By PAMELA PAUL, New York Times,Published: September 16, 2011
The stylistic eccentricities of Maurice Sendak, Shel Silverstein and Theodor Geisel, a k a Dr. Seuss, are so much a part of the childhood vernacular today that it’s hard to imagine their books were once considered by some to be wholly inappropriate for children.
Above left - From Maurice Sendak’s ‘In the Night Kitchen’
Yet these three authors — who each have a new book coming out this month in what can only be described as a Seussian coincidence (“But, see! We are as good as you. Look! Now we have new books, too!”) — challenged the conception of what a children’s book should be. And children’s literature, happily, has never been the same.
Once upon a more staid time, the purpose of children’s books was to model good behavior. They were meant to edify and to encourage young readers to be what parents wanted them to be, and the children in their pages were well behaved, properly attired and devoid of tears. Children’s literature was not supposed to shine a light on the way children actually were, or delight in the slovenly, self-interested and disobedient side of their natures.
Seuss, Sendak and Silverstein ignored these rules. They brought a shock of subversion to the genre — defying the notion that children’s books shouldn’t be scary, silly or sophisticated. Rather than reprimand the wayward listener, their books encouraged bad (or perhaps just human) behavior. Not surprisingly, Silverstein and Sendak shared the same longtime editor, Ursula Nordstrom of Harper & Row, a woman who once declared it her mission to publish “good books for bad children.”
Theirs were books that taught the wrong lessons and encouraged narcissistic misbehavior. In “Where the Wild Things Are” (1963), Sendak’s masterpiece, a child chases his dog with a fork and yells at his mother — only to be crowned king and served a hot dinner. “I developed characters who were like me as a child, like the children I knew growing up in Brooklyn — we were wild creatures,” Sendak said recently in a phone interview. “So to me, Max is a normal child, a little beast, just as we are all little beasts. But he upset a lot of people at the time.”
These were books that glorified absurdity and made children laugh at the wrong things. “There’s too many kids in this tub,” begins one Silverstein rhyme, “I just washed a behind / That I’m sure wasn’t mine / There’s too many kids in this tub.” Even the grammar is wrong.
Full story at New York Times.
Seuss, Sendak and Silverstein ignored these rules. They brought a shock of subversion to the genre — defying the notion that children’s books shouldn’t be scary, silly or sophisticated. Rather than reprimand the wayward listener, their books encouraged bad (or perhaps just human) behavior. Not surprisingly, Silverstein and Sendak shared the same longtime editor, Ursula Nordstrom of Harper & Row, a woman who once declared it her mission to publish “good books for bad children.”
Theirs were books that taught the wrong lessons and encouraged narcissistic misbehavior. In “Where the Wild Things Are” (1963), Sendak’s masterpiece, a child chases his dog with a fork and yells at his mother — only to be crowned king and served a hot dinner. “I developed characters who were like me as a child, like the children I knew growing up in Brooklyn — we were wild creatures,” Sendak said recently in a phone interview. “So to me, Max is a normal child, a little beast, just as we are all little beasts. But he upset a lot of people at the time.”
These were books that glorified absurdity and made children laugh at the wrong things. “There’s too many kids in this tub,” begins one Silverstein rhyme, “I just washed a behind / That I’m sure wasn’t mine / There’s too many kids in this tub.” Even the grammar is wrong.
Full story at New York Times.
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