I was driving Phoebe to school on Wednesday morning – she had to be at her desk by 7:30 for a field trip to Ellis Island or else – when I told her that Shaun Tan had sent us a guest post about his formative books for kids. What do you want me to tell people about Shaun’s books, I asked her. What should they know?
His pictures have a lot of feeling, she said.
Okay, I said. But what do they make you feel?
I think about them when I’m daydreaming, she said. Can you stop asking me questions now?
If you got a copy of 121 Books last week — the little book that Jenny and I gave away here last week — you might have seen Shaun’s book, Tales From Outer Suburbia, sitting there at #91. What you didn’t see was what the book actually looks like. I’ll start with the cover, which is as evocative and alluring an image as I can recall on the cover of a book. I remember seeing a review of this one in the New York Times Book Review a few years ago and looking at that cover, and thinking: I want to climb inside that book. And once you do, a similarly strange, exquisite, odd, absurd, whimsical, mysterious world awaits. Tales From Outer Suburbia is a collection of stories about, well, about a lot of things, including: a stoic water buffalo who lives in a vacant lot; a tiny stick figure-ish, possibly alien foreign exchange student who sleeps in a teacup and asks to be called, perfectly, Eric; two brothers who argue over whether the earth simply ends at the edge of the map, and then set out on a journey to find out who’s right; and a story with the stunningly great title, “Broken Toys,” that contains the following two stunningly great sentences: “Well, we’d certainly seen crazy people before — ‘shell-shocked by life’ as you once put it. But something pretty strange must have happened to this guy to make him wander about in a spacesuit on a dead-quiet public holiday.” How do you not want to read that?
Anyway, if you want to see what Phoebe was talking about re: the emotional punch — the feeling — of Shaun’s art, check out some of his work. He did a wordless book, The Arrival, whose soulful beauty kind of defies description. He did a picture book, The Lost Thing, which he then turned into a fifteen minute short film, which then won a little known prize called AN ACADEMY FREAKING AWARD. (You can see it here.) The pleasure of having someone this talented on Dinner: A Love Story never gets old — for us, at least — and I hope you enjoy Shaun’s recommendations. What I love, in particular, is that Shaun – being an Australian, and an artist — has so many books below that I’d never heard of, and have now ordered. That, and I also love his use of the word “carnage.” Enjoy. — Andy
I should begin this list with an early “mistake” made by my mother when it came to bedtime reading. She herself did not grow up in a literary household: in fact, as a kid, I was fascinated by the sheer absence of books, or even paper and pencils, in my grandparents’ house – books just weren’t part of their world. Perhaps for this reason, our Mum felt her own children should be exposed to as many books as possible, but at the same time was not guided by (a) experience, or (b) the kinds of lists you find on websites like this. If it looked vaguely interesting, Mum would read it to my brother and me at bedtime. One such title, read to us when I was 7 or 8, was an apparently charming fairytale by some guy named George Orwell: “Mr. Jones, of the Manor Farm, had locked the hen-houses for the night, but was too drunk to remember to shut the pop-holes…”
We were all hooked (and, frankly, a bit unsettled) from the outset, so there was no turning back. My brother and I looked forward to each progressively disturbing chapter: conniving pigs, brainwashed sheep, a horse carted off to something called a “knackers” – poor Mum, having to field all of our questions. I asked her recently about this, and she remembers being increasingly anxious about how the story “might affect your young minds” – yet we voted to keep going (bedtime reading should always be democratic). Of course, the book ends with the pigs celebrating their triumphant depravity, and Mum was very worried about that. As for me, I just thought it was terrific. And it was no more disturbing than stuff I witnessed at school every day, with our occasionally cruel kids and less-than-perfect teachers – I thought Orwell was right on the money. I’d never thought about a story so much after it was read. From then on, I began to appreciate unresolved endings, and to grow tired of the less-convincing, moralizing stuff that kids were being fed in suburban Australia, where I grew up. I realized books weren’t just for entertainment, that they could say something. Animal Farm – along with Watership Down and Gulliver’s Travels –profoundly influenced my development as an author and illustrator. Most specifically, The Rabbits, an allegory about colonization written by John Marsden and illustrated by me. That was quite a controversial book when it was published — and was even banned in some Australian schools – yet very young children seem to enjoy and understand it quite deeply; they grasp, somehow, the hidden optimism that adults often miss. That continues to surprise and delight me, the ability of children to find silver linings in grim stories.
I don’t have children, and don’t specifically write/paint for them. Maybe that’s why kids like my work! I just think of them as smallish people who are smart and creative, and honest in their opinions. So when I think about what makes a great children’s book, I tend to think of books that achieve universality, the widest possible readership – books that appeal to us, from toddlers to geriatrics, in a primal way, and can be understood on many different levels. Picture books are particularly great for this, because they’re concise and easily re-read; they often invent their own narrative grammar, as if you are learning how to read all over again.
My interest in picture books only came about later, as an adult artist, as I was moving from painting into commercial illustration and looking for interesting work. The book that really got me interested in picture books — professionally, I mean, in that “Hmmm, I’d really love to do something like that one day” kind of way –was A Fish in the Sky, written by George Mendoza and illustrated by Milton Glaser. (Even if you don’t know Glaser’s work, you almost certainly do. He’s a legendary (more…)