creativity and children’s literature - · pdf filecreative in terms of style and content...

Language Arts, Volume 92 Number 5, May 2015

This column focuses on books that are creative in terms of style and content as well as those that emphasize the creative exploits

of numerous individuals. Readers of this column will find out about people such as the famed artist couple, Frida Kahlo and Diego Rivera, as well as Lois Ehlert, the illustrator of the classic Chicka Chicka Boom Boom (Martin & Archambault, 1989), and Josephine Baker, the famous dancer. We have included a wide range of genres and subgenres, such as biography, informational text, fiction, and wordless books. We hope that those who read these books will be inspired by the creative style and content displayed by these innovative authors and illustrators and by the lives of those profiled in this column who utilized various artistic forms (e.g., music, painting, and dance) to express themselves.

referenceMartin, B., Jr., & Archambault, J. (1989). Chicka chicka

boom boom. New York, NY: Simon & Schuster.

Cat Says Meow: And Other An·i·mal·o·poe·iaWritten and illustrated by Michael ArndtChronicle, 2014, unpaged, ISBN 978- 1- 4521- 1234- 3

This attractive and colorful

picturebook plays with animals, typography, and sounds. The first page reads, “Dog says woof.” The

word “woof,” in attractive type, is inside the dog’s face. The letter W looks like the dog’s ear and the letter O is an eye. The dog’s nose is another O and the letter F, lying on its side, becomes the canine’s mouth. Author and illustrator Michael Arndt has created animalopoeia— illustrations of animals that look the same as they sound. An assortment of 25 animals, including insects, birds, farm animals, and pets, show interesting details. One intriguing two- page spread says, “Chicks say cheep cheep cheep. Chicken says cluck.” The mother hen, in bright red, has the word “cluck” showcased in her body, with the letter “U” as her wing. The three little golden chicks say, “cheep” with the letter H for their beaks. Another page reads, “Turkey says gobble” and the word “Gobble” is displayed beautifully inside the brown turkey. For instance, the letter G is the turkey’s beak and waddle and the letter E looks exactly like the turkey’s tail plumage. This book will certainly add hours of entertainment as children search for each letter within the different animals’ bodies. (DD)

The Nowhere BoxWritten and illustrated by Sam ZuppardiCandlewick, 2013, unpaged, ISBN 978- 0- 7636- 6367- 4

Nowhere was amazing! Nowhere was magnificent!

Nowhere was stupendous! For George, Nowhere

Children’s Literature Reviews

Creativity and Children’s LiteratureJonda C. McNair, Deanna Day, Karla J. Möller, and Angie Zapata

selson

Text Box

Copyright © 2015 by the National Council of Teachers of English. All rights reserved.

ChILdrEN’S LITErATurE rEVIEWS | Creativity and Children’s Literature


was exactly where he needed to be to escape his pesky little brothers. They follow him everywhere, even into the bathroom. When George’s annoying little brothers ask him where he’s going next, he replies, “Nowhere!” Upon encountering an empty cardboard washing machine box, George quickly imagines it into a space ship that transports him to Nowhere. Despite the joys of being in Nowhere, George finds his fantasy world has no enemy pirates in sight nor dragons to be found. He soon remembers that he knows just where to find great enemy pirates and pretty good dragons, too. The Nowhere Box reminds readers how imaginative and creative young children can be with everyday materials and under the most desperate of situations. Zuppardi’s whimsical illustrations evoke children’s hand drawings, but upon closer inspection, readers will notice the more complex uses of mixed materials, including real cardboard, textured paper, speech bubbles made from notebook paper, and thick and thin pencil lines. From the front to the back endpapers, Zuppardi relies on his illustrated narrative to remind readers that play is not always just for one. (AZ)

The Scraps Book: Notes from a Colorful LifeWritten and illustrated by Lois EhlertBeach Lane, 2014, unpaged, ISBN 978- 1- 4424- 3571- 1

“When I was little, I read all the books on the library shelf, and I thought maybe someday I could make a book. I was lucky; I grew up with parents who made things with their hands. . . . In a small corner of our house Dad set up a folding table for me. It was my spot to work and dream.” This engaging autobiography offers readers behind- the- scenes knowledge about the creative process of Lois Ehlert, a beloved and innovative children’s book author and illustrator.

Readers will likely enjoy poring over the many photographs included in this book, such as Lois Ehlert as a young child, the home where she grew up, her parents, the folding table that her father set up for her to make art as a child, and a photo of her sister’s cat (Bucky), who inspired one of her books. Lois describes her technique, the tools that she uses, where she gets her ideas and art supplies, and more. While describing her process, she includes references to and images from many of her books. For instance, when mentioning using leaves as art supplies for her book Leaf Man (2005), she includes images of several leaves and mentions the various places where she found them (e.g., near the White House, her home in Milwaukee, Wisconsin, her sister’s backyard in Beaver Dam, Wisconsin, etc.) or who sent them to her. Beware: The opening line reads, “Don’t read this book (unless you love books and art).” Enjoy! (JCM)

Quest Written and illustrated by Aaron BeckerCandlewick, 2014, unpaged, ISBN 978- 0- 7636- 6595- 1

Aaron Becker once again crafts an ambitious

and creative landscape for readers to revel in and savor. In his newest publication, Quest proves that any rainy day brings new possibilities and adventures through imagination and creativity. As a sequel to Caldecott winner Journey (2013), this title offers epic settings, towering castles peering over cliffs, lost kingdoms tucked deep in the ocean, and abandoned realms of magic and majesty— all nestled just behind one secret door beneath a bridge in a park. Equipped with three crayons and a flying dragon, one young boy and girl stumble into a new world as they follow a map mysteriously and unexpectedly handed to them by a kidnapped royal. The adventure begins as the two



the leak is fixed and sits down to read a book, but notices it is raining outside. When readers turn the page, the final illustration shows water cascading out of his chimney and a flood in the street below. Other amusing stories include Mr. Hulot’s first moon walk on fresh snow, his Valentine’s Day sweetheart on a billboard, and his upside- down snow globe that causes a snow storm in Paris. Children will definitely laugh and enjoy Mr. Hulot’s naivety and klutzy actions. (DD)

Mix It Up!Written and illustrated by Hervé TulletChronicle, 2014, unpaged, ISBN 978- 1- 4521- 3735- 3

Just like the popular Press Here (Tullet, 2011), Mix It Up! invites

children to artistically interact and imagine with a book. Hervé Tullet talks to the reader, “It’s that time again. Are you ready?” Children follow the simple instructions, “Tap that gray spot. Just a little, to see what happens.” Kids pat a little more and all of a sudden a spattering of colors arrive that look like colorful jellybeans. Next, the instructions say, “Place your hand on the page, close your eyes, and count to five.” The following page shows a white handprint that makes some of the multi- colored spots vanish. Children then get to mix primary colors to make secondary colors, such as mixing red and blue to make purple. All along, Tullet encourages children, “You got it!” and “Bravo!” Other times he asks the reader questions about color combinations, “And to turn all of those dots to green, what do you have to do?” The art lessons continue, and children get a chance to experiment with light and dark colors by adding a little bit of white or black. The last pages say, “On your own now! Look, play, and mix it up!” The final page sums up what this book is about: “Have fun!” (DD)

draw their way through underwater empires, over ancient, oversized, snow- capped peaks, and away from the angry army that seeks to stop their quest to save the one who gifted them the map.

In this wordless picturebook, Becker achieves sweeping motion and visionary adventure with shifts between larger two- page spreads and series of smaller vignettes. The juxtaposition of inspired locales from diverse parts of the world and forgotten eras contribute to the depth and plausibility of the tale. Meticulous detail across the illustrations creates a clear, visual narrative that demands multiple readings for new interpretations. The oversized, color- coded map will invite children to imagine their own role in this new quest. Readers will linger, ponder, and puzzle over the intricate watercolor excitement. (AZ)

Hello, Mr. HulotWritten and illustrated by David Merveille according to Jacques TatiNorthSouth, 2013, unpaged, ISBN 978- 0- 7358- 4135- 2

Originally published in France, Mr. Hulot manages to get into hilarious and ridiculous predicaments. Mr. Hulot is portrayed in a wrinkled coat, short trousers, striped socks, hat, pipe, and holding an umbrella. Filmmaker Jacques Tati brought Monsieur Hulot to film in the The Big Day (1949), and David Merveille decided to put Mr. Hulot to paper by creating 22 comic- strip vignettes for this picturebook. Each story is illustrated in a couple of panels with few words, then the conclusion, or punch line, is on the next page in one large single illustration. One example titled “Hulot the plumber” depicts him trying to fix a drip under his kitchen sink. He tightens the pipes but water squirts out of the sink. In another picture, water is drizzling out of the light fixture. He finally thinks



A Perfectly Messed-Up StoryWritten and illustrated by Patrick McDonnellLittle, Brown, 2014, unpaged, ISBN 978- 0- 316- 22258- 7

For in his heart, Louie knew everything was just . . . perfectly messed up. Caldecott Honor winner Patrick McDonnell artfully and humorously changes Little Louie’s perfect story to A Perfectly Messed- Up Story, and Louie has something to say about that. Readers will feel Little Louie’s exasperation as he deals with endless fingerprint smudges, peanut butter and jelly stains, and blurred crayon scribbles that appear to disrupt the story he wants to tell. With exaggerated facial expressions and speech bubble text in all caps, McDonnell conveys Louie’s desperation and anxiety. Scans of real peanut butter and jelly stains and other materials make it easy for readers to feel Louie’s despair. It is not every day one comes across such intentional stains in a book, stains that made even this reader stop for a moment to make sure she hadn’t ruined a perfect story herself. Like Mélanie Watt’s Chester (2009), Louie has ideas as to how a story should be told, but rather than try to rewrite the story himself, Louie futilely attempts to direct the cleanup of the book. What results is a big mess, but also the realization that everything is fine, his readers are still with him, and that it is a pretty good story, “messes and all.” This creative picturebook would pair well with Barney Saltzberg’s Beautiful Oops! (2010) to grow conversations about using imagination to see the beauty in what could initially be discarded as a mistake. (AZ)

This Is a Moose Written by Richard T. MorrisIllustrated by Tom LichtenheldLittle, Brown, 2014, unpaged, ISBN 978- 0- 316- 21360- 8

This hilarious cartoon picturebook opens to a blurry image of a realistic moose as seen through a camera viewfinder. “Focus,” a voice from beyond the endpapers exhorts the camera operator— and the reader. A clapperboard simultaneously introduces the story and a movie: “This is a Moose— Take one!” In a bucolic forest scene, readers meet the main character/lead actor “Mighty Moose.” Immediately, the natural world is called into question with framed family portraits nailed to a tree. But, there’s more! “This moose wants to be an astronaut.” The director’s “Cut” ends the scene, because, of course, “Moose cannot be astronauts.” Take two . . .

This delightfully silly story offers an engaging give- and- take between what the moose— and his friends and family— want to do and be and what the disembodied director’s voice says they are and should do. The raucous story is accompanied by humorous colored pencil, ink, and gouache illustrations, and the comedy extends beyond the main storyline with Scrappy Squirrel’s (“Actually, I’m a chipmunk.”) and others’ actions and asides. Perceptive readers will notice clapperboard text changes as the director’s aggravation at the shenanigans mounts; they will giggle at the reference to (and image of) “moose doing moose things” and will wonder why only the purple elephant wears pants. Expressive hand- lettered speech grows first larger as the director’s movie plans go awry and then becomes literally colorful language as his temper rises. Even his speech bubbles shiver (and sweat) with exasperation, until they explode with laugh- out- loud irony for a quite satisfying conclusion. (KJM)



My PenWritten and illustrated by Christopher MyersDisney/Hyperion, 2015, unpaged, ISBN 978- 1- 4231- 0371- 4

Gorgeously simple in design and complex in

meaning, Myers’s picturebook gloriously captures perceptions of life and its imaginative possibilities in inventive prose and detailed black- and- white, pen- and- ink illustrations that range from the emotionally realistic (e.g., “My pen worries about all the wars in the world”) to the whimsically surreal (e.g., “My pen rides dinosaurs and hides an elephant in a teacup”).

Main character Aurelio reflects: “Sometimes I feel small when I see those rich and famous people. But then I remember I have my pen.” And what an amazing tool! It shares intriguing similes (“My pen is smart as a snowflake”) and engaging visual metaphors (butterfly- and- fountain- pen ribcages). In polysemous wordplay, the statement “My pen makes giants of old men who have seen better days” accompanies the visual juxtaposition of small Aurelio with a larger- than- life man in workday overalls. Offer your perceptions, even if you might make mistakes: “My pen tells stories in the margins of the page, but it doesn’t always get it right.” Try, even if your imagination temporarily fails you: “Sometimes I can’t find my pen (I think it hides from me.)” Sparse text and expansive illustrations on stark black or white backgrounds leave space for readers’ perceptions to mingle in response. Myers’s recent work in Nairobi is reflected in the theme of transforming perceptions (see the documentary film Am I Going Too Fast, 2014) and other subtle tributes. For example, Aurelio’s pen “sails to Africa” and an enigmatic visual metaphor includes names of film collaborators. This gently profound book is highly recommended. (KJM)

The Cosmo- Biography of Sun Ra: The Sound of Joy Is EnlighteningWritten and illustrated by Chris RaschkaCandlewick, 2014, unpaged, ISBN 978- 0- 7636- 5806- 9

“Sun Ra always said that he came from Saturn. Now, you know and I know that . . . . No one comes from Saturn. And yet. If he did come from Saturn, it would explain so much. Let’s say he did come from Saturn.” So begins Raschka’s honest and respectful picturebook biography of legendary jazz trailblazer Sun Ra, né Herman “Sonny” Blount (1914– 1993) that pays tribute to his incredible musical range and intriguing cosmic philosophy.

In easygoing prose, Raschka highlights Sun Ra’s early life, challenges he faced as a man, his “far out” musical and personal style, and his multifaceted creativity, including interesting specifics, such as how Sun Ra made his own dazzling clothes, was a conscientious objector, and had difficulties managing money. Raschka’s exuberantly expressionistic, multilayered, watercolor- and- black- ink illustrations mirror the subtleties and improvisational nature of jazz and the unique complexity of Sun Ra’s life and music. They extend the text, for example, by adding names of frequent collaborators and images of his extraterrestrial clothing designs. Staff lines incorporated in illustrations and as a backdrop to the text subtly keep the focus throughout on Sun Ra’s music. Album titles decoratively covering the endpapers extend the “selected recordings” list.

Consider accompanying a read- aloud with a musical highlight. One of his more conventional albums, Lanquidity (1978), encompasses Sun Ra’s energy and innovation in tracks that offer a melodic introduction— in much the same way as Raschka’s book offers a visual feast and thoughtfully edited lyrical introduction to this free- spirited man and his avant- garde music. (KJM)



Mouse Bird Snake WolfWritten by David AlmondIllustrated by Dave McKeanCandlewick, 2013, unpaged, ISBN 978- 0- 7636- 5912- 7

The latest collaboration from author David Almond and illustrator Dave

McKean results in an original tale that invites questions, challenges beliefs, and urges readers to muster up the courage to turn the page. In Mouse Bird Snake Wolf, Harry, Sue, and Little Ben decide to fill their seemingly boring world, “a world rather like this one,” with new creatures. They imagine into being a “kind of mousy thing,” a “kind of birdy thing,” and a “long and twisty legless thing,” as the gods in the heavens above indulge in tea and long naps. Each imagined animal becomes progressively larger and more violent— that is, until Harry commands a wolf to life, and the wolf swallows Harry and Sue in one bite.

Little Ben takes it upon himself to command the wolf back to “clay and wool and sticks and stones and petals and nuts and grass” to save Harry and Sue. In this innovative mythology, Almond pairs playfulness and creativity with darkness and danger. This illuminating graphic picturebook captures the incredible possibilities and lingering dangers that come with creativity and humanity— themes that make for great literature discussions and debate. McKean’s moody illustrations are achieved through mixed- media design. Text and illustration are contained within panels of different sizes and shapes, and larger two- page spreads surprise along the way. Readers of Mouse Bird Snake Wolf will find that boundless imagination can elicit beauty, darkness, and strength from within. (AZ)

Josephine: The Dazzling Life of Josephine BakerWritten by Patricia Hruby PowellIllustrated by Christian RobinsonChronicle, 2014, unpaged, ISBN 978- 1- 4521- 0314- 3

Josephine Baker was an intriguing character who lived

a fascinating life. She left the United States and moved to Paris, France, where she became a “colored superstar” who was a dancer, singer, actress, fashion icon, and mother of 12 adopted children from diverse racial backgrounds. This free- verse biography of her life does not disappoint in that both the text and the illustrations are excellent. Powell’s text captures the vivaciousness and sass of Josephine’s personality. “Josephine- / born poor, / out of wedlock / in honky- tonk town- / rambunctious / SAINT LOUIS, Missouri- / home of barrelhouses, / nickle shots of whisky, / and gambling halls- / home of / RAGTIME MUSIC- / raggedy black music- / gotta- make- the- rent- music- / lift- my- soul music- / GOLDEN- AGE music. / Josephine’s mama scrubbed floors, / but would’ve rather been / DANCING- / where you were free of / how- to- pay- the- rent, / where you could be right there / in your body / nowhere else, where you could / let your body LAUGH. / Or CRY.” The book is divided into numerous sections with titles such as “The Beginning,” “Leavin’ with the Show,” and “For the First Time in My Life I Felt Beautiful.” Numerous quotes by Josephine Baker are incorporated throughout the text. For example, one reads, “I shall dance all my life . . . .” while another reads, “Seeing everybody looking at me electrified me.” Christian Robinson’s illustrations capture her beauty and flamboyance as they convey movement and dance. Note the endpapers that feature Josephine Baker wearing her famous banana skirt. The book closes with notes from both the author and illustrator. This biography deserves a place in all middle and high school libraries. (JCM)



Frida & Diego: Art, Love, LifeWritten by Catherine ReefClarion, 2014, 168 pp., ISBN 978- 0- 547- 82184- 9

Frida & Diego details the complicated, tumultuous, and long- lasting relationship between these two famous 20th- century

artists. The first of 10 chapters in the book is titled “The Artists Wed” and details how the two first met in 1922. Diego Rivera was painting a mural in the auditorium of a high school where Frida Kahlo was a student. They later married in 1929. Their relationship was filled with love, betrayal, numerous affairs, politics, and art. Reef does a fine job of telling two life stories and the ways in which they were intertwined. She contextualizes their relationship by demonstrating how their personal and married lives (e.g., Frida’s poor health, Diego’s unfaithfulness, and his love of Mexican people) affected their art. The many photographs of these two artists, their homes, and their families and friends complement the text. The end of the book features six paintings by each artist, a timeline, and detailed notes. (JCM)

Go: A Kidd’s Guide to Graphic Design Written by Chip KiddWorkman, 2013, 150 pp., ISBN 978- 0- 7611- 7219- 2

Written in accessible prose and arranged in an inviting visual display in its own right, Kidd’s book

offers extensive information about graphic design while making readers aware of how even the most mundane aspects of our man- made world are “designed.” The book includes interesting historical notes and real- life design examples,

including everyday items and images from Kidd’s design work. Many readers will recognize his famous T- Rex- skeleton cover design for Michael Crichton’s Jurassic Park. Throughout, Kidd adopts a conversational tone that respects readers and invites them to question, reflect, and play with image and design.

After defining graphic design, Kidd focuses on form, detailing basic design components (e.g., scale, focus, repetition, color, and space). Next, he describes typography, including font creation and terminology (e.g., point, pica, kerning, and leading). Content is discussed third: “‘What are you trying to communicate?’ is always the fundamental question in design” (p. 100), Kidd tells us. Chapter four demonstrates how concept is “the bridge between Content and Form” (p. 104). Finally, Kidd engages readers in application activities in service of their own graphic designs.

Notably, Kidd addresses an additional reason for awareness of how man- made designs work. “Graphic design needs your willing mental participation, even if it is subconscious” (p. 4). Perhaps most important, “Learning the thinking behind how . . . images are made will help you figure out why the visual world works the way it does, and how you can be part of creating it. Or at least avoid being too manipulated by it” (p. 8). Kudos, Mr. Kidd! (KJM)

Jonda C. mcNair is an associate professor of Literacy Education at Clemson University in South Carolina. deanna day is an associate professor of Literacy and Children’s Literature at Washington

State University in Vancouver, Washington. Karla J. möller is an associate professor in the Curriculum and Instruction Department at

the University of Illinois at Urbana- Champaign. Angie Zapata is an assistant professor of Literacy Education at the University of Missouri- Columbia.

Please contact Jonda C. mcNair at [email protected] for questions

related to submitting review materials.

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