The Secret Kingdom: Nek Chand, A Changing India, And A Hidden World of Art

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THE SECRET KINGDOM:
NEK CHAND, A CHANGING INDIA,
AND A HIDDEN WORLD OF ART
Written by Barb Rosenstock
Illustrated by Claire A. Nivola
(Candlewick Press; $16.99, ages 7-10)

 

The Secret Kingdom by Barb Rosenstock cover art by Claire A. Nivola

 

The very first line of THE SECRET KINGDOM: NEK CHAND, A CHANGING INDIA, AND A HIDDEN WORLD OF ART written by Barb Rosenstock and beautifully illustrated by Claire A. Nivola, is so lilting, so rhythmic, you know you’re in for a treat before you even turn the page.

The book tells the true tale of folk artist Nek Chand. In the small village where Chand is born, recycling and repurposing objects is a way of life. Dented buckets become scarecrow hats. Scraps of fabric become blankets. Sticks become toy rafts. And woven throughout the texture of daily life, there are stories. Stories of kings and goddesses, geese and monkeys, jungles and temples fill Chand’s imagination until one day, using sand and sticks and rocks, he builds the world of his imagination on the banks of a river. When partition splits India into two countries, however, Chand and his family are forced to leave their village behind for the cold concrete of India’s first planned city, Chandigarh. Nivola’s watercolor and gouache illustrations show the stark contrast between the colorful village of Chand’s childhood and his life in the city, where variations of beige reign.

 

Int spread from The Secret Kingdom by Barb Rosenstock w/art by Claire A. Nivola

THE SECRET KINGDOM. Text copyright © 2018 by Barb Rosenstock. Illustrations copyright © 2018 by Claire A. Nivola. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

 

Chand feels he doesn’t belong in the city, but then, he claims a patch of unused jungle on the outskirts of town. Over many years, using found objects and half-dead plants, he builds a secret kingdom of walkways, sculptures, arches, flowering plants, and trees. It’s a place where stories come to life, where castaway items are reborn, and where Chand, at last, belongs. Though his garden comes to cover many acres, Chand’s creation remains a secret for 15 years. When it’s finally discovered, government forces threaten demolition, but the people of Chandigarh step in. Chand’s secret kingdom comes to be known as “The Rock Garden of Chandigarh” and, to this day, draws visitors in the thousands from all over the world.

 

THE SECRET KINGDOM. Text copyright © 2018 by Barb Rosenstock. Illustrations copyright © 2018 by Claire A. Nivola. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

 

Rosenstock’s text paints a vivid picture of Chand’s life in India as he battles “clouds of mosquitoes and slithering cobras,” walks past “plowmen singing behind oxen” and gathers “broken glass bangles in red, blue, and green.” With the added visual of Nivola’s illustrations, this story of a man who, quietly and with determination, created the world he imagined–simply because it brought him joy–truly comes to life.

THE SECRET KINGDOM. Text copyright © 2018 by Barb Rosenstock. Illustrations copyright © 2018 by Claire A. Nivola. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

Read a review of Barb Rosenstock’s The Noisy Paintbox here.

 

  • Reviewed by Colleen Paeff

 

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What’s a Mother to do? My Pet Wants a Pet by Elise Broach

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MY PET WANTS A PET
Written by Elise Broach
Illustrated by Eric Barclay
(A Christy Ottaviano Book/Henry Holt BYR; $16.99, ages 4-7)

My Pet Wants a Pet by Elise Broach cover image

When I go to my local bookstore, I’m always on the lookout for a surprise–something new, that I haven’t heard of, that I know the kids in my book club (mostly 3- to 5-year-olds) will love. MY PET WANTS A PET, written by Elise Broach and illustrated by Eric Barclay is one of those books.

 

Interior illustrations by Eric Barclay from My Pet Wants a Pet

Interior artwork from My Pet Wants a Pet written by Elise Broach with illustrations by Eric Barclay, A Christy Ottaviano Book/Henry Holt BYR ©2018.

 

 

Broach’s story starts off in familiar territory. The main character wants a pet. He begs, and begs, and begs until, finally, his mother says YES! Barclay’s uncluttered, colorful illustrations show the boy and his new puppy playing, cuddling, riding a bike, and before long we leave familiar territory behind as the puppy realizes he wants a pet, too. Mom thinks this is a “terrible idea” but, puppy and boy prevail. And so it goes, throughout the whole story with one pet after another realizing that they, too, want something to care for. In each case, the pet chooses a pet that would, under normal circumstances, be considered a rival or–worse yet–food. But this is not a Jon Klassen book and no one gets eaten. The animals and insects are good to each other and when they do chase it’s “all in good fun.” Everyone is content, except one character–Mom. She progresses from concerned to harried to annoyed as more and more pets invade her house. (Look closely at the illustrations to see why!) The boy formulates a plan to console her, but I won’t tell you what it is. You’ll have to read the book!

 

Interior illustrations by Eric Barclay from My Pet Wants a Pet

Interior artwork from My Pet Wants a Pet written by Elise Broach with illustrations by Eric Barclay, A Christy Ottaviano Book/Henry Holt BYR ©2018.

 

Simple illustrations and an engaging story make MY PET WANTS A PET perfect for story time with a large group of kids. Even from several feet away, listeners will catch details in the illustrations that add humor and warmth to the story. And Broach’s text allows readers to anticipate what’s coming, but still manages to keep us on our toes. After all, we may think we know what’s going to happen, but when a bird takes a worm for a pet there’s no telling how things will end.

 

Interior illustrations by Eric Barclay from My Pet Wants a Pet

Interior artwork from My Pet Wants a Pet written by Elise Broach with illustrations by Eric Barclay, A Christy Ottaviano Book/Henry Holt BYR ©2018.

 

Click here for the publisher’s page to find a downloadable activity guide.
See another recent review by Colleen Paeff here.

 

  •  Reviewed by Colleen Paeff – Colleen lives in Los Angeles, California, where she writes fiction and nonfiction picture books. She hosts the monthly Picture Book Publisher Book Club and its companion blog, Picture Book Publishers 101. Look for her on Twitter @ColleenPaeff.

 


How to Grow a Dinosaur – An Interview with Author Jill Esbaum

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HOW TO GROW A DINOSAUR
Written by Jill Esbaum and illustrated by Mike Boldt
(Dial Books for Young Readers; $17.99; Ages 2-5)

Cover illustration from How to Grow a Dinosaur by Jill Esbaum

 

If you’re looking for a gift for a child who is about to become an older sibling, look no further than Jill Esbaum’s hilarious and practical guide to big siblinghood, HOW TO GROW A DINOSAUR with artwork by Mike Boldt. Here’s a description from Penguin Random House:

Good news: Your mom’s hatching a baby! Bad news: Babies take their sweet time. And when the baby finally hatches? He’s too little to play! He mostly screeches, eats, burps, sleeps, and poops. He doesn’t even know he’s a dinosaur! That’s where you come in. You can teach the baby just about everything–from peek-a-boo to roaring to table manners to bedtime. Growing a dinosaur is a big job, but you’re perfect for it. Why? Because one thing your baby brother wants more than anything . . . is to be just like you.

INTERVIEW: I was lucky enough to sit down for a chat (via Facebook Messenger) with Jill to talk about the book, finding time to write, and the perks of being a kidlit author.

Colleen Paeff: I love the way HOW TO GROW A DINOSAUR is playful and funny, but it’s also a legitimate how-to guide for older siblings. Did the manuscript start out that way or did it evolve over time?

Jill Esbaum: Thanks, Colleen! That evolved over time. I wrote it to be a simple, entertaining book, but it sort of took on a life of its own. My editor grabbed onto the possibilities right away.

CP: Did you send it to your agent first or did it go straight to your editor?

JE: I sent it to my agent, Tricia Lawrence. I had my Dial editor, Jessica Dandino Garrison, in mind, though, and asked Tricia to send it to her first. It seemed like the kind of goofy humor she might like.

CP: So, you had worked with this editor before?

JE: Yes. We had worked together on both I HATCHED and I AM COW, HEAR ME MOO!

CP: Is it easier to work on something with an editor you’ve worked with before?

JE: Definitely, because you (sorta) know what might work for her/him and what probably
won’t.

interior artwork from How to Grow a Dinosaur

Interior spread by Mike Boldt from How to Grow a Dinosaur by Jill Esbaum, Dial BYR ©2018

 

CP: How long was the process from first draft to publication for HOW TO GROW A DINOSAUR?

JE: I sent it to Tricia in May of 2015, and by October we had an offer. The process didn’t really start until March, when the contract was finally buttoned up. So March, 2016, to January, 2018. Not bad.

CP: Is that faster than usual? Or is that normal for you?

JE: That was about the same as my other recent books. I once waited nearly 5 years, though, so 2 years felt like lightning speed. My last 5 (or so) books have all been about 2 to 2 and a half years from sale to publication.

CP: Wow. That seems fast!

JE: Still seems fast to me, too. My earlier books were mostly 3-year books.

CP: I’m curious about the ratio of stories you write to stories you sell. Do you have many manuscripts in the proverbial “drawer” or do you sell most of what you write?

JE: That’s hard to say right now. My agent has 6-7 picture book manuscripts that started to make the rounds last year. Considering my entire career, though, I suppose I sell…50% of what I write? That’s probably just because I refuse to give up on some that deserve the drawer. I can’t help tinkering with rejected stories in hopes of making them irresistible the next time out. That persistence has often paid off for me. An offer came in last month for a picture book that had been rejected 7-8 times since I wrote it in 2014.

CP: Do you usually work on one project at a time or several?

JE: Several. Right now, I have a chapter book, 3 picture book manuscripts, and a nonfiction project all front and center on my computer desktop.

interior artwork from How to Grow a Dinosaur

Interior spread by Mike Boldt from How to Grow a Dinosaur by Jill Esbaum, Dial BYR ©2018

 

CP: Are you someone who writes every day or do you have a more flexible schedule? And how do you squeeze it in around farm work, grandchildren, school visits, and teaching a summer writing workshop?!

JE: I don’t feel like I’ve been doing a very good job of it lately, honestly. Working on that. But I can’t always make writing my priority. Family comes first, always. One thing that has also been squeezing out writing time lately is handling the business side of being published. I don’t love it, and it’s a huge time suck. Long, leisurely days of “Hmm, what should I work on first?” are VERY few and far between, these days.

CP: But it seems like you’re so prolific!

JE: I don’t feel that way. I always feel like I should be writing more. For instance, I wrote a quick draft of a new picture book and sent it to my online critique group about 10 days ago. They’ve all weighed in, and I’m chomping at the bit to start tweaking. But I haven’t yet been able to make the time. Part of that is because I have a new book out and am doing my best to promote it, including my first-ever launch party this next weekend. Partly it’s because the flu sidelined a grandson’s babysitter, so I stepped in there. Grammy duty is one of the best parts of my life!

CP: Is hanging out with your grandkids a big source of inspiration for you?

JE: It is! And I hadn’t really expected that. My fingers are tightly crossed for a project going to its final yes/no meeting next month that springs entirely from a moment I experienced while babysitting my granddaughter. Crazy.

CP: I know you write both fiction and nonfiction. Do you have a soft spot for one over the other?

JE: I suppose I have a soft spot for fiction, but only because that comes entirely from my own imagination, and it’s a blast to see that come to life. I love writing nonfiction, too, because all the information I need is easily available to me, and all I have to do is figure out a way to make it engaging for kiddos.

CP: Let’s get back to HOW TO GROW A DINOSAUR. I love the parts in the story where the text is vague, but the illustrations show something alarming, or moving, or downright hilarious. Did your manuscript go to the illustrator with art notes or was that all him?

JE: I did include brief art notes here and there. But much of it was left for the illustrator’s imagination. I don’t think I had an art note for the page in which the baby dino is teething on the cat. And that turned out to be one of my favorite illustrations.

CP: Yes! I love that one. And I love the one where the big brother roars and scares the baby. They both look so sad.

JE: I feel very fortunate that both Jessica and the illustrator, Mike Boldt, understood what I was trying to do.

 

How to Grow a Dinosaur interior spread

Interior spread by Mike Boldt from How to Grow a Dinosaur by Jill Esbaum, Dial BYR ©2018

 

CP: Do you have a favorite unexpected detail?

JE: My favorited unexpected detail is that Mike inserted picture books here and there with titles that are plays on books of his or mine. There’s I Don’t Want To Be a Stegosaurus (from his book with Dev Petty, I Don’t Want To Be a Frog); I Hatched; and I Am T. Rex, Hear Me Roar! (from my I Am Cow, Hear Me Moo!) Too funny. Illustrators are brilliant.

CP: Yes! I love those, too. And I love how all the illustrations in the books are dinosaurs. It’s so clever. Did you see any artwork while it was in process or did you have to wait until it was complete?

JE: I did get to see the black and white sketches. It was obvious even then that this one would be special.

CP: Do you sometimes feel a sense of trepidation when you give up your manuscript to an illustrator?

JE: No, I never feel that way. I’m always excited to see what they bring to the story. Seeing their sketches feels like unwrapping a gift.

CP: What’s next for you?

JE: I have a couple of nonfiction books coming out in March. Picture book-wise, two projects are in the pipeline that I can’t yet talk about. And my fingers are tightly crossed for a third. Meanwhile, I’ll be writing whenever I can squeeze it in. Enough of that, and projects eventually get finished.

CP: What do you wish you’d known when you first started writing for children?

JE: I don’t think there’s anything I can say I wish I’d known. Getting to this point in my career has been one long, slow learning process, of course. But I can’t wish I’d had shortcuts, because everything that’s happened has made me a stronger writer.

CP: That’s good to know!

JE: The BEST thing that’s happened in the past 20 years: If anybody had told me, early on, that in 20 years I’d have this many amazing and talented author/illustrator friends all over the globe I would have thought that person was nuts. I mean, I live in Iowa; how would I meet them? Ha. Enter the internet. And SCBWI conferences and literature festivals. Meeting so many terrific book people has been one of the highlights of my life.

CP: It’s definitely one of the perks of this business. Thanks so much for doing this, Jill!

JE: Thanks, Colleen! I enjoyed it.

  • Interview by Colleen Paeff

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