text:
Q Newsdesk
Police are investigating reports of a suspicious approach to two young girls in East Belfast yesterday evening.
A man is alleged to have made a lewd remark to the 10 and 11 year olds in Orangefield Park at around 4.30pm.
It's claimed he also tried to grab one of the girls by the arm.
A PSNI statement said:
"Police are appealing for witnesses after a man made a suspicious approach to two girls in Orangefield Park in East Belfast."
"At around 4.30pm on Friday 2 August the girls, aged 10 and 11, were approached by a male who made a lewd remark and attempted to grab one of the girls by the arm."
"The suspect is a white male in his mid to late twenties, around 5' 10" tall with dark hair and a goatee. He's described as being tanned and was wearing shorts and a white t-shirt with grey camouflage on the sleeves."
"Anyone who was in the area and who saw this male or witnessed the interaction with the girls is asked to contact police on 101."


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Other Products
The Pal Experience
Scenes & Routines

subset: commoncrawl


text:
WASHINGTON (AP) — A lawyer for a Connecticut woman killed by police after a car chase outside the U.S. Capitol is requesting a Justice Department investigation.
Attorney Eric Sanders says in a letter that he believes officers who shot Miriam Carey mishandled the encounter and should be criminally prosecuted.
Police have said Carey tried to ram her car into a White House barrier on Oct. 3, then led officers on a chase that ended with her being killed near the Capitol. Authorities say officers with the Capitol Police and the Secret Service fired shots.
Police records show Carey previously told police that government cameras kept her under surveillance and that President Barack Obama communicated with her.
The D.C. police department is investigating the use of force, which is standard protocol for police-involved shootings.
(Copyright 2013 by The Associated Press. All Rights Reserved.)


text:
It's a PC.. It's a Breadbox.. It's a PC in a Breadbox!
It's a PC.. It's a Breadbox.. It's a PC in a Breadbox! news post from TweakTown's online news computing and technology content pages.
Published Mon, Sep 30 2002 1:12 PM CDT | Updated Tue, Jun 16 2020 4:29 PM CDT
I've seen all sorts of wacky ideas, but this one takes the loaf! Yeah, I know.. corny. In any case, the crew over at SilentPCReview show us a very interesting mod!
More information @ SilentPCReview
I spotted a cheap and cheerful plastic celebration of modern life in a large bin at an IKEA store. The label on the bin read: Breadbox $6.50. As I checked its dimensions with one of the paper measuring tapes IKEA offers customers who don't bring their own, a teenager ran up, grabbed a breadbox, and yelled to his friends nearby, "Hey, lookit my new iMac! Hahahahahaha!" That was good enough for me. I bought one. The picture above shows the end result some 10 days later. It's a complete PC in a breadbox.
More information @ SilentPCReview


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Dear Foodie,
It's time to take your taste buds on a vacation they'll never forget.
Food & Wine Events
Dining Deals
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Naples Originals is a group of independent, locally-owned and operated restaurants that offer a broad range of culinary style, service and ambience....More Info
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One of the Florida Everglades Best kept Secrets, Havana Cafe' is a delicious change of taste, specializing in Cuban-American food on Chokoloskee Islan...More Info


text:
Gizmo Garage
Event box
Need help using eBooks, eAudiobooks, and digital magazines from the library? Come to our Gizmo Garage for hands-on experience with devices and in-person assistance with library downloads. Every 2nd Saturday of the month from 3 -- 4 p.m. Please bring your library card, device and /or laptop.


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Tibet - Preparation for the Future (II)
March 23, 2009
By Tsewang Namgyal
March 22, 2009 17:20]
As we commemorate 50 years in exile I took the
opportunity to reflect on the work of the Tibetan
Government in Exile (TGIE) and think how it can
do even better. The organization has successfully
set up schools/hospitals/monasteries in exile;
democratized our government; bought Tibets
attention to the world; put pressure on the
Chinese government to make sure Tibetans in Tibet
are treated humanely and worked hard to negotiate
a mutually beneficial agreement with the Chinese
government to name few concrete achievements. As
a Tibetan, it is not difficult to feel a deep
sense of gratitude and humility. All of us
Tibetans have greatly benefited directly or indirectly from TGIE.
Naturally, we all have a responsibility to make
sure the organization continues to succeed. Our
Buddhist culture reminds us through the teaching
of dependent arising that TGIE does not
inherently exist. Success or failure of the
organization is in a certain ways a reflection of oneself.
The organization now faces many old/new threats
and opportunities. Much of these I believe can be
mitigated and leveraged if TGIE continues to
attract high caliber individuals, think
creatively, strategically position itself and
move boldly. In analysis of our history, current
situation and experience of other countries I
believe one of the greatest threats and
opportunities we face are from the forces of
differing internal factions. Here I would like to
humbly share some thoughts related to it in case
aspects of it maybe of some use.
Internal Threats
With internal factions here I refer to those
driven both by religion and politics. In our
community, the religious aspect of factions has
mainly come in the form of selection of
reincarnate Lamas and sectarian issues. The
political factions have been primarily driven by
provincialism, personalities, ideology and tactics.
The challenges and benefits of internal factions
are not unique to our community. This was an
issue that the American founding fathers had
considered and they have in turn discussed
methods on how to deal with it as illustrated on
a commentary written by Americas fourth
President James Madison in the Federalist # 10
"By a faction, I understand a number of citizens,
whether amounting to a majority or a minority of
the whole, who are united and actuated by some
common impulse of passion, or of interest,
adversed to the rights of other citizens, or to
the permanent and aggregate interests of the community.
There are two methods of curing the mischief of
faction: the one, by removing its causes; the
other, by controlling its effects.
There are again two methods of removing the
causes of faction: the one, by destroying the
liberty which is essential to its existence; the
other, by giving to every citizen the same
opinions, the same passions, and the same interests.
It could never be more truly said than of the
first remedy, that it was worse than the disease"
The second expedient is as impracticable as the
first would be unwise. As long as the reason of
man continues fallible, and he is at liberty to
exercise it, different opinions will be formed."
Without structural reforms internal factions in
our country has the potential to give a fatal
blow to TGIE. Currently, with the leadership and
respect of/for HHDL, I believe we have been able
to control much of the negative aspects but in
the future this will be very challenging.
Religious Factions
Buddhism since its entry to Tibet has greatly
enriched our country. We Tibetans have been able
to develop a unique culture and the ideology has
bought us all much happiness. To discuss the
benefits of this great teaching and kindness of
all our beloved teachers will comprise of many books.
On March 10, 2009, HHDL mentioned in his
Statement that, "in our efforts to realize the
cause of Tibet and uphold its religion and
culture, we should craft our future vision and
strategy by learning from our past experience."
Our history has shown that the mix of religion
and politics in Tibet had made the country very
vulnerable to manipulation by outside forces and weakened her politically.
To illustrate this case, between the reign of the
eighth and twelfth Dalai Lama (about 150 years),
Tibet was ruled by Regents and other officials
due largely to the premature deaths of several of
the Dalai Lamas. During this period the Gurkhas
and Manchus were both able to exploit the
situation occasionally pretending to be patrons
of our Tibetan Buddhist leaders.
To share a little more detail, in 1775 under the
pretext of settling a dispute between brothers of
the then Panchen Lama the Gurkhas attacked Tibet
and plundered its monasteries. This in turn gave
the opportunity for the Manchu troops to enter
Tibet on the pretext to stop the Gurkha attacks.
With the help of the Manchus, the Tibetans were
able to regain their lost territories while
giving the Manchus much influence in the region.
The Manchu emperor Chien Lung further attempted
to increase his authority by initiating the
lottery system to select the Dalai Lamas and
Panchen Lamas. To this day the lottery system is
used by the Chinese government as a weapon.
Separately, in the beginning of the last century
much discussion was held in the selection of our
Regent. According to Warren Smith in his book
Tibetan Nation, After the death of the
Thirteenth Dalai Lama, lay officials of the
Tsongdu suggested a Council of Regents of two or
three members" The system of monastic regents had
been proven to have its faults; past regents were
either excessively other worldly or so enamored
of power that their involvement in the premature
deaths of several Dalai Lamas was suspected
(231). Despite these concerns, Reting Rimpoche
was selected and he held much of the spiritual
and political power. His later power struggle
with Taktra Rimpoche, Sera war and eventual
controversial death proved the fears of the Tsongdu.
In recent years there is much discussion about
our leadership post HHDL. Rather than considering
on quick fixes it is critical that we review our
past experience. If we are not able to learn from
history, we are likely going to enter into another period of chaos.
It is true that mixing religion and politics has
its benefits. Most importantly it is a strong
unifying force and for many of us it is our
appreciation of our religion that inspires us to
make Tibet politically strong. However, I believe
we need to think deeper, longer term and more
strategically to find ways how we can capture the
benefits of our current mix of religion in
politics without compromising our entire position.
I humbly believe the only long term solution to
resolving religious factions by TGIE is through
secularization. The concept is not a new one. In
fact one of the reasons why I feel it is a
solution is that it has proven to be very
effective in other countries and adopted by most
countries in the modern political world. In the
past, Tibetan intellectuals have called for
secularization and few thoughtful articles have
been written on the subject in Phayul.com.
Through separation of religion and politics it
will allow our political leaders to focus on
politics and our religious leaders focus on
spiritual matters. If not, our political leaders
will be forced to make religious related
decisions like endorsing reincarnate lamas. Our
political leaders in general are not qualified to
make spiritual decisions but also this would be a
distraction to their normal work of running a
government. In addition, making such decisions
would alienate large sections of populations on
religious lines when they share the same political goals.
Similarly, our religious leaders maybe forced to
wear a political hat something that they may have
no interest or qualification. In addition, they
maybe unable or not able to make decisions that
may not conform to their religious vows. For
example to make extreme decisions related to
whether to use violence as a mean or how to
revitalize the economy that may make political
economic sense but not necessarily meet spiritual guidelines.
I would like to note that secularization does not
mean our Sangha should not be able to participate
in politics or Buddhism should have no influence
on Tibet. In fact, every Tibetan should be
encouraged to actively participate in the
democratic process. HHDL is a living proof that
Buddhist monks can make great politicians. Also
Buddhist values like compassion and protecting
the weak should influence our politics similar to
the way Quakers have influenced the US constitution.
In addition, I believe secularization with
Tibetan characteristics should also consider
having HHDL as a nominal leader like the King of
Thailand or Queen of England to unify the
community and act as a moral force. However, the
real power should always lie with the
democratically elected leader for a fixed period of time.
On the subject of selecting the next HHDL, I
believe this should be kept a strict spiritual
matter. Personally, I still fail to understand
how political leaders whether Tibetan or Chinese
can play a role in such a decision. If we need
someone to do a heart surgery one will look for a
heart surgeon. It would be preposterous to select
someone based on their ethnicity or political power.
Selection of the Dalai Lamas is even more
complicated than heart surgery and requires skill
sets that are even more specific. I note many
well motivated Tibetans are forced to think of
out of the box solutions to prevent the Chinese
government from trying to exploit the situation.
However, after careful thought I fear
politicization of it whether from Tibetan or
Chinese side for political purpose will demean
the institution of the Dalai Lama and history
will question the future credibility of the Dalai
Lamas. I feel this decision must be left to our
wise spiritual teachers and the oracle.
Finally, although I believe secularization is the
best mitigant I believe there is a great danger
if our effort to try to separate religion from
politics is not executed properly. The medicine
has the potential to be more harmful than the disease itself.
We are a very religious community and based on
our current condition it is clear our political
sophistication level is relatively lower compared
to our passion. Manipulators (whether instigated
by the Chinese government or those who naively
feel they are protecting our precious teachings)
can knowingly/unknowingly create rift between
secular and religious forces. Therefore it is
critical that if in the future we do look to
become a true secular government the proper
tactics we adopt in executing the vision is as critical as the goal itself.
The main tactic I believe should be to focus on
the benefits of secularism and not mistakes of
our past. Such reflections would likely lead to
defensive attitudes rather than looking
optimistically towards the future. In addition,
one of the pre conditions to moving forward is to
first have the full endorsement and backing of
all the heads of our different religious schools before we act on this path.
Buddhism and Political world
Buddhisms mix with politics has its own unique
challenges. Granted there is much wisdom in
Buddhism that we can get guidance politically
especially the teachings related to compassion,
impermanence and dependent arising. However, I
feel there are two key differences between the
Buddhist and political world that we should be mindful.
For a Buddhist, in ones spiritual practice the
right motivation is critical. Without proper
motivation ones actions is tainted and efforts
near useless. This makes sense because the goal
of a Buddhist is to transform ones mind. How can
one move forward in ones spiritual practice if the brakes are on?
In politics motivation is not the key but the end
results. A resourceful and educated politician
has a greater chance of bring practical benefits
to a community than a kind and well intentioned politician.
Just as an entrepreneur opens a restaurant not
necessarily to feed the public but to make money.
A politician may run for office not necessarily
to benefit a community but for his/her love for
power or for other selfish reasons.
We should not view motivation as a litmus test
especially in a future Tibet where politicians
will be driven for less than altruistic reasons
when there is a real personal benefit that one
can generate in running for office. In short we
should not expect our politicians to be
Bodhisattvas but real people with human flaws.
Being mindful of this I believe we will better
able to prioritize our interest in selection of
our political leaders. Hopefully we will find
ones that have the best of both worlds but in our
selection of our leaders we should give proper weight as we make choices.
Nature of humans
Our spiritual teachers remind us that all
sentient beings have been our mothers. In
addition, we are taught that we all have the
Buddha nature. These teachings help us to
empathize with others, develop equanimity and
generate compassion. This is key for our
spiritual practice because without the foundation
of compassion true spiritual wisdom is impossible.
However, in the political world it is better to
assume the negative aspects of human nature. This
is critical because assuming the worst of humans
it allows us to put in place a robust system to
protect society from the worst aspects of human nature.
In our community, we occasionally hear
allegations of corruption of certain TGIE
government officials and leaders of certain NGOs.
Our lack of proper system has unfortunately
fueled a mob like environment in which
individuals are judged in the world of public
opinion. Many a time good and bad individuals are
accused and the system can be easily used to settle personal scores.
Many of those who launch the accusations,
normally anonymously, are likely driven by the
right motivation but without understanding of the
whole story. In the future if we are able to set
up a more transparent system with appropriate
checks and balance based on the worst case of
human nature we will be more likely to reduce
future problems. In addition, people who have
credible evidences of wrong doings by any public
figure should be encouraged (if not rewarded) to
speak out as we have a right considering many of
the officials are paid staff and it has an effect
on all of us. However, the call should be for
independent investigation by qualified
individuals and a transparency of the end results
like it is done in a mature society.
This will most importantly clear the names of
individuals who have been wrongly accused. Those
who have actually hurt the public trust should be
appropriately disciplined. Such a system would
also allow farsighted government officials to
take calculated risks. When success is not
appropriately recognized in proportion to the
potential condemnation of failure fear will
prevent people from taking even low. It will also
place our public figures on a defensive mode
which will prevent excitement, creativity and energy.
Political Factions
Pre 1959, conflicts among the different political
factions were one of the primary factors that
prevented Tibet from modernizing. Factions spent
much of their time destroying each other and
manipulating the Tibetan government. To name a
few cases: (i) neutralization of the Drog Drag
regiment and false accusation of Kunphela on the
death of the XIII Dalai Lama; (ii) arrest of
Lungshar with allegation of attempting to
overthrow the Tibetan government; (iii)
Reting/Taktra power struggle; (iv) flogging and
banishing of Khyungram and (v) persecution of
Gendun Chopell are all case illustrations of this point.
For more details of this period I personally
found helpful reading the works of Shakabpa,
Tsepon W. D. Tibet: A Political History,
Goldstein, Melvyn C. A History of Modern Tibet
1913 1951, and Smith, Warren W. Tibetan Nation.
In our community today as indicated earlier we
have different factions mainly driven by
provincialism, personalities and differing
visions for a future Tibet. As of now, greatly
due to HHDL influence, the factions have not been
able to manipulate TGIE. In the future in the
absence of HHDL and without urgent structural
changes, there is a grave danger that factions
may manipulate the public, marginalize/demonize
TGIE depending on their needs and create a rift
between the TGIE and the community. This would be
particularly dangerous if the factions are well organized and capitalized.
Communisms solution to factions have been
through (i) taking away the liberty of others and
(ii) through an effort to create a utopian
society where everyone thinks alike and is equal.
Needless to say this has not succeeded as it goes
against the very nature of the human mind and
discourages innovation/hard work. Adoption of
such tactics has created suffering for all those who have been affected.
The first step I believe TGIE should take to
mitigate the negative forces of faction is to
have clear generally acceptable goals. The goals
should not create a perception of threat to any
faction. Personally, I believe the focus of TGIE
should be through a transparent platform (i)
invest equally (via education and guidance) in
every Tibetan so that they can succeed to their
full potential; (ii) protect the weak and old;
(iii) become largely financially self sustainable
through revenues from within the community; (iv)
diversify geographically our power base; (v) find
a just solution with the Chinese government; and
(vi) empower our community so that they are ready
to execute any fair political agreement.
Secondly, unlike the tactics to handle religious
factions or by communistic means, TGIE should
welcome political driven factions as long as it
is not illegal or immoral. TGIE should encourage
factions to focus on specific problems depending
on their expertise, encourage debates and the
government should give fair hearings to different
factional forces. The organization should
creatively think of ways to see how they can use
the factions to either cooperate or compete among
each other to benefit our society and accomplish TGIEs strategic goals.
One place for inspiration and guidance I believe
is from Americas founding fathers. To quote
President Madison, ambition must be made to
counteract ambition. The interest of the man must
be connected with the constitutional rights of
the place. It may be a reflection on human
nature, that such devices should be necessary to
control the abuses of government In framing a
government which is to be administered by men
over men, the great difficulty lies in this: you
must first enable the government to control the
governed; and in the next place oblige it to
control itself. A dependence on the people is, no
doubt, the primary control on the government; but
experience has taught mankind the necessity of
auxiliary precautions (
As indicated above, TGIE in order to continue to
stay legitimate they should make sure that the
organization itself governs itself, has the
appropriate internal checks/balance and represents the people.
Pre 1959 the various factions were led by very
capable individuals, not necessarily bad people.
If their energy was instead channelized properly
they could have greatly strengthened Tibet. For
example if the government was able to find a way
to make Kunphela and Lungshar work
collaboratively this itself would have made much
difference in the modernization of Tibet. Both of
them were very visionary politicians and cared much about Tibets future.
In the future TGIE will again come across
visionary and ambitious individuals like Kunphela
and Lungshar. The organization will also face
powerful factions. Viewing factions as friends,
through proper tactics and skillful execution
TGIE can use this energy to enter into even greater heights.
Through my father I had the opportunity to get a
glimpse of TGIE officials daily sacrifice and
the sense of joy they feel through their work.
All of us make our own efforts in our different
ways depending on our skill sets. However,
undoubtedly TGIE is our spine. It is critical,
while we continue to keep a watchful eye on our
government officials, we must continue to show
our officials the utmost respect and provide
support whenever possible. They deserve it.
Equally important unless we do this we will not
be able to attract future great talents to serve
the administration. Without qualified people the
organization will eventually die.
Shantideva used the beautiful metaphor that
covering ones feet with leather sandals is the
same as covering the entire world with leather.
He used this metaphor to indicate that if we are
able to restrain our mind it is the same as
restraining external phenomena. Similarly, I
believe if TGIE is able to make the right
structural changes and strategically position
itself this would be the same as neutralizing
much of Tibets external threats and leveraging outside opportunities.
The author is an MBA graduate (Beta Gamma Sigma
Honor Society member) from the Thunderbird School
of Global Management and currently works in the
Investment Banking field in New York City.
Besides his regular work, Tsewang has traveled
extensively throughout the three provinces of
Tibet and provided consulting and voluntary
services to a number of Tibetan organizations. He
can be reached at firstname.lastname@example.com
World Tibet News
May 17, 2019
Chinese authorities in Tibetan Prefecture in Qinghai to drastically cut Tibetan language education
- Radio Free Asia
The CCP rewrites history in order to justify its repression of Tibetan language and culture.
- Bitter Winter
Tibetan man and his aunt sentenced for calling the release of Panchen Lama
- Radio Free Asia
China has been running global influence campaigns for years
- The Atlantic
2018 Annual Report on Human Rights in Tibet
May 2, 2019
Setting up astroturf "Tibetan Associations" in the West is China's latest ploy to mislead the world on Tibet
Three Tibetans Are Detained For Calling For Panchen Lama's Release
- Radio Free Asia
Report: Religious freedom conditions worsening in China
- Freebeacon
China is attempting a large-scale rewriting of history
- Telegraph India
Letter From Trudeau Supporting Pro-China Tibet Group Is Fake, PM's Office Says
- The EpochTimes
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Nobody wants to pay over the market price for a service, especially one that can be as costly as Maserati insurance.
As such, it pays to shop around and do your research.
Many elements shape the cost of car insurance, and things such as your age and your driving record can create a huge difference in rates.
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How Much Does Maserati Insurance Cost?
The cost of your premium is directly related to what car you drive and, as Maserati is considered a luxury brand, insurance will tend to be more expensive when compared to the average vehicle.
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Maserati Safety Rating & Damage Threshold
Generally speaking, the better the safety ratings of a vehicle, the lower the price of the insurance.
The Insurance Institute for Highway Safety, Highway Loss Data Institute has awarded the 2018 Maserati Ghibli ratings of "Good" in its four "Crashworthiness" categories, and a rating of "Basic" in its "crash avoidance & mitigation" category.
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Maserati Insurance Discounts
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I recently passed my test on my 1st attempt and my experience learning how to drive with Noah and Driver's Kool was a real pleasure. He is punctual, patient, informative, precise and I enjoyed every lesson. I would receive an email after my lessons pointing out routines and giving me a re-cap on the lesson that we covered and what we had to work on and also my strengths. I found this to be very helpful as when learning to drive grasping all the information in at one time can be difficult.
Noah gave me the confidence ability and is a very experienced and patient instructorLinda
I recently passed my driving practical test following a series of lessons with Drivers kool who I cannot recommend highly enough. The instructor (Noah) was spot on. Very knowledgeable about all aspects of driving and you could have a laugh with him but still take it seriously. Also the balance between focus on the bits I was not so good on as well as pointing out what I was doing well was very helpful with the process. The car was easy and quite enjoyable to drive and I could see myself noticeably improving with each lesson. The most important thing about it for me though was the flexibility to be able to fit it around my very hectic work schedule and still get in enough time driving to pass my test and be able to drive safely. Would happily recommend Drivers Kool to anyone.
I would like to say that driving with you was not only, educational obviously, seeing as it resulted in my pass but also fun and gave me long term skills and knowledge. I felt that the lessons you gave me were not only for passing the test but to enable me to become a good driver with an excellent understanding of all I need to have to be safe and skilled on any road in any situation.Dave
Following my recent success at passing my driving test on 3 December 2013, I would like to first of all thank you for getting me to this point, in what seemed to be a relatively short time. I thought that your feedback, evaluations and lesson recap e-mails were invaluable and really helped me to understand what mistakes I was making and enabled me to correct them and not make them again. I believe all of this without question, enabled me to pass first time.
I would definitely, without hesitation, recommend you and your driving school to anyone and everyoneTara
Noah had put all my fears to rest regarding passing my driving test. His confidence in me passing my driving test naturally gave me confidence in myself. Manoeuvres were made easy with the way I was given clear and precise focal points which were also adaptable to suit me. I took 2 hour lessons twice a week and was ready for my driving test in no time. I constantly recommend Driver's Kool to all my friends who are looking for driving lessons and would recommend Noah to anyone who is inexperienced, partly trained or just needs a few lessons to put them back on the right track to pass their test.RENEE
I was very sceptical regarding manual lessons. After meeting Noah for the 1st time and trying a manual lesson with him I felt really comfortable and was surprised how easy it was for me to get to grips with the controls. Noah's approach with his patience and friendly approach really made me feel at ease and I was able to pass my test 1st time with Driver's Kool!!!LUCY
Having taken lessons with numerous instructors before I came to Driver's Kool, I can confidently say Noah is not only a fantastic teacher but one of the best out there! He helped me to become a confident driver. Overcome bad habits and excel in manoeuvres (which I was quite worried about). Although I am delighted to have passed my driving test I will definitely miss my lessons with Noah as they were fun and a great learning experience.ANEESA


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This article may contain explicit content or views that don't necessarily reflect those of Mailchimp.
My son Nicholas, three and a half, was jumping up and down on his bed.
"I want to wash your hands," my wife said.
"I don't care," Nicholas replied.
"Lunch is ready."
"I don't care."
"It will get cold."
"I don't care."
The leaping continued. Then my wife asked, "Who are you?"
"Pierre!" Nicholas announced.
The next jump was the most ambitious yet, and Nicholas fell off the bed. As he rubbed his knee, my wife asked, "Are you hurt?"
In a much softer voice, he replied, "Yes, Mother Bear."
Mother Bear is a large, comfortable source of reassurance in "Little Bear," a series of four books written by Else Holmelund Minarik and illustrated by Maurice Sendak. The Pierre whom Nicholas had been emulating is the hero of a book called "Pierre," which is part of the four-volume "Nutshell Library," written and illustrated by Maurice Sendak; Pierre, even after he is swallowed by a famished lion, will say only "I don't care." On top of a chest of drawers next to Nicholas's bed is a large picture of a dancing creature with horns, sharp teeth, yellow eyes, and a scaly body. He is a wild thing—an inhabitant of "Where the Wild Things Are," a book written and illustrated by Maurice Sendak. Some reviewers of children's books have asserted that the wild things are frightening, but Nicholas finds them quite funny.
My son's familiarity with Maurice Sendak's creations is shared by a sizable and constantly growing number of American children under eight. As a writer, as an illustrator, and as both, Sendak has been associated with a number of successful children's books of the past decade. In addition to the "Little Bear" series, the "Nutshell Library," and "Where the Wild Things Are," there have been "A Hole Is to Dig," written by Ruth Krauss, "The Bat-Poet" and "The Animal Family," both written by the late Randall Jarrell, "Lullabies and Night Songs," with music by Alec Wilder, and "Hector Protector." More than fifty other children's books contain illustrations by Sendak, and more than half a dozen have texts by him; many of them sell well enough to keep Sendak surprised by his affluence.
Sendak has trouble believing in his commercial success largely because his creations are so much at variance with the sort of thing that usually sells well in his field. Far too many contemporary picture books for the young are still populated by children who eat everything on their plates, go dutifully to bed at the proper hour, and learn all sorts of useful facts or moral lessons by the time the book comes to an end. The illustrations are usually decorative rather than imaginative, and any fantasy that may be encountered either corresponds to the fulfillment of adult wishes or is carefully curbed lest it frighten the child. Many of these books, homogenized and characterless, look and read as if they had been put together by a computer. Sendak's work, on the other hand, is unmistakably identifiable as his. He will not illustrate to order, increasingly depending on himself as the writer, and, when he illustrates the texts of others, choosing only those that seem real to him. "Maurice is not an artist who just does an occasional book for children because there's money in it or because he thinks it will give him an easy change of pace," Sendak's editor, Ursula Nordstrom, who is director of the children's book department of Harper & Row, has said. "Children's books are all he does and all he wants to do. His books are full of emotion, of vitality.
When one of his lines for a drawing is blown up, you find that it's not a precise straight line. It's rough with ridges, because so much emotion has gone into it. Too many of us—and I mean editors along with illustrators and writers of children's books—are afraid of emotion. We keep forgetting that children are new and we are not. But somehow Maurice has retained a direct line to his own childhood." Sendak, moreover, does not subscribe to the credo that childhood is a time of innocence—a point of view that, as it is usually interpreted, results in tales and pictures soothing to parents but unreal to the children. The young in Sendak's books—particularly the books he writes himself—are sometimes troubled and lonely, they slip easily into and out of fantasies, and occasionally they are unruly and stubborn. Nor are they the bright, handsome boys and softly pretty little girls who are so numerous in so many picture books for children. The Sendak boys and girls tend to appear truncated, having oversized heads, short arms, and quite short legs.
In the past few years, I have become increasingly interested in Sendak's work, reading his books for my own pleasure as well as for the amusement of my children. His drawings, I have found, are oddly compelling. Intensely, almost palpably alive, they seem to move on the page and, later, in memory. This quality is pervasive in "Where the Wild Things Are," the story of a boy named Max who assumes a demonic face and puts on a wolf suit one night and makes mischief. His mother calls him a "wild thing!" and Max answers, "i'll eat you up!" He is sent to bed without his supper. Standing in his room, Max watches a forest grow until it becomes the world. An ocean tumbles by with a boat in it for Max, and he sails to where the wild things are. The wild things—a colony of monsters—try to frighten Max, but, frowning fiercely, he commands them to be still. Cowed, they make Max King of the Wild Things.
Then, at Max's order, a rumpus begins—six wordless pages of howling, dancing, tree-climbing, and parading by Max and the wild things. Max presently stops the revels, though, and sends the wild things to bed without their supper, and then, feeling lonely, gives up his crown. The wild things so hate to see Max leave that they try to scare him into staying, but he is not intimidated, and he sails back to his room, where he finds his supper waiting for him.
As I studied the pictures of Max and his companions, it seemed to me that I had never seen fantasy depicted in American children's books in illustrations that were so powerfully in motion. Brian O'Doherty, the former art critic of the Times, has written that Sendak is "a fantasist in the great tradition of Sir John Tenniel and Edward Lear," and I agree. O'Doherty has also described Sendak as "one of the most powerful men in the United States," in that he "has given shape to the fantasies of millions of children—an awful responsibility." I had known a few men who possessed power, but never this kind of power, so I made arrangements to meet the creator of the wild things.
Sendak, a bachelor, lives in a duplex on Ninth Street between Fifth and Sixth Avenues. On the street level he has a bedroom and a large living room with a piano and a profusion of bookcases, one of them reserved for first editions (he has close to two hundred) of works by Henry James. On the floor below are a spacious kitchen, a dining room with a brick fireplace, and a small studio, lit only by the lamp over Sendak's drawing board, which is to the left of the room's entrance. On the walls of the studio are paintings, photographs, and posters advertising art exhibits. A bookcase near the studio door contains an extensive collection of children's books, formed largely around Sendak's favorite illustrators: Randolph Caldecott and George Cruikshank, of nineteenth-century England; Ludwig Richter and Wilhelm Busch, of the same period in Germany; A. B. Frost and Edward Windsor Kemble, Americans who between them spanned the last half of the nineteenth century and the first three decades of this one;
Ernst Kreidolf, a Swiss artist of those years; and, among contemporaries, the late Hans Fischer of Switzerland and André François of France. To the right of Sendak's drawing board is a worktable, and above this is a pegboard supporting a swarm of objects. Among them are talismans—a brontosaurus constructed for him by a nephew, for instance—and postcard reproductions of paintings by Watteau, Goya, William Blake, and Winslow Homer; there are also a number of toys that Sendak has brought back from Europe, where he goes about every other year. Across the room from the worktable, an imposing high-fidelity unit stands on top of another bookcase, this one containing a large record collection, in which works by Mahler, Mozart, Beethoven, Wolf, Wagner, and Verdi are heavily represented. What dominates the room, however, is a huge photograph. Taken at an orphanage in Sicily, it shows a ten-year-old girl standing sidewise in front of a whitewashed wall. She is wearing a ragged white dress, a fly has alighted on her back, and she looks out into the room with enormous black eyes. Her hand is on her hip—a pose that is frequently assumed by the children in Sendak's books.
The first day I visited his studio, Sendak, a short, shy man with dark-brown hair and green eyes, smiled after he saw me staring intently at the picture. "It's hard to get away from her, isn't it?" he said. "If you stay here long enough, you'll find that her eyes follow you around the room." He moved in front of the photograph. "Her face is unfinished—a round, beautiful child's face—but her eyes tell you she could be forty-five years old. Such knowledge and pain are already there. I couldn't do without her."
A Sealyham terrier came in. This, I was told, was Jennie, who was twelve years old and had a tendency to brood. Jennie has appeared in most of Sendak's books, often looking more cheerful than she does in real life. Having sniffed at me briefly, Jennie left. Sendak lit a cigarette. As I looked at him, I found that he reminded me of the children in his books, and I told him so.
"Yes, they're all a kind of caricature of me," he said. "They look as if they'd been hit on the head, and hit so hard they weren't going to grow anymore. When I first started showing my work to children's-book editors, about seventeen years ago, they didn't encourage me, and a major reason was the kind of children I drew. One editor, I remember, told me they were too European. What she meant was that they seemed ugly to her. And even now I'll get a letter at least twice a year from a librarian who wants to know why my children are so drab. Well, they're not drab, but they're not innocent of experience, either. Too many parents and too many writers of children's books don't respect the fact that kids know a great deal and suffer a great deal. My children also show a great deal of pleasure, but often they look defenseless, too. Being defenseless is a primary element of childhood. It's not that I don't see the naturalistic beauty of a child. I'm very aware of that beauty, and I could draw it. I know the proportions of a child's body. But I am trying to draw the way children feel—or, rather, the way I imagine they feel. It's the way I know I felt as a child." Sendak leaned forward, and continued, "It may be that in projecting how I felt as a child onto the children I draw I'm being terribly biassed and inaccurate. But all I have to go on is what I know—not only about my childhood then but about the child I was as he exists now."
I looked puzzled, and Sendak smiled. "You see, I don't believe, in a way, that the kid I was grew up into me," he said. "He still exists somewhere, in the most graphic, plastic, physical way. It's as if he had moved somewhere. I have a tremendous concern for him and interest in him. I communicate with him—or try to—all the time. One of my worst fears is losing contact with him." Sendak frowned. "I don't want this to sound coy or schizophrenic, but at least once a day I feel I have to make contact," he went on. "The pleasures I get as an adult are heightened by the fact that I experience them as a child at the same time. Like, when autumn comes, as an adult I welcome the departure of the heat, and simultaneously, as a child would, I start anticipating the snow and the first day it will be possible to use a sled.
This dual apperception does break down occasionally. That usually happens when my work is going badly. I get a sour feeling about books in general and my own in particular. The next stage is annoyance at my dependence on this dual apperception, and I reject it. Then I become depressed. When excitement about what I'm working on returns, so does the child. We're on happy terms again. Being in that kind of contact with my childhood is vital to me, but it doesn't make me perfectly certain I know what I'm doing in my work. Especially in books for children under six. I don't think anyone really knows what kids that young like and what they don't like. They're formless, fluid creatures—like moving water. You can't stop one of them at any one point and know exactly what's going on. A child may react strongly to a book because it reaches him emotionally in some way the author intended. Then, again, it may be that he once saw a duck from a train window and never saw one again until he looked at the book, and though the book is rotten, he loves it because there's a duck in it. Once in a while I encounter reactions to one of my books that make me think I may be getting some idea of what happened. From letters and from talking to parents and librarians, I've found out that, of the four books in the Nutshell Library, 'Pierre' is invariably the favorite with children. But here, too, I don't know what level the child is reacting on. On one level, 'Pierre' is slapstick. Then, the text has a rhythmic quality—the repetition that kids like—and some children may be drawn mainly by that. On another level, Pierre is defiant—irrationally so, when it comes to the lion that finally eats him—and the child may enjoy a surface identification with the fun of rebellion. And, on a deeper level, Pierre is saying, 'I'm me. I'll be what I am and I'll do what I want to do.' The book that children have reacted to most strongly, though, is 'Where the Wild Things Are.' They wear out copies at libraries and keep rereading it at home. Some have sent me drawings of their own wild things, and they make mine look like cuddly fuzzballs. My wild things have big teeth. Some of their wild things not only have big teeth but are chewing on children.
I have yet to hear of a child who was frightened by the book. Adults who are troubled by it forget that Max is having a fine time. He's in control. And by getting his anger at his mother discharged against the wild things he's able to come back to the real world at peace with himself. I think Max is my truest creation. Like all kids, he believes in a world where a child can skip from fantasy to reality in the conviction that both exist. One seven-year-old boy wrote me a letter." Sendak rose, rummaged through a file folder in the bookcase, found the letter, and handed it to me. The boy had written, "How much does it cost to get to where the wild things are? If it is not too expensive my sister and I want to spend the summer there. Please answer soon."
Fantasy, I learned in subsequent visits to the studio, has been familiar terrain to Sendak from his earliest years. He was born in Brooklyn on June 10, 1928, the youngest of three children of Philip and Sarah Sendak. (His sister, Natalie, was eight when he was born, and his brother, Jack, was five.) Both parents had come to America before the First World War from Jewish shtetls, or small towns, outside Warsaw. The father, who worked in the garment district, told his children long stories based on tales he remembered from his childhood and alive with myth and fantasy. "He was a marvellous improviser, and he'd often extend a story for many nights," Sendak recalls. "One short one I've always wanted to make into a book was about a child taking a walk with his father and mother. He becomes separated from them. Snow begins to fall, and the child shivers in the cold. He huddles under a tree, sobbing in terror. An enormous figure hovers over him and says, as he draws the boy up, 'I'm Abraham, your father.' His fear gone, the child looks up and also sees Sarah. He is no longer lost. When his parents find him, the child is dead. Those stories had something of the character of William Blake's poems. The myths in them didn't seem at all factitious.
And they fused Jewish lore with my father's particular way of shaping memory and desire. That one, for instance, was based on the power of Abraham in Jewish tradition as the father who was always there—a reassuring father even when he was Death. But the story was also about how tremendously my father missed his parents. Not all his tales were sombre, though. My father could be very witty, even if the humor was always on the darker side of irony."
In addition to the tales his father told, and occasional stories told by his mother, books, to which Sendak early formed a passionate attachment, also stimulated his imagination. His sister gave him his first books—"The Prince and the Pauper" and "The Three Musketeers." Besides being fascinated by the contents of the books, he was drawn to them as physical entities. "I can still remember the smell and feel of the bindings of those first two books," he says. "I didn't read them for a long time. It felt so good just having them. They seemed alive to me, and so did many other inanimate objects I was fond of. All children have these intense feelings about certain dolls or other toys. In my case, this kind of relationship, if you can call it that, was heightened because up to the age of six I spent a lot of time in bed with a series of illnesses. Being alone much of the time, I developed friendships with objects. To this day, in my parents' home there are certain toys that I played with as a child, and when I visit my parents, I'm also visiting those toys."
In "Kenny's Window," which was published in 1956, and was the first book that Sendak wrote as well as illustrated, he distilled much of his own childhood—the attachment to particular objects, the fantasy, the loneliness. Kenny wakes from a dream and remembers meeting in a garden a rooster, who gave him seven questions to answer. In the course of searching for the answers, he has serious conversations with several of his toys.
Kenny is angered by a favorite Teddy bear, who reproaches him for having been left under the bed all night, but soon Kenny writes the bear a poem assuring him of his love, and that conflict is resolved. In fantasy, Kenny journeys to Switzerland and talks with a goat in order to find the answer to one of the rooster's questions: "What is an only goat?" An only goat, Kenny finally learns, is a lonely goat who is not allowed by an overprotective master to do what he most enjoys doing. There is also a meeting, on the roof of Kenny's house, with a talking, flying horse. Kenny resolves not to tell his parents about the horse and its ability to talk and to fly. ("They'd say it was a dream. They don't know how to listen in the night.") Another crisis occurs when one of Kenny's two favorite lead soldiers reminds the other of a promise Kenny has broken—to take care of them always. The first soldier is chipped in four different places. He complains to Kenny. Enraged at being made to feel guilty, Kenny exiles the chipped soldier to the outside ledge of his window in the cold, but then he brings the soldier in again and tells him he has not broken his promise. When the rooster later asks Kenny one of the seven questions again—"Can you fix a broken promise?"—Kenny answers, "Yes, if it only looks broken, but really isn't."
In his adult life, Sendak's rapport with particular inanimate objects has not been limited to the toys in Brooklyn. One afternoon, in his studio, he pointed out to me several pens on his drawing board, and said, "Some of these pens are with me, and some are against me. In a store, some look as if they want to be sold to me. Others will fight me to the end. I may antagonize some and not be able to win back their friendship, but others are less stubborn." He picked up a small, smooth rock. "This is a friend," he said. "I found him on a beach in Italy in 1953. He goes with me on all my trips." Sendak looked at me somewhat warily, and added, "I suppose that sounds strange." Since I have similar feelings about an old lighter and three pipes, I was able to tell him it didn't.
Sendak did have other friends besides objects as he grew up. He had a close relationship with his brother Jack. Both boys enjoyed drawing, and one of their amusements was making books. These combined cut-out newspaper photographs and comic strips with sketches of the Sendak family. The books were bound with tape, had elaborately illustrated covers, and contained a good deal of painstaking hand lettering.
"I was always conscious of usable material for books," Sendak recalls. "I remember examining my grandmother all the time and placing her in various fantasies. And I was so conscious of the streets on which I lived that I can remember them now in complete detail—how many houses there were, who lived in which house, what the people looked like. During my early teens, I spent a lot of time at the window, sketching the kids at play, and those sketchbooks are, in a sense, the foundation of much of my later work. Maybe that's another reason the children in my books are called European-looking. Many of them resemble the kids I knew growing up in Brooklyn. They were Jewish kids, and they may well look like little greenhorns just off the boat. They had—some of them, anyway—a kind of bowed look, as if the burdens of the world were on their shoulders."
"The Sign on Rosie's Door," a Sendak book published in 1960, begins with the dedication:
Remembering Pearl Karchawer
all the Rosies
and Brooklyn.
Rosie is a girl with an unusually lively imagination, and she gets her friends—who do indeed look like Jewish children on the streets of Brooklyn—to take part in her fantasies.
At one point, Rosie, sitting on a cellar door and covered from head to foot in a red blanket, identifies herself as "Alinda the lost girl." "Who lost you?" asks a neighborhood literalist. "I lost myself," Rosie answers. Like the fantasies in "Kenny's Window" and a number of Sendak's other stories, Rosie's often involve highly active play. She announces that her "Magic Man" is coming, and all the children close their eyes, because he will not appear otherwise. They hear her speak to him, and when they are allowed to open their eyes again, Rosie tells them that the Magic Man has informed her that they can all be firecrackers. Rosie and her friends proceed to leap and dance through several pages.
When the teen-age Sendak wasn't making books, he was reading other people's. Though some were stories for children, his reading was indiscriminate. His sister subscribed to the Book-of-the-Month Club, and he read many of the volumes she received. "Now I can't remember any children's books or artists that profoundly influenced me in those years except Walt Disney," he says. "I now say it to my shame, yet he did something tremendous for me. His pictures did move, and they often embodied lots of fantasy. With whatever money I had, I'd buy his coloring and cutout books, and I made animated sequences of my own based on his characters. And when I saw Disney's 'Snow White and the Seven Dwarfs' at the Radio City Music Hall, I had an inkling of what it was I especially wanted to do. It was only later that I could see how Disney had despoiled beautiful stories and had abused the idea of animation. Kids don't always know about the vulgar and tasteless, and to me Disney was a god. I remember a Mickey Mouse mask that came on a big box of cornflakes. What a fantastic mask! Such a big, bright, vivid, gorgeous hunk of face! My ambition was to work for Disney."
Sendak graduated from Lafayette High School, in Brooklyn, in 1946.
"I was an art major in high school, but we had no real instruction—I just sat and did what I wanted to," he says. After school and weekends, he had worked for All American Comics, his job being to adapt "Mutt and Jeff" strips for comic books, fitting them into the page, filling in backgrounds, and extending the story line when necessary. He enjoyed this work, but school, by contrast, was a place of acute discomfort. "Nearly every morning, in order to get there, I had to talk myself out of a state of panic," he says. "I couldn't stand being cloistered with other children, and I was usually so embarrassed that I stammered."
After graduation, he went to work full time at Timely Service, a window-display house in lower Manhattan, beginning in a warehouse, where he helped construct store-window models of such figures as Snow White and the Seven Dwarfs out of chicken wire, papier-mâché, spun glass, plaster, and paint. "It was one of the best times of my life," Sendak says. "I was in Manhattan, and, for the first time, I knew people who were artists, who considered their work for Timely Service just a job to enable them to do real painting at night in their cold-water flats. There were all kinds of people I'd never met in Brooklyn." When he had been at Timely Service for nearly two years, he was promoted to the department that conceived the window-display designs to be built in the warehouse. There he was unhappy. "The department consisted of another kind of artist—people in their fifties who had never got anywhere," he recalls. Sendak left the display house in the summer of 1948, and during the next two months, at home in Brooklyn, he and his brother constructed six intricate animated wooden toys, performing scenes from "Little Red Riding Hood," "Little Miss Muffet," "Hansel and Gretel," "Aladdin's Lamp," "Old Mother Hubbard," and "Pinocchio." The pieces, five of which Sendak now has in his studio, are in the tradition of eighteenth-century German lever-operated toys. When a lever on Little Red Riding Hood's basket is pulled, for instance, a ferocious wolf leaps out of bed and Little Red Riding Hood collapses.
The Sendak brothers took their toys to F. A. O. Schwarz. Their work was received with respect, but an official at the store pointed out that it would be too costly to reproduce the toys in large quantities. "Nor were we ready to compromise, if a compromise had been suggested," Sendak says. "We wanted a workshop of little old men creating the little wooden parts, and we would not have permitted any kind of plastic substitute." Ultimately, though, Richard Nell, Schwarz's window-display director, was sufficiently impressed by the way in which Maurice Sendak had painted the toys to hire him as an assistant in the construction of window displays. (His brother, meanwhile, although he went on to work in the electronics field, has also written several children's books, two of which Maurice has illustrated.)
Sendak worked at the toy store for three years, and attended evening classes at the Art Students League during most of that time. "It was the only kind of school I could endure, because it was freewheeling," he says. "What you learned depended on what you wanted to learn." Sendak took classes in life drawing, oil painting, and composition, and feels that he benefited particularly from the instruction in composition he was given by the illustrator John Groth. "He was important for me because he gave me a sense of the enormous potential for motion, for aliveness, in illustrations," Sendak recalls. "And he himself was so deeply committed to the field that he showed how much fun creating in it could be."
At F. A. O. Schwarz, Frances Chrystie, the store's book buyer, who was a friend of Sendak's, knew that he was eager to try illustrating children's books, but when she suggested introducing him to Miss Nordstrom—partly because Harper's was the publisher whose children's books he most admired—he demurred, out of shyness. Miss Chrystie thereupon arranged for Miss Nordstrom to "happen by" one day, in the spring of 1950, when Sendak had tacked up a broad variety of his pictures on the walls of the store's studio.
The next day, Miss Nordstrom called Sendak and offered him the opportunity to illustrate Marcel Aymé's "The Wonderful Farm." He accepted, and the book was published in 1951. This was not the first time Sendak's work had been published; in 1947 he had done diagrams and spot drawings for "Atomics for the Millions," written by Hyman Ruchlis, one of his high-school teachers, and three years later he had illustrated a book about the Sabbath, "Good Shabos, Everybody," for the United Synagogue Commission on Jewish Education, but "The Wonderful Farm" was the first real children's book he had worked on. "It made me an official person," Sendak now says.
In 1952, Sendak became widely known in the children's-book field as the illustrator of Ruth Krauss's "A Hole Is to Dig." The book was quite unconventional for its time. It had no story. Instead, Miss Krauss, by talking with and listening to children, had assembled a series of children's definitions, among them "A face is so you can make faces," "Buttons are to keep people warm," "A whistle is to make people jump," and—a particular favorite with the book's readers—"A tablespoon is to eat a table with." The general idea of "A Hole Is to Dig" has since been repeated many times, often coyly. But Sendak's small people, seen at play among themselves, sticking out their tongues, closing their eyes in anticipation of being kissed by their dogs' tongues, wiggling their toes, and sliding delightedly in the mud, never seem saccharine.
An established illustrator had originally been considered for the assignment, but when he was shown simply a collection of definitions, he felt that there was no book in them at all. From the start, however, Sendak was enthusiastic about the book's possibilities. "It was like being part of a revolution," he says. "This was the first time in modern children's-book history that a book had come directly from kids. The notion was so startling to some academics, in fact, that the book was included in a course at Columbia on the uses of language.
And, you know, some of those definitions have become part of the language. Working on that book, I learned something else, too. When it seemed to me to be all done, Ruth Krauss pointed out that I was giving the kids who would read the book middle-class attitudes toward their roles. I had the boys doing what boys were expected to do and girls doing what they were expected to do. God forbid a boy should be jumping rope! Of course, that isn't the way it is, and at the last minute I made some quick changes."
"A Hole Is to Dig" prepared the way for such later works by others as "A Friend Is Someone Who Likes You," "Love Is a Special Way of Feeling," and "Happiness Is a Warm Puppy," and it was influential in other ways, too. Its format was small, and its success brought back what Sendak identifies as "the little book," adding, "And, God help us, it hasn't stopped." The book was printed on brown-tinted paper, and for the illustrations Sendak had deliberately used his most "old-fashioned" style, his pen-and-ink drawings including a considerable amount of crosshatching, in the tradition of nineteenth-century German and British illustrators.
The success of "A Hole Is to Dig" was such that Sendak was able to leave F. A. O. Schwarz, move to Manhattan, and become a freelance illustrator. Assignments poured in, from Miss Nordstrom and from editors at other publishing houses, and in the years that followed Sendak illustrated the work of various writers. There have been seven more books by Ruth Krauss, and seven books for older children by the Dutch-born writer Meindert Dejong, and Sendak has also had the privilege of collaborating posthumously with Tolstoy ("Nikolenka's Childhood"), the German Clemens Brentano ("The Tale of Gockel, Hinkel & Gackeliah" and "Schoolmaster Whackwell's Wonderful Sons"), the German Wilhelm Hauff ("Dwarf Long-Nose"), and the American Frank Stockton ("The Bee-Man of Orn" and "The Griffin and the Minor Canon"). In a preface to "The Griffin and the Minor Canon," Sendak describes his basic aim as an illustrator:
"I wanted at all costs to avoid the serious pitfall of illustrating with pictures what the author had already . . . illustrated with words. I hoped, rather, to let the story speak for itself, with my pictures as a kind of background music—music in the right style and always in tune with the words."
Sendak elaborated on the degree to which he conceives his work musically in an article called "The Shape of Music," which appeared in the Sunday Herald Tribune late in 1964. "The spontaneous breaking into song and dance seems so natural and instinctive a part of childhood," he wrote. "It is perhaps the medium through which children best express the inexpressible; fantasy and feeling lie deeper than words—beyond the words yet available to a child—and both demand a more profound, more biological expression, the primitive expression of music." Sendak is convinced that children will respond most spontaneously to illustrations that, in his words, "have a sense of music and dance and are not something just glued onto the page."
In the work of the illustrators that Sendak most admires, he invariably finds a musical quality that he terms "authentic liveliness." He points to the linear arabesques in the lamb's dance of death in Boutet de Monvel's drawings for La Fontaine's "Fables Choisies pour les Enfants," and to the same artist's "harmonic inventions" achieved by the subtle use of color and line. In the work of Randolph Caldecott, Sendak is fascinated not only by the abundance of actual dancing, singing, and playing of instruments but also by the many ways in which Caldecott used the theme-and-variations technique, combining simple themes into what Sendak describes as "a fantastically various interplay of images."
When Sendak is at work, he not only thinks in musical terms but often has music playing. He begins by trying to find the composer and the piece of music that fit the mood and tone of the story on his drawing board, and he may listen to many recordings before he hits on the right musical colors.
"Books, too, can be evocative for me when I'm working on a series of illustrations," he says. "I often turn to James, Stendhal, D. H. Lawrence, and Melville—especially James, with his acute sensitivity to what happens inside someone growing. But it is music that does most to open me up. That's why I have all these records—and I go to quite a lot of concerts, too. The other night, for example, I was sitting here listening to 'Die Meistersinger,' which I know by heart, and got excited about it all over again. What struck me this time was that Wagner, in some mysterious way, had made the atmosphere—the very night air—of Nuremberg into music. I could see the city and smell it. And that's the kind of thing I want to convey in my illustrations. The pictures should be so organically akin to the text, so reflective of its atmosphere, that they look as if they could have been done in no other way. They should help create the special world of the story. When this kind of drawing works, I feel like a magician, because I'm creating the air for a writer."
In illustrating stories of his own, Sendak sometimes encounters an odd difficulty in performing this magic. "I find myself writing things that I don't like to draw, as if I were two separate people," he explains. "As a writer, I may, for instance, ask the illustrator part of me to draw too many specific details of a room or of clothes. As an illustrator, I most enjoy interpreting emotions. In 'Where the Wild Things Are,' those two selves fused, in that the illustrations were a complete imaginative backdrop to the feelings experienced in the course of fantasy. Being dreamlike and fluid, the scenes aren't hung up with the kind of particulars that are involved in aiming at literal verisimilitude."
"Where the Wild Things Are," which was published in 1963, marked a key stage in Sendak's development. In 1964, the book received the Caldecott Medal, awarded annually by the American Library Association for the most distinguished American picture book for children.
Sendak went to St. Louis for the presentation, and in his acceptance speech he said, "With 'Where the Wild Things Are,' I feel I am at the end of a long apprenticeship. By that I mean all my previous work now seems to have been an elaborate preparation for it." Miss Nordstrom says that "Where the Wild Things Are" is of singular historical importance because "it is the first American picture book for children to recognize that children have powerful emotions—anger and fear as well as the need Max had, after his anger was spent, to be 'where someone loved him best of all.' " She adds, "A lot of good picture books have had fine stories and lovely pictures, and some have touched beautifully on basic elements in a child's life—physical growth, coming to terms with a new sister or brother, and the like. But it seems to me that 'Where the Wild Things Are' goes deeper than previous picture books have gone."
Miss Nordstrom was not surprised that the book met with some hostile reactions from critics and librarians. "The furor reminded me of the New York Public Library's refusal to give shelf room to E. B. White's 'Stuart Little' for some months back in 1945, when it came out," she says. "The statement that Mrs. Little's second son was born looking very much like a mouse made one librarian there unable to sleep for three nights. Or so she told me. But the children who read and loved that book weren't thinking of any actual process of giving birth to a mouse—they thought it was nice to have a mouse in the family. There were even some negative reactions to 'A Hole Is to Dig.' One librarian was appalled at the definition 'A face is to make faces with.' She said she didn't want her children making faces and when 'Where the Wild Things Are' came out, another librarian told me the book would frighten little children to death. 'But Max conquers those monsters,' I said. 'He becomes king of the wild things.' But she was obviously horrified, perhaps too horrified to imagine that children might react with pleasure to the book."
A reviewer for the Journal of Nursery Education mused, "We should not like to have it left about where a sensitive child might find it to pore over in the twilight." Publishers' Weekly, after saying that "the plan and technique of the illustrations are superb," cautioned, "But they may well prove frightening, accompanied as they are by a pointless and confusing story." Among the adults who were not traumatized by Max's journey was a critic for the Library Journal, who wrote, "Each word has been carefully chosen to express Max's mood precisely," and "The wild things who acclaim him their king are at once both ugly and humorous." The critic did, however, feel compelled to add, "This is the kind of story that many adults will question and for many reasons, but the child will accept it wisely and without inhibition, as he knows it is written for him." A reviewer for the Cleveland Press was also both appreciative of the book and apprehensive about possible adult storms, noting, "Boys and girls may have to shield their parents from this book. Parents are very easily scared."
Sendak had expected a certain amount of angry reaction to "Where the Wild Things Are." In his speech accepting the Caldecott Medal, he referred with some acerbity to those noncontroversial children's books that offer "a gilded world unshadowed by the least suggestion of conflict or pain, a world manufactured by those who cannot—or don't care to—remember the truth of their own childhood." Of these he said, "Their expurgated vision has no relation to the way real children live. I suppose these books have some purpose—they don't frighten adults. . . . The popularity of such books is proof of endless pussyfooting about the grim aspects of child life, pussyfooting that attempts to justify itself by reminding us that we must not frighten our children.
Of course, we must avoid frightening children, if by that we mean protecting them from experiences beyond their emotional capabilities; but I doubt that this is what most people mean when they say, 'We must not frighten our children.' The need for half-truth books is the most obvious indication of the common wish to protect children from their everyday fears and anxieties, a hopeless wish that denies the child's endless battle with disturbing emotions."
One afternoon, in his studio, Sendak told me more about his ideas on the proper use of fantasy in children's books. The light over his drawing board was out, and we sat in near darkness. Characteristically, Sendak spoke softly and rapidly. Occasionally, as he grew more intense, his words bumped against each other in a slight stammer. "There have to be elements of anxiety and mystery in truthful children's books, or, at least, there have to be in mine," he said. "What I don't like are formless, floating fantasies. Fantasy makes sense only if it's rooted ten feet deep in reality. In 'Where the Wild Things Are,' the reality is Max's misbehavior, his punishment, and his anger at that punishment. That was why he didn't just have a cute little dream. He was trying to deal with imperative, basic emotions."
Sendak leaned forward. "Then, the fantasy has to be resolved," he said. "If Max had stayed on the island with the wild things, a child reading the book might well have been frightened. Max, however, comes home. Mind you, he doesn't say, 'I'll never go there again.' He will fantasize again, but the hope is that, like other children, he'll keep coming back to his mother. So the book doesn't say that life is constant anxiety. It simply says that life has anxiety in it. Here, let me show you one of the ways Caldecott conveyed this."
From a bookshelf Sendak gently retrieved a first edition of "A Frog He Would A-Wooing Go" in the nineteenth-century British series Randolph Caldecott's Picture Books (which are, incidentally, still in print). He turned to a page showing the exterior of Mousey's Hall. Frog, accompanied by Mr. Rat, is paying court to Miss Mouse. Two small girls and their parents are watching a cat and her kittens approach the house.
"Up to that point, Caldecott followed the usual plot," Sendak said. "He added this family to serve as an implied commentary on the action. The reader sees—but the family doesn't—the cat and her offspring devouring Miss Mouse and Mr. Rat. Nor does the family see Frog, while escaping, being gobbled up by a duck as he crosses the pond. But here—in the last picture of the book—the girls and the parents are looking at Frog's hat, lying on a stone in the pond. The children are holding tightly on to their parents. The look on their faces is as if they are saying, 'What a frightful thing must have happened! But we still have our parents to protect us.' Caldecott went one step beyond the nursery rhyme by relating it to life. Except for Caldecott, illustrators of this story have generally pictured it as a rollicking farce—'Everybody gets eaten up. Ho-ho-ho!' But Caldecott, by bringing in that family, added an intimation of how grim reality can be. Even if the children didn't get the point explicitly from the drawings, the feeling was there. Caldecott did this sort of thing much better than I can. I don't have any evidence that he ever talked about what he was doing, but he often worked in this way. I grant that he himself may not have been all that conscious of expressing a touch of dread. Nor am I when I'm working."
Sendak lit a cigarette. "Recently, I gave a lecture at Pratt Institute, and a student asked me if I ever sit down with the intention of doing a children's book dealing with anxiety," he said. "Of course I don't, I told him. If I did, I'd hardly be any kind of creative artist. When I write and draw, I'm experiencing what the child in the book is going through. I was as relieved to get back from Max's journey as he was. Or, rather, I like to think I got back. It's only after the act of writing the book that, as an adult, I can see what has happened, and talk about fantasy as catharsis, about Max acting out his anger as he fights to grow."
The room was now quite dark, and Sendak put on the light. "For me, that book was a personal exorcism," he went on.
"It went deeper into my own childhood than anything I've done before, and I must go even deeper in the ones to come."
I asked him if he would continue to concentrate on books for younger children.
"Yes," Sendak replied. "There'll be exceptions, I suppose, but for the most part I like to work for children no older than seven or eight. With them, you can be freer in the use of fantasy, and in various kinds of experimentation, because the picture itself still means a tremendous amount to them. There's no wall between them and the picture."
Afew weeks after this particular talk, I moved my family to Fire Island for the summer. Sendak had taken a house there, too, and we often met on the beach, where he sat for hours, sketching. He and my son Nicholas came to know each other, but only slightly. Sendak does not extend himself to beguile children, but he is ready for conversation if they are. One afternoon, Nicholas made a futile attempt to play with a group of older children, who could run much faster than he could, and then trudged over to where Sendak and I were sitting. Seeing Nicholas sad, Sendak suggested that they dig a hole. When they had dug one, Nicholas jumped in and had himself covered with sand up to his shoulders. Then, observing that Sendak had been sketching, Nicholas asked, "Can you make me a ferryboat?" Sendak did, and then drew other pictures at Nicholas's direction, including some of seagulls—creatures that my son is very fond of. The next day, Sendak dropped in at our house with a watercolor scene that contained all the boats, birds, and fishes Nicholas had asked for the previous afternoon.
A few weeks later, the three of us were on the beach again. In the interval, Nicholas had largely ignored Sendak and had not referred at all to the watercolor, which his mother had hung above his bed.
I walked down the beach for a few minutes to talk to a friend, and when I returned, Nicholas was chasing a sandpiper, and Sendak was looking pleased.
"We've been in contact again," Sendak said. "These last few weeks, I've been aware that he was conscious of me but also that he had no desire to continue what we had going that day. Maybe I projected it, but I seemed to get the message: 'Don't push it. Don't try to do it again just yet.' But right after you left, he pointed to himself, pointed to the sky, and said, 'Remember the seagull? Thank you for the picture.' There was a huge smile on his face for maybe half a second, and then he ran after the sandpiper. I was very much moved, very grateful that he did remember—and that he told me so in that way. It was as if he were saying, 'Don't be upset. I didn't forget. I still have the picture you brought me.' " Sendak laughed. "I did feel we had reached each other again."
On the way back from the beach, with Nicholas running down the road ahead of us, Sendak said, "I get a kick whenever I see a child react to something I've drawn or written. I like getting the letters children write me, and I like having a chance to meet one who has enjoyed a book of mine. Not that I write basically for children. I really do these books for myself. It's something I have to do, find it's the only thing I want to do. Reaching the kids is important, but secondary. First, always, I have to reach and keep hold of the child in me."
Nicholas and I stopped at our gate, and Sendak walked on down the road alone. At the crossing, he turned around and waved. The wild thing trying to wrench the gate off its hinges paused to wave back. ♦
This article originally appeared in print in The New Yorker on January 22, 1966. © Nat Hentoff


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