching again this spring, and still enjoying teaching it.  Here's a link to the article "Susina on the evolution of the graphic novel."

Fairy tale films

The films Mirror, Mirror and Snow White and the Huntsman are part of a trend of re-interpreting traditional fairy tales with contemporary twists that move beyond the bouyant Disney versions. Mirror, Mirror, which opens Friday, stars Julia Roberts in a humorous retelling of Snow White.  In a significant contract, the  Huntsman version is much darker, more brooding and somewhat in the trend of Twilight and Hunger Games. Clearly, Red Riding Hood, directed by Catherine Hardwick who directed the first Twilight film, is part of this collection of films as well and Beastly with Vanessa Hudgens. Also released in March, direct to DVD, is Grimm's Snow White. When we saw Hunger Games over the weekend, we saw a previous for Snow White and the Huntsman, but not Mirror, Mirror, which opens sooner. 

As I tell my classes, every generation re-interprets fairy tales.  The wide difference in these two Snow White films suggests the malleability of this classic story.  Disney's version is primarily from the young princess's perspective, but in the two upcoming films, the older Queen has a more prominent role.  I will be interested to see Julia Rogers as the Queen, as she seems to be relishing the role and having fun.  I am not sure how evil she is in her version.  But in the film to be released in June, the older Queen is clearly evil.  Then, too, look at the title of the second film, Snow White and the Huntsman -- the focus is on the relationship between Snow White (played by Kristen Stewart) and the handsome Huntsman out to kill her (Chris Hemsworth). Charlize Theron, who some might say has a history of looking more stunning than Kristen Stewart, plays the Queen.  Theron also has played some roles of gutsy, powerful roles while Stewart seems to be majoring in mumbling, slightly awkward young women.  Hmm, the conflicts arise.