everything grows with love

Stories about My Experiences with Writers & Illustrators Who Bring Light into the World…by Bonnie Ingber Verburg

Archive for Charles Mikolaycak

Faster than Lightning: Snapshots of Jane Yolen

Jane & Bonnie by Robbie

A visit to see Jane in Scotland–photo by my son

Trying to describe Jane Yolen is more difficult than trying to describe water in its many forms and moods and storms and meanderings. I sat here with a blank page for a long time, wondering how to begin to talk about her; I have known her for so many years that it becomes difficult to stand at a distance and make objective observations.

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Cell phone photo…not clear, but I like the kiss.

I was introduced to Jane in 1985 at Harcourt, after I was hired by Maria Modugno as Editor in the Children’s Books Department of HBJ.  The first book I would edit of Jane’s was her Lullabye Songbook, with stunning illustrations by Chuck Mikolaycak.  But first I had to drive Jane to a speaking engagement. We talked in the car while I drove, and I learned that Jane always prepares; she puts a great deal of time into the talks she gives, and it is one reason why she is so effective.

As I published more and more books by Jane, I discovered that she was—and still is—the fastest writer I have ever encountered. Several times I pitched a picture-book idea to her at dinner and received a finished manuscript the next morning over breakfast. Once, many years ago, when I had labored for months editing Jane’s middle-grade novel called Wizard’s Hall (a story about a boy who is sent off to a school to become a wizard…sound familiar?), I mailed the edited ms. back to Jane with a sigh of relief to get it off my desk. I had spent a lot of time on it, and I was happy that it was now on her desk, so I wouldn’t have it on mine for a few months. Surprise! In less than a week the manuscript was back; chapters had been rewritten, scenes adjusted, characters developed, lines changed. She had taken the advice in the margins, but she had finished it at the speed of lightning. I smile at the memory.

One of the more interesting books I published early on was a picture book called Encounter at Harcourt. I had received a phone call from a well known children’s organization asking me if I had any poets in mind they could contact to write a poem celebrating Columbus’s discovery of America—for their 1992 program. I didn’t like the idea of encouraging children to think that nothing was in “America” until Columbus “discovered” it, so it was a short, polite conversation. I didn’t bring up my thoughts about the subject, but I did decide I wanted to publish a picture book in 1992 that would present the arrival of Columbus from the Arawak point of view. How did the people who lived in San Salvador see Columbus and his men and his ships when they arrived to “discover” them? I thought it would be interesting.

First I researched the Taino people and tried to find a native to write the book. To my dismay, the culture had vanished. So I asked Jane to consider it, and the result was Encounter, a book I was sure would be one of at least a dozen from that perspective. Oddly it was the only picture book from that point of view in 1992, and I still find that surprising all these years later.

After Jane had written the manuscript, the next difficult task was to find an illustrator who could create the powerful scenes we had in mind—and who could show the conflict through paintings. Jane was visiting me in Los Angeles, and we took a trip over to the children’s art gallery called Every Picture Tells a Story. Lois Sarkasian, the owner, gave us a tour through her flat files, and in them she brought our attention to a new illustrator, David Shannon, who was local and had just published his first children’s book: How Many Spots Does a Leopard Have? by Julius Lester, published by Scholastic.

We were very enthusiastic about his pictures and talent, and he agreed to illustrate the book for us at Harcourt. At the time the book did not seem controversial to me—just, as I’ve said, a point of view I believed needed to be presented, and both Jane and Dave agreed with me.

It was our understanding that the locals did not wear clothes, so Dave created very simple clothing for them and added a note in the book explaining that he did this so teachers and librarians would feel more comfortable sharing the book with young readers. All very fair.

The reaction to Encounter was very positive, and when my son was in third grade, and I was volunteering by sorting papers in the back of Mrs. Fiske’s room, I was very surprised that she gathered the students and read Encounter aloud to them. She did it every year. And I believe it remains one of the only younger books from this perspective, which I still find hard to believe. Maybe I am wrong. I hope so.

At my launch party for the Blue Sky Press on Bourbon Street in New Orleans, one of my guests was Michael Dorris. This was at ALA in June 1992, so Encounter was still a new book. (I’d published it at Harcourt and then moved on to become Editorial Director of the Trade Book Group at Scholastic, starting Blue Sky in the fall of 1993.) Since Michael was Native American and had co-authored The Crown of Columbus for adults, I wondered what he thought of Encounter. He said he liked it, and he was very glad we had published the book, but his Native American children were constantly being pressured to talk about their dreams, as if Native Americans always dreamed the future, and he wasn’t thrilled about that part of the story. It hadn’t occurred to me that this was an issue, and at that point I couldn’t take it out, but I believe that was the only criticism I heard of the book, and it was said to me in a very mild, helpful way.

So Encounter was David Shannon’s second book for children, and I have been publishing his books ever since. Jane and I vividly remember that day at the gallery, pulling the paintings out of the flat files and feeling certain that he was the right illustrator.

Back when I worked for Harcourt and traveled a great deal of the time, I used to go stay with Jane often. I stayed in her lovely farmhouse, Phoenix Farm, in western Massachusetts, and I ended up publishing lots of writers and illustrators in her area. I met many of them through Jane, who was always encouraging new talent and pitching books to publishers with one of her new “finds” attached.

She sent Jane Dyer to Maria at HBJ with Jane’s wonderful Baby Bear’s Bedtime Book, and that was the beginning of a long and very close friendship between Jane Dyer and Maria Modugno that continues today. Maria has since been with several different publishing houses, including Little, Brown and HarperCollins, and I believe that Jane Dyer has published books with Maria at all of them.  I met Dennis Nolan through Jane and published their collaboration, Dove Isabeau, at HBJ. Barry Moser I met independently, but he collaborated with Jane for me on Sky Dogs; the stunning cover painting of that book hangs in my dining room where I see it every day. And I met Patty MacLachlan and her husband, Bob, before Patty published Sarah, Plain and Tall—which took Patty and me to a writer’s conference where we behaved like high school girls in our shared cabin after the day’s events. Six packs of beer and lots of cigarettes and a very, very late night of laughing. That was a few months after she won the Newbery Medal, and people started assuming she knew everything and was asked for marital advice and lots of other things that were not a part of her career.

Jane Yolen has mentored more people that I could even list here, and I think of her as the Mother of Children’s Books for that reason. Her generosity is staggering. She is strong as an eagle and a fighter by nature—she stands up for the best causes and never backs down—but she is also gentle and kind and is the first one to comfort you and put her arm around you and remind you that nobody is perfect. She also publishes with so many houses that she seems to have her finger on the pulse of what is happening in the book industry, which is also helpful and interesting. It’s a relief to know you aren’t the only one who is required, after a lifetime career of freedom, to now jump through hoops of fire and stand before committees of marketing people and make a case for a book that you know will be a shoo in. There you go. Jane says it is happening almost everywhere. We are all in cages, and we are probably all uncomfortable being inside of them….

Last summer I took my then-17-year-old son to Scotland where Jane lives in the summer. She has always had her husband, David Stemple, by her side, and it was strange to have him missing. Of course I flew east for the memorial service, but as Jane took us on a tour of the castles and highlands and the fishing villages, memories of David, and what David did and thought and saw, were all around us.

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Jane is small but she is very, very, very brave.

It was a precious trip to stay at her beautiful home, Wayside, and since my son was a serious water polo player, and St Andrews has a good water polo team, it was worth checking out and meeting the coach (who could not have been more friendly and more encouraging). But St Andrews is a place that is very unlike Santa Monica (huge understatement here!), and the cold, and rain, and distance from a city would have been a mistake.  We loved the colors of August in Scotland and took the train with Jane back to Edinburgh and played and explored there for two days while the Fringe Festival was going on.

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My son was little when I came up with the idea of How Do Dinosaurs Say Good Night?, and Jane was the perfect person to write the book. I have already gone into some detail about how that book—and the eight that have followed—came into being, so I won’t write more about them tonight. What I will say is that Jane writes them with an uncanny sense of the things that matter most to children. I am guessing it is just her innate sense of young people more than it is all the time she spends with grandbabies (which is considerable, too).

We are finishing up How Do Dinosaurs Stay Safe? for next March, and I have high hopes that the book will start a dialog among parents and children about more worrisome dangers than those I can print in that book. But it has been a great deal of fun to make them all, and I believe each one contributes something very special to children. They are fun and funny and lighthearted, but they also offer children help with an issue such as feeling mad, or feeling love, or going to school, or going to the doctor, and it’s a grand time to share all those dinosaur antics and mischief with a little one.

It’s late tonight, and I am getting sleepy. I wish I were at Wayside right now so I could take a bath in the especially long bathtub upstairs, walk down the hallway in my pajamas, and give Jane a good-night kiss.

I’ll do that from afar.

Thirty years of stories. And I can only take a snapshot here or there. That will have to be enough of a scrapbook for now…..

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The Genius Club: Memorable Remarks from Memorable Writers

Every day something enters my mind that was said to me by a writer or illustrator I’ve published. 

“There is no such thing as a bad scene–just a badly written scene.”  –Cynthia Voigt (about The Glass Mountain, adult)

(Speaking on an ALA panel) “Every time a question about race is asked, all of you turn to me to answer it. Why is that? Am I the only person here who has any kind of racial or ethnic background?” –Virginia Hamilton (followed by a long moment of silence) (Plain City; Time Pieces; Her Stories; In the Beginning; etc.)

“There is no such thing as a coincidence.”  –Leo Dillon (If Kids Ran the World; Aida; Pish, Posh; Rap a Tap Tap; The Girl Who Spun Gold; To Every Thing There is a Season; etc.)

“We know there will be always be people who won’t like the book we’re making, so we may as well make a book we like ourselves.”–Diane Dillon (about If Kids Ran the World)

“Moderation in all things, including moderation.”  –David Shannon (No, David!; Duck on a Bike; Too Many Toys; Jangles; etc.)

“That shows maturity, when you’re beginning to notice the insecurities of other people.” –Arnold Adoff (Flamboyan; In for Winter, Out for Spring)

(After I asked him the location of Hidden Valley, where he had just moved) “If I told you, then it wouldn’t be hidden, would it?” –Harry Nilsson

“Let’s make a funny blog about the worst dates we’ve ever had, and all our bad boyfriend experiences.” –Dawn Barnes (laughing) (The Black Belt Club)

(As he’s about to step on stage at Irvine Meadows, we skid up to him, late to the concert because of my young son’s Little League game.) “Bon, don’t hug me because I’m all covered with wires!  (He laughs and turns to my son.) I heard )you had a big game tonight. And you played second base. Did you catch any fly balls? (My son, looking out at 16,000 screaming fans, is speechless.) Hey, I like that Red Sox cap. I like the Red Sox, too.” –Jimmy Buffett (concert while working on A Salty Piece of Land)

“Love is the path to forgiveness.” –Audrey Wood (Blue Sky; A Dog Needs a Bone; It’s Duffy Time; etc.)

“Whistle while you work.”  –Don Wood (Merry Christmas, Big Hungry Bear; Into the Volcano; Jubal’s Wish; etc.)

“Look at that man’s eyebrows!”  –Karen Barbour, who notices everything (Little Nino’s Pizzeria; A Sip of Aesop; You Were Loved Before You Were Born; etc.)

“Are you sure you want to leave a toy gun instead of a tip?” –Barry Moser (The Dreamer; When Birds Could Talk & Bats Could Sing; In the Beginning)

(When I asked her how she writes such impressive speeches) “I always prepare. Always.”  –Jane Yolen (How Do Dinosaurs Say Good Night?)

“It’s catnip for boys.” –Mark Teague (about The Tree House that Jack Built)

(After I bragged that there was a blackout at the Algonquin Hotel, but I managed to grope through the room and find my high heels for dinner) “Look at your shoes. One is blue, and the other one is black.”  –Virginia Hamilton (The Bells of Christmas)

“Your son is the golden retriever of children.”  –Edward Gorey

(After I asked her how she was able to write an utterly believable scene where three angels appear in an ordinary American kitchen) “It’s the details.” –Nancy Willard (about The High Rise Glorious Skittle Skat Roarious Sky Pie Angel Food Cake)

“The problem with illustrating this book is drawing and coloring all that plaid!” –Chuck Mikolaycak (about Tam Lin)

“People always tell you what you need to know about them–right away. It’s just a matter of whether or not you’re willing to listen.”  –Steve Faigenbaum

(After I blurted out that I was intimidated by working with a writer who was Poet Laureate and had won two Pulitzer Prizes)  “That’s the nice thing about teaching at Harvard. You have to read the classics because you teach them. But I still haven’t read Anna Karenina.” –Richard Wilbur (adult)

“She pulled her lips back and snarled. Then she said, ‘I hate that book. It’s the only thing I ever wrote for money.'” –Barry Moser (telling me about his meeting with Miss Eudora Welty after I asked him to illustrate her long out-of-print children’s book called The Shoe Bird)

“I’d like to wear her guts for garters.” –Robin McKinley (The Light Princess)

“I don’t care what Harcourt wants me to do. I am leaving this party. Madonna’s concert is on TV.” (And when I asked her what she loved so much about Madonna she said:) “You never know what she’s going to do next. Never.”  –Virginia Hamilton (In the Beginning: Creation Stories Around the World)

(Talking about her cat, Blueberry, who had chosen to spend the night with her downstairs instead of upstairs in the big cozy bed where I had slept as the honored guest) “I was worried he would go sleep upstairs, because he’s used to that bed, but no, he came down  here and stayed with me.”  –Cynthia Rylant (my first visit, in Kent, Ohio) (Dog Heaven; Mr. Putter and Tabby; The Dreamer; Poppleton)

(Showing me a diagram he’s made on a napkin at our table at a Mexican restaurant) “Responsibility is here (he points to one end of the line), and surfing is here (he points to the opposite end of the line). I’ve spent the last two years at Art Center trying to get those surf colors out of my art.” (about the possibility of illustrating Jimmy Buffett’s first book, The Jolly Mon, which was all island, ocean colors)

“Just do the work.”  –Leo Dillon (To Everything There Is a Season)

“Bonnie, please come out from under the table.” –Dav Pilkey (The Adventures of Captain Underpants; The Dumb Bunnies; The Hallo-weiner; Ricky Ricotta’s Mighty Robot; Ook & Gluk)

“I would love to become a member of the Hearts Club.” –Michael Rosen (A Thanksgiving Wish)

“I used paper that’s recycled from elephant dung.” –Richard Jesse Watson (The Magic Rabbit)

“It’s the way the green and red vibrate.” –Lois Ehlert (about the cover of Growing Vegetable Soup)

“We do not approve of our food product being used on your book.” (Hormel Foods Corporation, manufacturers of SPAM, which was sitting on a table in the “Good Night Moon Room” cover of Dav Pilkey’s The Dumb Bunnies.) “We deny you permission to use it.”

(After I asked him why he drew a different dinosaur on every spread of the book) “It was too boring to draw an entire book of Tyrannosaurs.” –Mark Teague (How Do Dinosaurs Say Good Night?; The Tree House that Jack Built; LaRue for Mayor; etc.)

“If we don’t stop putting carbon into the atmosphere, we run the risk of climate change so drastic that the path of the Gulf Stream could change.” –Molly Bang (about her five books in the Sunlight Series, which began with My Light)

(After flying me into New York on his seaplane so I could get to work on time) “It’s worse than heroin.” –Jimmy Buffett (about the addiction of flying in seaplanes, while working on Swine Not?)

“Every year my grandfather sat us all down and told us the story of how he and his mother escaped from slavery in Virginia–so we would never forget.” –Virginia Hamilton

“This manuscript has to be published exactly as it is, without a single change. If you feel the need to change anything,  I will have to withdraw it and send it elsewhere.”  –Cynthia Rylant (in her cover letter enclosed with the manuscript Appalachia: The Voices of Sleeping Birds which happily was flawlessly written and did not require as much as a comma)

“I love Christmas.” –Bruce Wood (after inflating and enormous Santa suit that made him bigger than a VW bug) (Alphabet Mystery; The Deep Blue Sea; Ten Little Fish)

“Did I tell you that my friend Debra Frasier wrote a children’s book? And Crown Publishers is interested. Their sales rep saw it and sent it to New York, and they’re going to publish it.” (my sister JoAnn, on the phone) “Why didn’t you tell her to send it to ME?” (I ask, frustrated.) “OK, I will.” (JoAnn is a photographer and very close friends with Debra’s husband, who is also a photographer; Debra created the banner’s for Jo’s wedding. So Debra sends the dummy  to me, and although Crown is making her an offer, I am nuts-cuckoo-crazy about the book and persuade her to do it with me at Harcourt. That was On the Day You Were Born. Thanks, Jo!!!)

( During an interview, Jimmy Buffett was asked about several very attractive women characters in Tales from Margaritaville who were passionate but also very kind to their male lovers–and when it was time for the male lovers to say good bye and head off on another adventure, the women understood and warmly wished them well.) “Where do you find these women???” the interviewer asked. And Jimmy, with a pirate’s laugh, said, “It’s fiction! I make them up!”

“When I was little, I always wished I had a big robot friend.” –Dav Pilkey, about Ricky Ricotta’s Mighty Robot

 

(to be continued…)

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