Interviews

As a girl searches for her lost dog, a simple act of generosity ripples into a wave of good deeds. In the course of a single day, each considerate action weaves lives together and transforms a neighborhood for the better.

Max's Boat Pick:


EVERY LITTLE KINDNESS

By Marta Bartolj

Publisher: Chronicle Books (October 12, 2021)

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What inspired Every Little KindnessMB: "I’m very touched by simple acts of kindness—little actions that anyone can do. It’s something I've found important since my childhood. One small kindness can make a change, even though we might not always see it. This was my inspiration for the story. The main character, the dog Brko, is my friend Andrea's dog. He was rescued from a shelter, and avoided having to be put to sleep. Andrea offered him a home. This and his whole story really moved me. I truly believe that kindness is a great way to make the world brighter and can help to build a friendly community where anyone is accepted and has a place to stay and to be. And in a subtle way, maybe it raises the question of what it really means to be human."

You convey so much without words. What are some of your favorite wordless (or nearly wordless) picture books? "There are so many beautiful wordless books. The first that really moved me was Wave by Suzy Lee. Another very precious one is The Snowman by Raymond Briggs. I love it as an animated film, too! Sidewalk Flowers by JonArno Larsen and Sydney Smith is another one that stands out for me. I also love Pool by JiHyeon Lee and The Arrival by Shaun Tan. Moletown by Torben Kuhlmann is almost wordless. It has a few lines at the beginning and at the end. Moletown is a great representation of our time and it opens many questions about the current way of living, values and future."




You have such a distinctive visual style. Who are some other illustrators you admire? "There are so many great illustrators! The first ones that come to mind are Lisbeth Zwerger and Beatrix Potter. But Rebecca Dautremer's illustrations are the ones that opened up for me a whole new world of how to express and create an atmosphere through illustration. I enjoy observing works by great artists. But what's most important is to express from 'your own creative seat,' I think, freely and in your own visual language. It’s not always easy, and sometimes it feels like being vulnerable, so I need a lot of courage."





What would be on your list of 100 best picture books of all time? "I think it would be The Secret Lives of Princesses by Philippe Lechermeier and Rebecca Dautremer. It was the first picture book that pulled the rug from under my feet so to speak. The illustration is stunning. And the way the text communicates with the illustrations is amazing. I’m in love with the color palette. The design is playful and not over the top at the same time. The book really is an art piece."

Updated: Nov 8

Everybody in the red brick building was asleep. Until . . . WaaaAAH! Rraak! Wake up! Pitter patter STOMP! Pssheew! A chain reaction of noises wakes up several children (and a cat) living in an apartment building. But it’s late in the night, so despite the disturbances, one by one, the building’s inhabitants return to their beds—this time with a new set of sounds to lull them to sleep.


Max's Boat Pick:


EVERYBODY IN THE RED BRICK BUILDING

Written by Anne Wynter and illustrated by Oge Mora

Publisher: Balzer + Bray (October 19, 2021)

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What inspired Everybody in the Red Brick Building? AW: "A few things inspired the book. The first was a fascination with how apartment neighbors interact. I grew up in the same house my whole childhood, so when I was an adult living in apartments, the dynamics were so interesting to me. Once I woke up to the sound of a child singing Jingle Bells on the other side of the wall - it was so clear and it just lifted my mood. Moments like that stuck with me. I tried to write a full-length play that explored those themes, but it never worked out. So when I started trying to write picture books, this was one of the first ideas that came to mind. When I wrote the manuscript, I was living in an apartment with my kids, and apartment living was all they’d ever known. We had lots of wonderful books that featured houses, but I wished we had more books featuring apartments. And because I had already been thinking about apartments so much, possibilities for interactions were right at the top of my mind when I started working on Everybody in the Red Brick Building."

I find cumulative tales so fun to read, but they're also tricky to get right. What are some of your favorite cumulative text picture books? "They are tricky! When I was younger, I had a big book of stories and poems. Usually, I’d turn straight to The House that Jack Built and read that one over and over. For contemporary cumulative stories, One Day in the Eucalyptus, Eucalyptus Tree by Daniel Bernstrom and Brendan Wenzel is a favorite."




Everybody in the Red Brick Building is such fun to read aloud! What are some of your favorite books to read aloud? "Saturday by Oge Mora. There’s a moment when Ava and her mother don’t want to miss the bus, and the mood quickly pivots from quiet and calm to loud and intense. There are so many big emotions in that book - excitement, disappointment, frustration, joy. Reading it out loud feels like performing a really great monologue.


Speaking of performing, I can’t forget Punk Farm by Jarrett J. Krosoczka. It’s definitely our noisiest, most energetic read aloud. We all get really into it!"


What do you think the best picture books do? "I think the best picture books have bits of language or imagery that stay with you and work their way into your life. One example is Du Iz Tak by Carson Ellis. It’s a book that teaches you another language - bug language! Sometimes my kids pick gladenboots for me. Or I’ll wish we had a taller ribble. It’s like you get access to an inside joke between everyone who loves that book.

Another book that does that is Same, Same but Different by Jenny Sue Kostecki-Shaw. I love the structure and logic of the story, as well as the beautiful connection between the two characters, and the phrase 'same, same but different' gets a lot of use in our home.

In a different sense, Each Kindness by Jacqueline Woodson and E.B. Lewis also stays with you. It has an unexpected, sad ending that feels very true to life. Sometimes when we finish reading it, one of my kids’ will sit and stare at the final page for a while. Several of Jacqueline Woodson’s books have endings that never leave me."

What did you love reading to your sons at age three? At age five? "At age 3, Stick and Stone by Beth Ferry and Tom Lichtenheld, Extra Yarn by Mac Barnett and Jon Klassen, Baby Goes to Market by Atinuke and Angela Brooksbank, Blue on Blue by Dianne White and Beth Krommes, and My Red Balloon by Kazuaki Yamada were definite favorites. At age 5, Whoosh! By Chris Barton and Don Tate, Boats for Papa by Jessixa Bagley, Mr. Tiger Goes Wild by Peter Brown, and I Am Every Good Thing by Derrick Barnes and

Gordon C. James were all winners. Another great thing about all these books is that they’re special at such a wide range of ages. They’re all still favorites in our home."


What contemporary picture books do you think will be the new classics of the future? "Little Owl’s Night by Divya Srinivasan is 10 years old, and it certainly feels like it’s achieved classic status already. The Old Boat by Jarrett and Jerome Pumphrey and All the World by Liz Garton Stanlon and Marla Frazee also feel like modern classics."



What would be on your list of 100 best picture books of all time? "What a question! That’s so hard! To avoid hand-wringing, brow-furrowing and page flipping, I’m going to pick one that definitely makes the list for me. A Big Moon Cake for Little Star by Grace Lin. Magical, breathtaking, satisfying, perfect. We never get tired of that book."



It fell from the sky on a Thursday. None of the insects know where it came from, or what it is. Some say it’s an egg. Others, a gumdrop. But whatever it is, it fell near Spider’s house, so he’s convinced it belongs to him. Spider builds a wonderous display so that insects from far and wide can come look at the marvel. Spider has their best interests at heart. So what if he has to charge a small fee? So what if the lines are long? So what if no one can even see the wonder anymore? But what will Spider do after everyone stops showing up?

Pick by The Pumphrey Brothers, The Old Boat:


IT FELL FROM THE SKY

By Terry Fan and Eric Fan

Publisher: Simon & Schuster Books for Young Readers (September 28, 2021)

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Can you tell me the origin story behind It Fell From the Sky

Eric: "Like all our books, It Fell from the Sky had its start as a standalone image Terry and I did about ten years ago. It showed a group of insects wearing top hats surrounding a marble that had fallen into the garden. When we start writing a book, we like to use an image as a starting point, as a springboard for our imagination. As you go through the process of interrogating the image the story begins to slowly reveal itself. It’s the same process we used for our last three books, and it tends to work much better than starting with an empty page, which is always a little daunting."


Terry: "Another inspiration for It Fell from the Sky is the fact that Eric and I both collected marbles when we were younger. We loved the mystery and beauty of these humble little glass worlds. Over time we discovered that there were rare marbles and handmade marbles that were nearly a hundred years old. They all had evocative names like onionskins, 'end of the day' marbles, agates, gooseberries, micas, lattice-core, Benningtons, lutzes, and sulphides. We learned to identify the handmade ones by the two rough patches at the marble’s poles, known as pontils. The pontils are where the marble was cut from its cane by a glassmaker. For our story, we used the most recognizable, machine-made marble, which is the cat’s eye. Since the book is partly about discovering the wondrous in the mundane, we wanted something very ordinary that was still intriguing and mysterious, when taken out of context."


Your penultimate double-page spread was just breathtaking. Are there any double-page spreads that really stand out to you? Eric: "Thank you! The two recent examples I can think of were both gatefold spreads. There’s a spectacular one in I Talk Like a River, by Jordan Scott, illustrated by Sydney Smith, and a lovely gatefold spread of a lemon meringue pie in Nice Try, Charlie! by Matt James. Come to think of it, maybe we should have made our penultimate spread a gatefold!"


Your books always seem to have this larger message, which you deliver with such nuance and care. So I'm curious to know: What do you think the best picture books do?

Eric: "Thank you! That’s so nice to hear. We always strive to deliver a message that isn’t too didactic, that emerges naturally from an entertaining story. For me the most important aspect of a book is to expand the boundaries of the reader’s imaginative world. I just read a middle grade novel called In the Wild Light, by Jeff Zentner, and one of the characters says at one point: 'fear wants to make your life small.' I think books, at their best, do the opposite. Books want to make your life large, your empathy and imagination more expansive, your dreams bigger."


Terry: "Yes, thanks for such a lovely compliment. I think the best picture books can be appreciated on different levels, Where the Wild Things Are being a perfect example. For very young readers, it can be enjoyed simply as a magical adventure. However, it offers much more and lends itself to deeper analysis. That’s one of the reasons it impacted me so much as a child because even if I couldn’t fully understand the underlying psychological complexities of the story, I could sense it on an emotional level, which imbued the book with even more mystery and power. Kids love to be challenged in that way, and in my case, Where the Wild Things Are went beyond entertainment and acted as a springboard for my developing imagination."


You have such a distinctive visual style. Who are some other illustrators you admire? Eric: "There are so many. As far as contemporary illustrators, just to name a few:

Sydney Smith, Small in the City

Isabelle Arsenault, Colette’s Lost Pet

Carson Ellis, Du Iz Tak?

Matthew Cordell, Wolf in the Snow

Christian Robinson, Last Stop on Market Street

Dena Seiferling, King Mouse

K-Fai Steele, A Normal Pig

The Pumphrey Brothers, The Old Truck

Matt James, The Funeral

Cindy Wume, Ten Little Dumplings

Kadir Nelson, The Undefeated

Esme Shapiro, Alma and the Beast

Julie Morstad, Time is a Flower

Phoebe Wahl, The Blue House

Marianna Coppo, Such a Good Boy

Jon Klassen, This Is Not My Hat

Brendan Wenzel, They All Saw a Cat

Benji Davis, The Storm Whale

Shaun Tan, Eric

Matt Forsythe, Pokko and the Drum

Daniel Miyares, Hope at Sea: An Adventure

Akiko Miyakoshi, The Way Home in the Night

David Biedrzycki, Invasion Of The Unicorns

Dan Santat, After the Fall "


Terry: "All of the ones Eric listed! There are many others, and I couldn’t possibly list them all here, but I’ll add some that Eric hasn’t mentioned already:


Eliza Wheeler, Home in The Woods

Rashin Kheiriyeh, Story Boat

Kenard Pak, The Fog

Jillian Tamaki, They Say Blue

Marc Martin, A Forest

Sophie Blackall, Hello Lighthouse

Pete Oswald, The Bad Seed

Samantha Cotterill, Charlotte and the Rock

Chuck Groenink, Hungry Jim

Katie Cottle, The Blue Giant

Sabina Gibson, Unicorn Magic

Chris Turnham, The Wish Tree

Chow Hon Lam, The Bold, Brave Bunny

Scott Magoon, Breathe

Sandra Dieckmann, The Secret Forest

Brian Floca, Locomotive

Jacqueline Alcántara, Jump at The Sun

Charly Palmer, Keep Your Head Up

Mark Teague, Cat Dog

The O’Hara Sisters, Frindleswylde

Jay Fleck, Tiny T. Rex

Byron Eggenschwiler, The Little Ghost Who Was a Quilt Rebecca Green, How To Make Friends With a Ghost"




What contemporary picture books do you think will be the new classics of the future?Eric: "It’s always tough to know what will be considered a classic in the future. This is Not My Hat, by Jon Klassen seems like an obvious choice. The Polar Express, Chris Van Allsburg, which I guess is already a classic? I’d love to see any of the books already listed become a classic, too."


Terry: "I can think of many contemporary picture books that deserve to become classics, but it’s very tricky to predict, so I won’t even hazard a guess. Consider Goodnight Moon. It’s one of the most popular picture book classics of all time, and yet it performed poorly when it was first published. It was even banned for a time. I always found it so sad that Margaret Wise Brown didn’t live long enough to see her book become the classic that it was destined to become. A true classic persists for generations, so at the very least, it takes decades for a book to become a classic. Enough time is needed for kids to grow into adulthood and then pass on the love of a book they remembered from childhood to their own children, and then so on."


What would be on your list of 100 best picture books of all time? Eric: "I’ll just name my two of my favorite picture books: Where the Wild Things Are, by Maurice Sendak, which my parents read to me a hundred times when I was little, maybe a thousand times, at my insistence. Then there’s Sylvester and the Magic Pebble, and basically anything by William Steig. He’s such a brilliant writer, and Sylvester and the Magic Pebble goes to some unexpectedly dark places for a picture book; there’s genuine existential dread in the story, which gives it a lot of punch and emotional resonance."


Terry: "I'll have to repeat Where the Wild Things Are, because it has always been my favourite. A

few more are Goodnight Moon, by Margaret Wise Brown and Clement Hurd, The Very Hungry Caterpillar, by Eric Carle, and Strega Nona by Tomie dePaola."