Okay, parents, here’s my annual reminder: If you want to get the kids interested in poetry, turn off the TV during the seventh-inning stretch and read Ernest L. Thayer’s brief classic baseball poem, “Casey at the Bat.” You’ll find a good, free, legal and complete version on this page of the site for the Academy of American Poets. And you’ll find my review of several picture-book editions of the poem, suitable for children of different ages, here. My review includes Christopher Bing’s Casey at the Bat: A Ballad of the Republic Sung in the Year 1888, a Caldecott Honor Book.
November 1, 2009
All the Words to the Baseball Poem ‘Casey at the Bat,’ Free and Online
October 17, 2009
Why Was the Book ‘Where the Wild Things Are’ a Trailblazer? A Classic Reconsidered
Why did Where the Wild Things Are seem revolutionary when it appeared in 1963? What qualities helped it win the 1964 Caldecott Medal? And why has it lasted long enough to inspire a new Spike Jonze movie? A review of the trailblazing children’s book by Maurice Sendak appeared in the “Classic Picture Books Every Child Should Read” series on One-Minute Book Reviews.
August 26, 2009
Before Ted Kennedy’s Brain Tumor, There Was Johnny Gunther’s
Malignant brain tumors such as that of Sen. Ted Kennedy (1932-2009) are uncommon enough that they have received less attention in books than many other types of cancer. One exception to the pattern is Death Be Not Proud, John Gunther’s eloquent memoir of the death of his 17-year-old son, Johnny, from a fatal glioma diagnosed when he was in high school. American views of cancer have undergone a sea-change since the book was first published in 1949. But this modern classic remains one of the finest accounts we have of the physical and emotional toll that a malignant brain tumor takes on patients, even those who might seem to have all the advantages. This post first appeared in 2008.
August 5, 2009
‘GIRL WITH EVERYTHING ASKS FOR MOOR’ — Witty Summaries of ‘Othello’ and Other Classics, Edited by E. O. Parrott
Classic works of lit / Reduced quite a bit / In poems and prose / As fun overflows.
How to Become Ridiculously Well-Read in One Evening: A Collection of Literary Encapsulations. Compiled and Edited by E.O. Parrott. Penguin, 188 pp., varied prices.
By Janice Harayda
One of the most popular posts on this site is a review of E. O. Parrott’s How to Be Well-Versed in Poetry, which illustrates the different types of poetry though amusing and self-descriptive verse. No less delightful is Parrott’s How to Become Ridiculously Well-Read in One Evening, a collection of 150 brief and witty summaries of classic novels, plays and poems.
In this tongue-in-cheek volume, Tim Hopkins gives you Othello in 10 tabloid headline parodies, including GIRL WITH EVERYTHING ASKS FOR MOOR. And Basil Ransome-Davies shows how an overeager publicist might have promoted The Bostonians: “He’s done it again! Our guess is that’s what you’ll be saying to yourself when you read Henry James’s latest exposé of upper-crust Boston …”
But most of the 31 contributors turn the classics into verse. V. Ernest Cox sums up The Old Man and the Sea in a limerick that begins:
There was an old man of the sea,
Who for eight-four days went fish-free,
But he rowed out next day,
And almost straightaway
Struck gold – piscatorially …
Paul Griffin describes A Christmas Carol in a clerihew that has as its first quatrain:
Ebenezer Scrooge
Was nobody’s stooge;
It drove him into one of his rages
When somebody asked for more wages …
And Peter Norman gives you The Great Gatsby in iambic tetrameter:
Nick Carraway and Gatsby (Jay)
Are next-door neighbors; every day
The enigmatic Gatsby gazes
Towards a distant green light (Daisy’s).
Apart from their entertainment value, these light-hearted verses could work well as teaching aids. Anybody want to guess what novel inspired W.S. Brownlie’s: “A captain with an idée fixe / Chased a whale for weeks and weeks”?
Best line: Some of the literary encapsulations take the form of song parodies, such as Cox’s: “The animals stage a coup d’état, / Hurrah! Hurrah! /And from the farm all humans bar, / Hurrah! Hurrah!”
Worst line: The copyright line, which suggests that this book is overdue for a reprint.
Caveat lector: The third and fourth lines of the Hemingway limerick should be indented four spaces, but I couldn’t make it happen.
Published: 1985
Furthermore: I’d like to link to a short online biography of the British writer and editor E. O. Parrott but couldn’t find one. If you can suggest one, I’d appreciate it.
This is a re-post of a review that first appeared in August 2007. I am off today.
© 2009 Janice Harayda. All rights reserved.
July 25, 2009
Wanda Gág’s ‘Millions of Cats’ — An American Classic for Children
Millions of Cats. By Wanda Gág. Putnam, 32 pp., varied prices. Ages 6 and under.
By Janice Harayda
Thirty years ago, an editor asked Maurice Sendak if he thought picture books were better in the past. Yes, he said, “there was Wanda Gág.” More recently, I asked the children’s author Jan Brett which artists had influenced her work, and she gave a similar answer: “Of course, there was Wanda Gág.”
Gág (rhymes with blog) was to picture books what Julia Child was to French cooking – the first American star in a field that has exploded in her wake. And just as Mastering the Art of French Cooking remains a standard-bearer for a generation, so does Gág’s Millions of Cats, first published in 1928.
Gág’s masterpiece is so unassuming by today’s measures that if you came across it on a library shelf, you might overlook it. Except for the cover, all of the illustrations are black-and-white. The book is relatively small, just over half the size of a typical book by Chris Van Allsburg, with a horizontal format. It has only two human characters — an old man and woman with no children – who might have stepped out of the story of Abraham and Sarah.
But Millions of Cats combines tenderness with powerful themes, including the human longing for companionship and the struggle to survive in the natural world, and it does so in a story 3- and 4-year-olds can understand. The old woman believes a cat would ease the couple’s loneliness, and her husband sets out to find one. But each cat he sees is so pretty, he goes home followed by what looks like a feline peace march. The horde inspires the refrain:
Cats here, cats there,
Cats and kittens everywhere,
Hundreds of cats,
Thousands of cats,
Millions and billions and trillions of cats.
The old man and woman can’t keep them all, so the cats compete for survival, except for a frightened and “very homely little cat” that others see as no threat and ignore. That is the cat that the couple come to see as the “the most beautiful cat in the world.”
Gág’s beautiful pen-and-ink drawing flow across gutters and move her story forward in waves instead of boxes that can make a book look flat or inert. Many of her details recall both folktales and her Bohemian ancestry – a kerchief, a tunic, a tidy fieldstone cottage encircled by flowers. And her humor comes not from visual gags but believable emotions, such as the old man’s astonishment on seeing the “millions of cats” for the first time. All of it makes for a book that a child can read again and again with delight. Millions of Cats was the first American picture book that had both popular and literary success, and it’s still one of the worthiest of its honors.
Best line: “Millions and billions and trillions of cats.”
Worst line: Some critics say it’s illogical that the text suggests that the cats “have eaten each other all up” at the end of their fight while the pictures offer no evidence that they have done this. I think that this view is too literal and the fight is a metaphor for the Darwinian struggle for survival. How “logical” was it for all those millions of cats to follow the old man home in the first place?
Published: 1928 (first edition), 1996 (Putnam reprint)
This is a re-post of a reviews that first appeared in 2007.
© 2009 Janice Harayda. All rights reserved.
June 18, 2009
Nancy Mitford’s Modern Classic, ‘Love in a Cold Climate’
Say what you will about the decomposing British class system, the follies of aristocrats have inspired some the finest comic scenes in Western literature. Few authors saw the excesses at closer range than Nancy Mitford, who drew on them for Love in a Cold Climate, a modern classic based in part on her storied and half-batty upper-class family. First published in 1949, this comedy of manners tells the story of the heiress Polly Montdore, an only child who flouts convention by marrying a middle-aged man who had been her mother’s lover. Mitford’s portrait of the young Polly sets the tone of a book that is witty and elegant without being aloof: “Polly was a withdrawn, formal little girl, who went through the day with the sense of ritual, the poise, the absolute submission to etiquette of a Spanish Infanta. You had to love her, she was so beautiful and friendly, but it was impossible to feel very intimate with her.”
June 10, 2009
Norman Mailer’s Overrated ‘The Naked and the Dead’ — An Admirable Fake?
It’s perversely satisfying to learn that a great critic dislikes a book that you thought you alone didn’t enjoy. In my life an example involves The Naked and the Dead, the 1948 World War II novel that grew out of Norman Mailer’s experiences as a rifleman on Luzon and made his reputation while he was in his 20s. For years I’ve considered this book one of the most overrated of the 20th century and far inferior to war novels often mentioned in the same breath, including All Quiet on the Western Front and A Farewell to Arms. Chief among its problems is that it tells the stories of a variety of soldiers without making any of them uniquely memorable.
It’s always seemed to me that The Naked and the Dead might have had less praise if Mailer had been 30 years older when he wrote it and if the novel had not come out a few years after World War II, when critics could compare it to relatively few books about the conflict. So I was heartened to find that Gore Vidal — one of the great literary critics of our time — years ago had a similar response that I had missed. Vidal wrote in a 1960 essay in the Nation, reprinted in Homage to Daniel Shays: Collected Essays 1952–1972 (Random House, 1972):
“My first reaction to The Naked and the Dead was: it’s a fake. A clever, talented, admirably executed fake. I have not changed my opinion of the book since, though I have considerably changed my opinion of Mailer, as he himself as changed. Now I confess I have never read all of The Naked and the Dead. I do recall a fine description of soldiers carrying a dying man down a mountain (done almost as well as the same scene in Malraux’s earlier work). Yet every time I got going in the narrative I would find myself stopped cold by a set of made-up, predictable characters taken not from life but from the same novels all of us had read, and informed by a naïveté which was at its worst when Mailer went into his Time-Machine and wrote those passages which resemble nothing so much as smudged carbon copies of a Dos Passos work.”
Wouldn’t you love to know what Vidal said when he learned that Mailer posthumously won the 2007 Bad Sex in Fiction Award for for The Castle in the Forest?
(c) 2009 Janice Harayda. All rights reserved.
June 1, 2009
A Yankee’s Favorite Books About the South #1 – Eudora Welty’s Comic Novella, ‘The Ponder Heart’
A kind-hearted uncle is put on trial for murder in a comic novella that includes some of the most entertaining courtroom scenes in American literature
The Ponder Heart. By Eudora Welty. Houghton Mifflin Harcourt, 168 pp., $12, paperback.
By Janice Harayda
Jane Austen told a would-be novelist that “three or four families in a country village is the very thing to work on.” And much of her comedy turns on the arrival of an outsider in such a group – most famously, Fitzwilliam Darcy’s entrance into the world of the Bennets, Bingleys and Lucases in Pride and Prejudice.
In that sense, The Ponder Heart is Eudora Welty’s most Austenian book. The wonderfully named Ponders and Clanahans and Sistrunks have held sway in Clay, Mississippi, for generations. Then a newcomer turns up: 17-year-old Bonnie Dee Peacock, who is “no bigger than a minute” and promptly marries Uncle Daniel Ponder, a rich, kind and mentally slow man whose greatest happiness lies in giving things away. When Bonnie departs as suddenly as she arrived, Uncle Daniel finds himself on trial for murder in one of the most entertaining courtroom dramas in American literature.
First published in The New Yorker in 1953, The Ponder Heart is a light-hearted and at times farcical social comedy that takes the form of a monologue by the endearingly self-assured Edna Earle Ponder, the proprietor of the faded Beulah Hotel in Clay, Mississippi. Edna says, “It’s always taken a lot out of me, being smart,” and the appeal of her tale lies partly in her astute, matter-of-fact send-ups of her fellow Mississippians.
“The Peacocks are the kind of people keep the mirror outside on the front porch, and go out and pick railroad lilies to bring inside the house, and wave at trains till the day die,” Edna says.
Everything about that sentence is perfect: its deadpan wit, its vivid images, its distinctive syntax (such as the dropping of the “who” from the phrase, “the kind of people keep”). And it suggests why many critics believe that Welty’s superb ear for the speech of many Southern groups – men and women, blacks and whites, city and country folk – reaches a high point in The Ponder Heart.
But Welty never makes dialect an end in itself, as so many novelists do. She always uses it to make a larger point that is as disarmingly frank and surprising as her language. Edna Earle suggests one of the themes of The Ponder Heart explaining why Uncle Daniel keeps finding reason come into town from the big Ponder house out in the country. “There’s something that’s better to have than love,” she says, “and if you want me to, I’ll tell you what it is – that’s company.”
This is the first in a series of daily posts about Southern literature. Tomorrow: Willie Morris’s memoir of his Southern boyhood, North Toward Home.
(c) 2009 Janice Harayda. All rights reserved.
May 25, 2009
‘Death Takes a Holiday’ – A Play Asks, ‘What If for Three Days Nobody Died?
Broadway came before Brad.
In the play that inspired Meet Joe Black, Death learns the power of love
Death Takes a Holiday: A Comedy in Three Acts. By Alberto Casella. Rewritten for the American Stage by Walter Ferris. Samuel French, 151 pp., $7.50, paperback.
By Janice Harayda
Like Blithe Spirit, Death Takes a Holiday is one of those supernatural comedies of the 1930s and 1940s that lifted spirits lowered by the Depression and World War II. Whether the play would have the same effect in the age of swine flu and Afghanistan, I have no idea (though the producers of Meet Joe Black, a 1998 adaptation that starred Brad Pitt, apparently thought it would provide a welcome diversion from the Clinton sex scandals).
But in some ways Death Takes a Holiday has lost little of its appeal since it opened on Broadway two months after the stock market crash of 1929. Weary of “always being misunderstood,” Death suspends his activities for three days and takes on a human form to find out why people fear him. He conducts his experiment by dropping in on the castle of an Italian duke and, after gaining the nobleman’s consent, passing himself off to its residents as the visiting Prince Sirki. The project goes awry when Death falls in love and sees the flaw in his gambit.
“I gave myself life, not knowing the force that is in life, nor the force that is in love,” he laments.
Death’s ardor is returned by a young woman who must decide, as the end of his stay nears, whether love is stronger than death. And if answer seems obvious, Alberto Casella invests it with more suspense and interest than you might expect. Unlike Blithe Spirit, Death Takes a Holiday isn’t mainly about glorious repartee – it has heart and a seriousness of purpose. It is the unusual play about death that is funny and entertaining but doesn’t trivialize its subject and has an ageless message.
Early on, the as-yet-undisguised Death explains to Duke Lambert why he must don the garb of a prince:
“I’ve found that very few mortals can bear to face life as it really is. It seems to them stark and forbidding, like the outlines of my face, until Illusion softens it with her rosy lamp.”
Death has clearly learned a lesson that eluded the many of the leaders of companies that lately have ranged from Enron to AIG – that the real, however frightening, has a beauty that illusion can’t match.
Best line: Quoted above: “few mortals can bear to face life as it really is.”
Worst line: Major Whitread, a soldier in a medal-covered uniform Foreign Legion uniform, tells Death/Prince Sirki (also called “Shadow”): “I’ve been awfully anxious to meet you, sir.” The line isn’t bad but suggests one of the contrivances of the play: A legionnaire turns up, seemingly out-of-the-blue, to offer the perspective of someone who has seen death at close range.
Published: 1924 (first Italian production), 1929 (first Broadway production).
Furthermore: Death Takes a Holiday is available from the Samuel French online store. The Broadway play inspired a 1934 movie with the same title and the remake Meet Joe Black, which I haven’t seen.
One-Minute Book Reviews is for people who like to read but dislike hype and review inflation.
© 2009 Janice Harayda. All rights reserved
www.janiceharayda.com and www.twitter.com/janiceharayda
May 23, 2009
Allons, Enfants! Classic Picture Books Every Child Should Read – ‘Anatole,’ a Caldecott Finalist by Eve Titus and Paul Galdone
A friendly is mouse is startled to find that Parisians dislike his nibbling on leftovers
Anatole. By Eve Titus. Illustrated by Paul Galdone. Fiftieth Anniversary Edition. Knopf, 40 pages, $14.95, ages 3 and up.
By Janice Harayda
Some runners-up for the Caldecott award have had longer and more active lives than the books that defeated them. A famous example is Madeline, a 1940 finalist edged out by Ingri and Edgar Parin d’Aulaire’s Abraham Lincoln.
Another case in point is the delightful Anatole, a tale of French mouse shocked to learn that humans dislike his feasting on their leftovers. The book that defeated it for the 1957 medal, A Tree Is Nice, remains popular and admired. But if you factor in the sequels, Anatole has the edge with children. Adults have reason to love the book, too.
Anatole has a plot that – if strong in its heyday – looks Herculean by the standards of the washed-out storylines of so many contemporary picture books. Anatole is happy to sneak into houses and nibble on leftovers until Parisians offend his pride by complaining about the scavenging. A mouse has to feed his family – in this case, his wife, Doucette, and six children – but Anatole has a conscience and self-respect. “If only we could give people something in return — ” Doucette says.
Inspired by his wife’s words, Anatole begins slipping into the Duval Cheese Factory by moonlight, tasting the products, and pinning onto the cheeses notes that suggest ways to improve them. “Less black pepper … more grated onion … another pinch of salt.”
Will Anatole get caught? This question in itself makes for an exciting story. But Anatole also develops a worthy theme nondidactically: Giving back makes you feel good even if you can’t repay others in kind. And as Meghan Cox Gurdon has noted, the book gives English-speakers a chance to enliven a reading by adopting an outrageous French accent, either for the English text or the scattering of French words like, “Touché!”
Paul Galdone adds to the Gallic flair by illustrating his early 20th-century Parisian scenes with just three colors – red, white, and blue – and to the suspense by alternating tricolor pictures with black-and-white spreads. Some spoilsports might wish that Eve Titus had set her story in China, which would have allowed for shop signs in Mandarin – a language that that has spiked in popularity among preschoolers – instead of French. As Anatole’s helper Gaston says, “C’est la vie!” A Chinese version might have had its advantages, but would it have had as many pictures of delicious cheeses?
Best line/picture: Anatole is mortified to hear Parisians complaining about mice: “ ‘But I never dreamed they regarded us this way,’ cried the unhappy Anatole. ‘It is horrible to feel scorned and unwanted! Where is my self-respect? My pride? MY HONOR?’”
Worst line/picture: None.
Published: 1956 (McGraw-Hill first edition), 2009 (Knopf 50th Anniversary Edition).
Furthermore: Galdone won Caldecott Honor Book citations for Anatole and the first of more than a half dozen sequels, Anatole and the Cat.
Reviews of books for children or teenagers appear every Saturday on One-Minute Book Reviews.
© 2009 Janice Harayda. All rights reserved.
www.janiceharayda.com and www.twitter.com/janiceharayda
