DOCSLIB.ORG

The SCBWI Tokyo Newsletter Contents from the Editors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The SCBWI Tokyo Newsletter Contents from the Editors The SCBWI Tokyo Newsletter Winter 2011 Carp Tales is the bi-annual newsletter of the Tokyo chapter of the Society of Children’s Book Writers and Illustrators (SCBWI). The newsletter includes SCBWI Tokyo chapter and member news, upcoming events, a bulletin board of announcements related to writing and illustrating for children in Japan, reports of past events, information on industry trends, interviews with authors and illustrators, and other articles related to children’s literature. To submit inquiries or learn how to contribute to Carp Tales, contact [email protected]. The submission deadline is May 1 for the spring issue and November 1 for the fall issue. All articles and illustrations in Carp Tales are © SCBWI Tokyo and the contributing writers and illustrators. For more information about SCBWI Tokyo, see www.scbwi.jp. The Carp Tales logo is © Naomi Kojima. From the Editors Contents The Year of the Rabbit has begun, bringing with it the SCBWI Winter From the Editors ................................1 Conference in New York and the opening SCBWI Tokyo event, Frané SCBWI Tokyo Event Wrap-Ups ..........2 Lessac’s presentation on “Writing Global Picture Books.” An Interview with Naomi Kojima, The Year of the Tiger was full of spirit, and the second half kept Translator of Dear Genius: everyone busy: midsummer brought Jed Henry’s workshop on using The Letters of Ursula Nordstrom ........4 Adobe Photoshop; autumn brought a creative exchange, presentations at the Japan Writers Conference, and a visit from children’s literature Heart of a Samurai Named scholar Leonard Marcus. (Dear Genius: The Letters of Ursula Newbery Honor Book .........................8 Nordstrom, edited by Marcus, was recently translated into Japanese by SCBWI Tokyo Japan Liaison Naomi Kojima. See page 4!) In An Interview with Sports December, the second SCBWI Tokyo Illustrators Exhibition took place Novelist Trevor Kew .........................9 at Galerie Malle in Ebisu, Tokyo, thanks to generous support from Review of Writing Picture Books: gallery owner Shizuko Kikawa and an illustrators’ grant from SCBWI. A Hands-On Guide from Story The year concluded with another creative exchange and a traditional Creation to Publication ...................... 11 bonenkai (year-end party), at which members shared their goals for the coming new year. SCBWI Tokyo Member News .............12 We wish everyone a year full of good books—whether you write, Bulletin Board ....................................12 illustrate, translate or devour them! About SCBWI Tokyo ...........................13 Holly Thompson, Carp Tales Editor, SCBWI Tokyo Regional Advisor Avery Udagawa, Carp Tales Assistant Editor Annie Donwerth Chikamatsu, Carp Tales Assistant Editor Carp Tales Winter 2011 1 SCBWI Tokyo Event Wrap-Ups by the Editors Hey, Your Pixels are Showing! pieces with Photoshop techniques. A Photoshop Workshop and Using one of his illustrations of a Creative ExchanGe with samurai, Henry demonstrated how to paint in Photoshop. He has mastered Illustrator Jed Henry techniques that produce the effect July 11, 2010 of brushstrokes and showed how to choose brush size, how to layer and deepen colors, how to produce texture, and how to store the layers or stages of an image. He also talked about how to maintain the integrity of the image for the printing process. Participants appreciated the opportunity to learn more about Photoshop techniques in a relaxed atmosphere SCBWI members Colleen Sakurai, Suzanne that encouraged asking questions and Kamata, Holly Thompson and Margi Preus at the Japan Writers Conference learning from one another. After his Jed Henry ready to present workshop, Henry joined in a creative Japan Writers Conference exchange and gave feedback on a Despite a July downpour in Tokyo, member’s story and illustrations. October 10–11, 2010 there was a good turnout for illustrator SCBWI members both presented and Jed Henry’s workshop on using Adobe To see sketches Jed Henry made by participated in the fourth annual Japan Photoshop. Attendees even lugged their hand while in Japan, visit his July 2010 Writers Conference, held this year laptops to the hands-on event. Some blog post “Sketches from Japan”: at Nihon University College of Art in ϐ ǡ http://jedart.blogspot.com Ekoda, Tokyo. The conference focus others were complete newbies. was broad, and the two-day program ϐ Creative ExchanGe and included concurrent sessions on writing art starting with his undergraduate PlanninG MeetinG for all reading levels, genres and studies in computer animation at September 10, 2010 purposes. Presentations of particular Brigham Young University, which interest to children’s book writers led to an interest in illustration. He A brief planning meeting was held included Suzanne Kamata’s “Marketing took classes in the craft of writing before the September Friday evening for Beginners”; John Paul Catton’s and illustrating children’s books, creative exchange. The exchange, “Rush Hour of the Gods” about using studying color and composition and held in English and Japanese, drew ϐ Ǣ learning how to paint in oils, but he has a crowd of picture book writers Thompson’s “Of Power and Emotions: ended up working almost exclusively and illustrators, as well as writers Writing Fiction for Young Adults”; Margi in digital media. He has illustrated of middle grade and YA fiction. Preus’s “Telling the True Story”; David books for Penguin, Simon & Schuster, Participants divided into two groups, Chester’s “How to Write a Screenplay HarperCollins, and many educational and the picture book discussion You Can Sell”; and Arthur Binard’s publishers. He mentioned digital developed in Japanese while “Home Improvements, or Being Better illustrators he admires, such as James discussions on longer works of fiction To Be As Good—Translating Picture Jean, Jon Foster and Craig Mullins. developed in English. Many different Books and Poems.” SCBWI Tokyo types of picture book projects were has played an active role in the Japan Henry scans illustrations he has done presented in all stages of completion, Writers Conference for the past two by hand into the computer, but he from sketch to polished dummy. The years, holding our October events at the also draws on the computer using an fiction writing exchange focused on conference. We look forward to hearing Ǥ ϐ openings of novels. more about the plans for the 2011 JWC. The SCBWI Tokyo website is GettinG a facelift! Visit in upcominG weeks and look for updated Gallery, Books, and Speaker Directory sections as well as a new Translator Directory. www.scbwi.jp Carp Tales Winter 2011 2 Advice from a LeGendary Editor: “eat humble pie” a week after rejecting Illustrators from the Illustrators How Ursula Nordstrom Made Harold and the Purple Crayon—by Exhibition joined the Creative Exchange Children’s Books That Last writing to author Crockett Johnson and participants for a celebratory meal, telling him that she had reconsidered. ϐ ǡ with Children’s Literature Scholar congratulations, and quite a few kanpais. Leonard Marcus Nordstrom is known for acquiring titles that were considered bold for her November 28, 2010 2010 SCBWI Tokyo times. Marcus gave many examples Illustrators Exhibition SCBWI Tokyo was fortunate to host of the innovative books that she Leonard Marcus, a distinguished edited and the stories surrounding December 7–12, 2010 children’s literature scholar who teaches, Ǥ ϐ writes books and contributes articles picture her letters have left and and critiques to publications including presented a fascinating look at the the New York Times and the Horn Book, world of children’s publishing and the and serves on selection committees for impression she made on it. Attendees awards such as the Ragazzi Prize and the enjoyed the time with Marcus and National Book Award. agreed afterward that he should come again to present on other aspects of Books by Marcus dominate the lists of children’s literature. required reading for anyone involved in children’s literature. Among them, Creative ExchanGe and Bonenkai Dear Genius: The Letters of Ursula Illustrators and visitors at the opening of Nordstrom chronicles the growth December 11, 2010 the SCBWI Tokyo Illustrators Exhibition and changes in children’s publishing Picture book writers, author/ Galerie Malle in Ebisu, Tokyo, hosted through collected and edited letters of illustrators, and middle-grade and YA the 2010 SCBWI Tokyo Illustrators ϐǤ ϐ ϐ Exhibition from December 7 to creative exchange of the year. Creators December 12. The nine SCBWI member In a slide presentation, Marcus of longer works focused on effective illustrators who showed their works presented clues about Nordstrom beginnings, sharing a wonderful range were Naomi Kojima, Kiyo Tanaka, starting with the dramatic cover art ϐ Sonya de Boer, Izumi Tanaka, Midori of the American edition of Dear Genius, ϐ ǡǡ Mori, Daniel Schallau, Patrick Gannon, illustrated by Maurice Sendak. He verse. Picture books presented ranged Michael Kloran and Yoko Yoshizawa. ϐ in genre from fantasy to Japan-set Each illustrator exhibited two to six ϐ ǡǡ realism. Though participants’ styles pieces of artwork created for children’s her relationship with Sendak and other and approaches were extremely varied, books. Works were unique in style, authors and illustrators. Despite her everyone dove enthusiastically into theme and medium. Art submissions sense of humor, Marcus said she was not the group critiques and offered helpful, were judged by gallery owner Shizuko ϐ astute and supportive feedback. Kikawa and children’s book author/ with; she was a formidable advocate Participants look forward to further illustrator John Shelley. for children, for the people with whom development of all of the works shared. she worked, and for the projects she Held just before the holiday season, wanted to publish. She understood The year-end bonenkai party was the exhibition attracted many visitors children and artists as outsiders and held in Shibuya at LOHB restaurant, including editors from publishers chose projects that gave them a voice. overlooking the amassing Saturday of children’s books.
Load more

Recommended publications
  • Margaret Wise Brown and Bedtime Parody Sand
    Lunar Perturbations – How Did We Get from Goodnight Moon to Go the F**k to Sleep?: Margaret Wise Brown and Bedtime Parody Sandy Hudock Colorado State University-Pueblo From an Audi commercial to celebrating the end of the second Bush presidency to the ghost of Mama Cass presiding over a dead Keith Moon, to the ubiquity of the iPad, Good Night Moon has been and no doubt will continue to be parodied or invoked for generations to come. Songwriters reference it, the television show The Wire gives an urban twist to its constant refrain of “good night-----“ with “good night, po-pos, good night hoppers, good night hustlers…” What makes this story so much a part of the collective consciousness, a veritable cultural meme? How did Margaret Wise Brown’s life and her influence in children's publishing result in the longstanding enchantment of Good Night Moon? Recent political and cultural parodies of the go to bed genre all ultimately hearken back to this one simple story painted in green and orange, and the intrinsic comfort it provides to children as a go to bed ritual. Born in New York in 1910 to a wealthy family, Brown was a middle child whose parents’ many moves within the Long Island area required that she change schools four times while growing up, including a stint at a Swiss boarding school. As a child, she made up stories (in her family, a polite way of saying she told lies) and then challenged her siblings to look up the answers in the multi-volume Book of Knowledge, for which she later penned two entries on writing for small children.
    [Show full text]
  • Editorial Literacy:Reconsidering Literary Editing As Critical Engagement in Writing Support
    St. John's University St. John's Scholar Theses and Dissertations 2020 Editorial Literacy:Reconsidering Literary Editing as Critical Engagement in Writing Support Anna Cairney Follow this and additional works at: https://scholar.stjohns.edu/theses_dissertations Part of the Creative Writing Commons EDITORIAL LITERACY: RECONSIDERING LITERARY EDITING AS CRITICAL ENGAGEMENT IN WRITING SUPPORT A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY to the faculty in the department of ENGLISH of ST. JOHN’S COLLEGE OF LIBERAL ARTS AND SCIENCES at ST. JOHN’S UNIVERSITY New York by Anna Cairney Date Submitted: 1/27/2020 Date Approved: 1/27/2020 __________________________________ __________________________________ Anna Cairney Derek Owens, D.A. © Copyright by Anna Cairney 2020 All Rights Reserved ABSTRACT EDITORIAL LITERACY: RECONSIDERING LITERARY EDITING AS CRITICAL ENGAGEMENT IN WRITING SUPPORT Anna Cairney Editing is usually perceived in the pejorative within in the literature of composition studies generally, and specifically in writing center studies. Regardless if the Writing Center serves mostly undergraduates or graduates, the word “edit” has largely evolved to a narrow definition of copyediting or textual cleanup done by the author at the end of the writing process. Inversely, in trade publishing, editors and agents work with writers at multiple stages of production, providing editorial feedback in the form of reader’s reports and letters. Editing is a rich, intellectual skill of critically engaging with another’s text. What are the implications of differing literacies of editing for two fields dedicated to writing production? This dissertation examines the editorial practices of three leading 20th century editors: Maxwell Perkins, Katharine White, and Ursula Nordstrom.
    [Show full text]
  • Hail to the Caldecott!
    Children the journal of the Association for Library Service to Children Libraries & Volume 11 Number 1 Spring 2013 ISSN 1542-9806 Hail to the Caldecott! Interviews with Winners Selznick and Wiesner • Rare Historic Banquet Photos • Getting ‘The Call’ PERMIT NO. 4 NO. PERMIT Change Service Requested Service Change HANOVER, PA HANOVER, Chicago, Illinois 60611 Illinois Chicago, PAID 50 East Huron Street Huron East 50 U.S. POSTAGE POSTAGE U.S. Association for Library Service to Children to Service Library for Association NONPROFIT ORG. NONPROFIT PENGUIN celebrates 75 YEARS of the CALDECOTT MEDAL! PENGUIN YOUNG READERS GROUP PenguinClassroom.com PenguinClassroom PenguinClass Table Contents● ofVolume 11, Number 1 Spring 2013 Notes 50 Caldecott 2.0? Caldecott Titles in the Digital Age 3 Guest Editor’s Note Cen Campbell Julie Cummins 52 Beneath the Gold Foil Seal 6 President’s Message Meet the Caldecott-Winning Artists Online Carolyn S. Brodie Danika Brubaker Features Departments 9 The “Caldecott Effect” 41 Call for Referees The Powerful Impact of Those “Shiny Stickers” Vicky Smith 53 Author Guidelines 14 Who Was Randolph Caldecott? 54 ALSC News The Man Behind the Award 63 Index to Advertisers Leonard S. Marcus 64 The Last Word 18 Small Details, Huge Impact Bee Thorpe A Chat with Three-Time Caldecott Winner David Wiesner Sharon Verbeten 21 A “Felt” Thing An Editor’s-Eye View of the Caldecott Patricia Lee Gauch 29 Getting “The Call” Caldecott Winners Remember That Moment Nick Glass 35 Hugo Cabret, From Page to Screen An Interview with Brian Selznick Jennifer M. Brown 39 Caldecott Honored at Eric Carle Museum 40 Caldecott’s Lost Gravesite .
    [Show full text]
  • University of Alberta
    University of Alberta The Girls’ Guide to Power: Romancing the Cold War by Amanda Kirstin Allen A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English and Film Studies ©Amanda Kirstin Allen Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Examining Committee Jo-Ann Wallace, English and Film Studies Patricia Demers, English and Film Studies Margaret Mackey, School of Library and Information Studies Cecily Devereux, English and Film Studies Michelle Meagher, Women’s Studies Beverly Lyon Clark, English, Wheaton College Dedicated to Mary Stolz and Ursula Nordstrom. Abstract This dissertation uses a feminist cultural materialist approach that draws on the work of Pierre Bourdieu and Luce Irigaray to examine the neglected genre of postwar-Cold War American teen girl romance novels, which I call “female junior novels.” Written between 1942 and the late 1960s by authors such as Betty Cavanna, Maureen Daly, Anne Emery, Rosamond du Jardin, and Mary Stolz, these texts create a kind of hieroglyphic world, where possession of the right dress or the proper seat in the malt shop determines a girl’s place within an entrenched adolescent social hierarchy.
    [Show full text]
  • THESIS ARTISTS' BOOKS and CHILDREN's BOOKS Elizabeth A
    THESIS ARTISTS’ BOOKS AND CHILDREN’S BOOKS Elizabeth A. Curren Art and the Book In partial fulfillment of the requirements For the Degree of Master of Arts in Art and the Book Corcoran College of Art + Design Washington, DC Spring 2013 © 2013 Elizabeth Ann Curren All Rights Reserved CORCORAN COLLEGE OF ART + DESIGN May 6, 2013 WE HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER OUR SUPERVISION BY ELIZABETH A. CURREN ENTITLED ARTISTS’ BOOKS AND CHILDREN’S BOOKS BE ACCEPTED AS FULFILLING, IN PART, REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTs IN ART AND THE BOOK. Graduate Thesis Committee: (Signature of Student) Elizabeth A. Curren (Printed Name of Student) (Signature of Thesis Reader) Georgia Deal (Printed Name of Thesis Reader) (Signature of Thesis Reader) Sarah Noreen Hurtt (Printed Name of Thesis Reader) (Signature of Program Chair and Advisor) Kerry McAleer-Keeler (Printed Name of Program Director and Advisor) Acknowledgements Many people have given generously of their time, their experience and their insights to guide me through this thesis; I am extremely grateful to all of them. The faculty of the Art and The Book Program at the Corcoran College of Art + Design have been most encouraging: Kerry McAleer-Keeler, Director, and Professors Georgia Deal, Sarah Noreen Hurtt, Antje Kharchi, Dennis O’Neil and Casey Smith. Students of the Corcoran’s Art and the Book program have come to the rescue many times. Many librarians gave me advice and suggestions. Mark Dimunation, Daniel DiSimone and Eric Frazier of the Rare Books and Special Collections at the Library of Congress have provided research support and valuable comments during the best internship opportunity anyone can ever have.
    [Show full text]
  • Critical Race and Whiteness Studies
    Critical Race and Whiteness Studies www.acrawsa.org.au/ejournal Volume 10, Number 2, 2014 10th ANNIVERSARY SPECIAL ISSUE OF CRITICAL RACE AND WHITENESS STUDIES The taxonomic gaze: Looking at whiteness from east to west Vera Mackie University of Wollongong In this article I consider representations of whiteness which emanate from outside the Euro-American centres. I argue that it is necessary to understand how whiteness has been seen by non-white observers, and that we need to be sensitive to local taxonomies of difference which are not always reducible to the white/non-white distinction which is hegemonic in the Euro-American centres. I consider the works of some artists and writers from early twentieth century Japan who are sensitive to their positioning in international hierarchies and who attempt to place themselves in a position of power in these gendered, classed, ethnicised and racialised hierarchies through their deployment of what I call the ‘taxonomic gaze’. I argue that the concept of whiteness needs to be historicised and provincialised, and that the field of whiteness studies itself also needs to be historicised. Keywords: whiteness, racialisation, Japan, taxonomic gaze Introduction In 1921, I left Japan and headed for France. The ship had hardly docked in Shanghai before my fellow passengers, from curiosity to know a Western woman, went to visit the white-walled western building with the red light. There they were taken by the golden hair of the Polish Jewish women and the Russian refugee women, enchanted by the charm of blue eyes, and returned to the ship singing paeans.
    [Show full text]
  • Modern Japanese Literature
    College of Arts and Sciences Department of Modern Languages and Literatures Oakland University JPN 420 Japanese Literature –Nineteenth and Twentieth Centuries, 4 credits Winter 2010 Course Catalogue Description: Reading texts of various genres. Conducted in Japanese. Prerequisites: JPN 314, 318 and 355. Sensei: Seigo Nakao, PhD Office: 354 O’Dowd Hall. Office Hours: MWF: 2:30-3:30. Or by appointment. Office Phone: (248) 370-2066. Email address: [email protected] This class satisfies the General Education requirement for the Capstone Experience in the Major. Satisfies the university general education requirement for a Writing Intensive in the Major. Prerequisites for the writing intensive: JPN 314, 318, and 355; also, completion of the university writing foundation requirement. General Education Learning Outcomes: Integration Knowledge Area: As a capstone course, The student will demonstrate: - appropriate uses of a variety of methods of inquiry (through exposure to a variety of literary approaches via lectures and research) and a recognition of ethical considerations that arise (through discussions and written treatments [tests, research paper] of literary themes). - the ability to integrate the knowledge learned in general education (foreign language and culture, and literature) and its relevance to the student’s life and career. Knowledge Areas: 1. Foreign Language and Culture Students integrate the following ACTFL national standard skills in the Japanese language: speaking (class discussions), listening (lectures), reading (literary texts), culture and writing (tests, papers) in the context of Japanese literature. 2. Literature Students will develop and integrate literary knowledge of genres and periods from the nineteenth and twentieth centuries, demonstrating how literature is a manifestation of culture and how literary form functions to enable this artistic expression.
    [Show full text]
  • Born in Chicago on September 25, 1930, Sheldon Allan Silverstein Grew up to Attain an Enormous Public Following, but Always Preferred to Say Little About Himself
    Born in Chicago on September 25, 1930, Sheldon Allan Silverstein grew up to attain an enormous public following, but always preferred to say little about himself. “When I was a kid,” he told Publishers Weekly in 1975, “I would much rather have been a good baseball player or a hit with the girls. But I couldn’t play ball. I couldn’t dance. So I started to draw and to write. I was lucky that I didn’t have anyone to copy, be impressed by. I had developed my own style.”Shel Silverstein began writing when he was twelve years old. He was not familiar with the style of any famous poets. Since he had no one whom he could mimic, he began developing his own technique. Shel Silverstein loved to spend time in Greenwich Village, Key West, Martha’s Vineyard, and Sausalito, California. In the 1950's, Silverstein enlisted in the armed forces and served in the Korean War. Silverstein drew his first cartoons for the adult readers of "Pacific Stars and Stripes," a Pacific-based U.S. military publication, when he was a G.I. in Japan and Korea. He also learned to play the guitar and to write songs, a talent that would later produce such hits as “A Boy Named Sue” for Johnny Cash and “The Cover of the Rolling Stone” for Dr. Hook. After completing his military duty, he was hired as a staff cartoonist for "Playboy" in 1956. Silverstein contributed several poems including "The Winner," "Rosalie's Good Eats Cafe," and "The Smoke-off".
    [Show full text]
  • Copyright by Peter David Siegenthaler 2004
    Copyright by Peter David Siegenthaler 2004 The Dissertation Committee for Peter David Siegenthaler certifies that this is the approved version of the following dissertation: Looking to the Past, Looking to the Future: The Localization of Japanese Historic Preservation, 1950–1975 Committee: Susan Napier, Supervisor Jordan Sand Patricia Maclachlan John Traphagan Christopher Long Looking to the Past, Looking to the Future: The Localization of Japanese Historic Preservation, 1950–1975 by Peter David Siegenthaler, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 Dedication To Karin, who was always there when it mattered most, and to Katherine and Alexander, why it all mattered in the first place Acknowledgements I have accumulated many more debts in the course of this project than I can begin to settle here; I can only hope that a gift of recognition will convey some of my gratitude for all the help I have received. I would like to thank primarily the members of my committee, Susan Napier, Patricia Maclachlan, Jordan Sand, Chris Long, and John Traphagan, who stayed with me through all the twists and turns of the project. Their significant scholarly contributions aside, I owe each of them a debt for his or her patience alone. Friends and contacts in Japan, Austin, and elsewhere gave guidance and assistance, both tangible and spiritual, as I sought to think about approaches broader than the immediate issues of the work, to make connections at various sites, and to locate materials for the research.
    [Show full text]
  • THE AWARDS ISSUE • Lois Ehlert • Remembering Mr. Rogers • Maurice Sendak
    FinalCover2-new.qxd 08/07/2003 3:24 PM Page 1 Children the journal of the Association for Library Service to Children Libraries & Volume 1 Number 2 Summer/Fall 2003 ISSN 1542-9806 THE AWARDS ISSUE • Lois Ehlert • Remembering Mr. Rogers • Maurice Sendak NON-PROFIT ORG. U.S. POSTAGE PAID ALSC BIRMINGHAM, AL PERMIT NO. 3020 Table Contents● ofVolume 1, Number 2 Summer/Fall 2003 Notes and Letters 32 A Rose for Fred Remembering Mr. Rogers 2 Editor’s Note Margaret Mary Kimmel Sharon Korbeck 36 Just What Do They Want? 2 Executive Director’s Note What Do They Need? Malore I. Brown A Study of the Informational Needs of Children 3 Letters to the Editor Andrew Kenneth Shenton and Pat Dixon 4 Outgoing ALSC President’s 43 Building a Future Message KSU Inaugurates Children’s Library Center, Looks Forward to More Barbara Genco Innovative Projects Megan Lynn Isaac 6 Incoming ALSC President’s Message 45 Weaving Stories Cynthia K. Richey Celebrating the Tenth Anniversary of the Américas Award for Children’s and Features Young Adult Literature Julie Kline 7 Award Acceptance Speeches Departments Newbery Medal Avi 49 Urban vs. Rural Caldecott Medal Eric Rohmann Chicago School Librarian Must Meet Demands of Challenged Students Laura Ingalls Wilder Medal Toby Rajput Eric Carle Keeping Kids Interested Is Challenge of Sibert Medal Small-town Jack-of-all-Trades James Cross Giblin Nicole Medley 17 2003 May Hill Arbuthnot 52 ALSC News Lecture 55 Call for Referees Maurice Sendak 56 Officers and Board of Directors 24 58 Index to Advertisers My Own Spot 59 Lois Ehlert Shares How Inspiration Author Guidelines Colors Her World 60 The Last Word Sharon Korbeck 27 A+ Partners in Education Positioning Libraries as a Cornerstone in the Education Process Valerie J.
    [Show full text]
  • A Tanizaki Feast
    A Tanizaki Feast Michigan Monograph Series in Japanese Studies Number 24 Center for Japanese Studies, The University of Michigan A Tanizaki Feast The International Symposium in Venice Edited by Adriana Boscaro and Anthony Hood Chambers Center for Japanese Studies The University of Michigan Ann Arbor, Michigan, 1998 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. 1998 The Regents of the University of Michigan Published by the Center for Japanese Studies, The University of Michigan, 202 S. Thayer St., Ann Arbor, MI 48104-1608 Distributed by The University of Michigan Press, 839 Greene St. / P.O. Box 1104, Ann Arbor, MI 48106-1104 Library of Congress Cataloging in Publication Data A Tanizaki feast: the international symposium in venice / edited by Adriana Boscaro and Anthony Hood Chambers. xi, 191 p. 23.5 cm. — (Michigan monograph series in Japanese studies ; no. 24) Includes index. ISBN 0-939512-90-4 (cloth : alk. paper) 1. Tanizaki, Jun'ichir5, 1886—1965—Criticism and interpreta- tion—Congress. I. Boscaro, Adriana. II. Chambers, Anthony H. (Anthony Hood). III. Series. PL839.A7Z7964 1998 895.6'344—dc21 98-39890 CIP Jacket design: Seiko Semones This publication meets the ANSI/NISO Standards for Permanence of Paper for Publications and Documents in Libraries and Archives (Z39.48-1992). Published in the United States of America ISBN 978-0-939512-90-4 (hardcover) ISBN 978-0-472-03838-1 (paper) ISBN 978-0-472-12816-7 (ebook) ISBN 978-0-472-90216-3 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Contents Preface vii The Colors of Shadows 1 Maria Teresa Orsi The West as Other 15 Paul McCarthy Prefacing "Sorrows of a Heretic" 21 Ken K.
    [Show full text]
  • From Limbo to Childhood
    INTRODUCTION FROM LIMBO TO CHILDHOOD “I don’t like all kids,” the late Maurice Sendak (1928–2012) once infamously declared. “Some of them are as awful as their parents.”1 Very young people, he believed, are not categorically alike. Sendak rejected the Enlightenment-based notion that children are “blank slates,” shape- able matter born to serve an enfranchised status quo by playing the socially desired role—in the case of modern childhood, that role was usually “the innocent.” Ideals of childhood innocence, he felt, reflected adults’ demands that children not know or feel, but instead primarily behave, submitting to dictation from an exclusionary society. Children, the artist asserted, were tragically socialized out of the fierce honesty and emotional transparency with which they are born and which few adults manage to maintain.2 He believed in children’s inherent capacity to differ from each other, to question, to know, to preserve endangered parts of the self, and to resist sanctioned injustices. In the artist’s own words, his work explores “how a child deals with revolutionary, tumul- tuous feelings that have no place in a given setting, like the classroom or his mother’s apartment.”3 Situated in broader cultural and historical contexts, the present study shines new light on Sendak’s own displaced Copyright © 2020. Stanford University Press. All rights reserved. University Press. © 2020. Stanford Copyright “revolutionary, tumultuous feelings” as they drove his sensitive inner life and his work. Moskowitz, G. Y. (2020). Wild visionary : Maurice sendak in queer jewish context. ProQuest Ebook Central <a onclick=window.open('http://ebookcentral.proquest.com','_blank') href='http://ebookcentral.proquest.com' target='_blank' style='cursor: pointer;'>http://ebookcentral.proquest.com</a> Created from brandeis-ebooks on 2021-02-12 05:45:53.
    [Show full text]