THE NORMAL NORMAN BLOG TOUR
including A Guest Post from Author Tara Lazar & Giveaway
NORMAL NORMAN Written by Tara Lazar Illustrated by S. Britt (Sterling Children’s Books; $14.95, Ages 4 and up)
Normal NormanbyTara Lazarwith illustrations by S. Britt, is an ode to individuality, and a wonderfully wild and wacky way to reinforce the message to children that there’s no such thing as normal. Good Reads With Ronna asked author Tara Lazar to speak to this topic, wondering how she embraces her own unique brand of non-normality in her every day life. Oh, and since I haven’t said it yet, I recommend you unicycle, not run to your nearest bookstore to get a copy of Normal Norman AND enter our giveaway, too! 🍌
I unexpectedly launch into foreign accents while talking. Think a “cawfee tawk” Linda Richman, morphing into a good ol’ cajun creole, followed by a dashing foray in the King’s English. (I’ve been brushing up on Nana’s Irish brogue, but it’s not quite there yet.)
I don’t dress like a 40-something, either. I know that What-Not-to-Wear show cautions against mini-skirts, Mickey Mouse sweatshirts and combat boots—especially all at the same time—but I don’t care.
Since I don’t walk very well, I’ve got a mobility scooter. I painted flames on it. Its max speed is 5mph, so the flames make me feel as close to being Danica Patrick as I’m gonna get.
I hate coffee, and I’m a writer. How weird is that? And, what’s even worse, I don’t care for chocolate. If you offered me a dish of ice cream or a plate of cheese, I’d cut the cheese every time.
Yes, I just made a fart joke. And I think it’s hysterical.
I told you, I’m not normal. And that’s precisely the way I like it.
Being normal is overrated. But when you’re a kid? Being normal is EVERYTHING! The slightest cowlick and you’re branded a nerd, a weirdo, a wackadoo. Wear glasses? Geek! Don’t even get me started on being pegged as the teacher’s pet! That was me all through my school years. I was taunted and teased, and one girl bullied me from 2nd grade all the way to senior year in high school. I didn’t dress normally enough or act normally enough for her.
I’ve tried to figure out why kids want everyone around them to conform. Maybe things are more predictable and safe that way. There’s nothing to be frightened about. Nothing will jump out suddenly, like a jack-in-the-box. You stay in your corner and I’ll remain in mine and we’ll get through this just fine.
I get it. Life is scary.
Tara Lazar doing her best mannequin-style Stop In The Name of Love.
But my mission in life is to make everything fun. If that means stopping in the name of love to snap a photo with mannequins at the mall, so be it. And if it embarrasses my 12-year-old, let her turn red. Let her see that things shouldn’t be so serious all the time. Let her learn to find joy in the most miniscule things–or a medley of 6-foot plaster mannequins.
When I wrote Normal Norman, I didn’t necessarily set out to write some grand statement about all this. I just wanted Norman to be funny and to have fun. What emerged was a character who did just as he pleased and loved every minute of it. What emerged, I suppose, is me—in purple orangutan form!
The message to children, buried beneath the hilarity, is that there’s really no such thing as “normal”. With all of us being so different, how could there be only one “normal” expectation to live up to? The real normalness is being your true, normal self, in all its wonderful wackiness. Just like Norman…and me!
Before even reading it, I knew that Josh Funk’s debut picture book, Lady Pancake & Sir French Toast, was going to be a sweet treat, but I had no idea just how many belly laughs it would elicit. To be honest, while I may have initially favored Sir French Toast, my breakfast food partiality in no way influenced my opinion of Funk’s book whatsoever. In fact, I’m actually a von Waffle girl myself.
When word comes down from up high that “The syrup is almost completely gone!’ Miss Brie produces panic in the breakfast food buddies. Before you can say “Genuine Maple,” the good Lady P and her pal, Sir FT, are off, determined to beat the other to the last remaining drop. Funk tickles our taste buds as he takes us on an amazing race up, down, and all around the fridge in an appetizing adventure that includes pushing and shoving, plummeting and hurdling, often at breakneck pace, to reach the syrup.
“Skiing past spinach and artichoke dip,
Toast vaulted high in the air with a … FLIP!
There are simply too may funny food scenes to describe, but suffice it to say Funk’s text provided Kearney with a field day for whimsical illustrations. My favorites are the bean avalanche and the surprise fold out fridge interior at the book’s end, providing your littlest foodie with a chance to closely examine all the contents shelf by shelf.
Lady Pancake & Sir French Toast is not only a rollicking, rhyming read aloud full of colorful fun, but if you’re a Foley (sound effects) fan, here’s your chance to try out your PLOPS!, FLIPS! and THUMPS! to your heart’s content. There’s even an avalanche to test your mettle! Readers young and old will enjoy the wonderful twist to this tale that caught me off and pinned another huge grin on my already happy face. If this book doesn’t leave everyone completely satisfied and sunny side up, I don’t know what will!
– Reviewed by Ronna Mandel
WIN 1 COPY OF JOSH FUNK’S NEW BOOK!! Plus, if you follow us on Facebook and let us know in the comments below, we’ll give you an extra entry. An additional comment on our Facebook post for this picture book gets you yet another entry. Good luck!
HAPPY 10th ANNIVERSARY, STINK MOODY!
It’s Children’s Book Week and We’re Celebrating.
We’re delighted to get all Stinky with it as the Stink series marks ten years on the scene. And what better way to celebrate Judy Moody’s hilarious and curious younger brother than with a generous giveaway of books courtesy of Candlewick Press! We’ll be following up this giveaway with an in-depth interview with author Megan McDonald so please watch this space.
If you’ve read or heard of the popular Judy Moody series of books by Megan McDonald, then you’ll also be familiar with Judy’s younger brother, Stink. The last decade has seen Stink get his own book series (he’s got more than nine titles now if you count his Stink-O-Pedias) while growing in popularity, so much so that he’s even getting his own celebration from publisher Candlewick Press. The best thing about the Stink series is how McDonald weaves STEM into every plot, whether it’s about the solar system, sharks and guinea pigs or sneaker sniffing, and makes it fun. There are fascinating facts along with Reynolds’ funny cartoons included in every book so children learn while laughing. Sure to pull in reluctant readers, these chapter books are filled with just the right amount of illustrations, Stink-y humor, and lovable characters to keep kids coming back for more.
In honor of this super sniffer, letter S loving “spotlight stealer,” we’re singing Stink’s praises and giving away three books including a brand new illustrated first chapter book and two new paperback releases. All books are perfect for adding to your child’s collection or for giving away to a fun-loving fan or school library.
When a first chapter is called There Will Be Sharks you just have to read on! The Moodys have won an overnight trip to the aquarium and everyone’s going to be there including Stink’s best buddy Webster, that oh-so-annoying classmate, Riley Rottenberger, and sharks, lots of ’em. But there’s just one catch, after an evening full of activities, Stink’s heard a scary story about Bloody Mary and he’s creeped out so much that he can’t fall asleep. A ghostly red glow and mysterious noise coming from a door nearby doesn’t help matters. Stink might have to pull a prank, or two, because Judy is sleeping a little too peacefully in the presence of sharks.
Click here to read a sample chapter.
Click here to download an activity kit.
Click here for a teacher’s guide.
Judy Moody and Friends: Stink Moody in Master of Disasterby Megan McDonald with illustrations by Erwin Madrid (Candlewick; $12.99, Ages 4-6)
Geared for “newly independent readers,” the Judy Moody and Friends series will breed a whole new flock of Judy and Stink fans. There are just a few chapters, large print, colorful illustrations and an engaging storyline. As this story begins, Judy and Stink are sleeping out in the backyard in the hopes of seeing comet P/2015OZ4, also known as the Sherman-Holm comet. Or in Stink’s case, the Sherlock-Holmes comet. The space theme is carried through when Stink, convinced that a giant asteroid is speeding toward Earth, decides to build an asteroid-proof bunker in the basement, transforming into Asteroid Boy to save the day.
With its cool glow-in-the-dark title on the cover, this paperback edition of Judy Moody & Stink: The Big Bad Blackout is certain to entice some nighttime reading under the covers by flashlight. A big storm, a blackout and time off from school – what could get more exciting than that? Add Grandma Lou visiting with a host of her pets to the mix and you’ve got a recipe for fun family time together. And some great stories to boot. Speaking of boots, Judy and Stink are going to be needing them with the amount of rain that’s in store. But there are double rainbows at the end plus tips on what things kids can do during a blackout (reading books by candlelight, flashlight or headlamp is one of ’em) making this book a must-have for any home library.
Visit www.stinkmoody.com to learn more about the character and his super series of books.
– Reviewed by Ronna Mandel
GIVEAWAY BONUS: Follow us on Facebook at http://www.facebook.com/goodreadswithronna, then let us know and we’ll give you an extra two entries in the giveaway! Valid, too, if you’re already a fan. Good luck!
Read Cathy Ballou Mealey’s rave review then enter our giveaway to win a copy!
Jenkins and Blackall combine Literature, History and Home Economics into one most scrumptious and delightful course in their stellar new title A FINE DESSERT. Following one sweet treat – blackberry fool – through four families, four cities, and four centuries, the book succeeds in creating an authentic and engaging portrayal of food history perfect for children and adults alike.
Readers will follow the creation of blackberry fool from the first scene – a field in Lyme, England in 1710, where a mother and daughter are shown picking blackberries. Smoke curls from the cottage chimney, and berry juice stains their white aprons. They return home where the mother milks the cow, skims the cream, and whips it for fifteen minutes with a wooden twig whisk. Combined with the squashed and strained berries, the mixture is iced outdoors in a hillside pit. Finally it is served for dessert by candlelight in front of a roaring fire.
The tale next leads us to a plantation in Charleston, South Carolina in 1810 where once again the dessert will be prepared. Readers will immediately notice changes not only to the characters and the setting, but also to the methods, preparation, family, and society where the dessert is served. More changes are revealed in the third preparation, set in Boston, Massachusetts in 1910 and finally in a modern portrayal in San Diego, California in 2010. Each segment is tied together by various text details and artistic elements, and especially focuses on the gusto with which the delicious treat is enjoyed. The child always gets to lick the bowl clean!
This book is a must-have for classrooms because of the infinite and engaging connections to Common Core teaching. It is also a wonderful book for families to bring right into the kitchen to prepare the blackberry fool recipe provided at the back. There is also an extensive note from the author about exploring history, research, and food preparation methods as a way to encourage conversations about work and social roles. The illustrator’s note is equally charming, and discusses the materials she used to create the unique purple endpapers.
Jenkins and Blackall have choreographed a delightful rhythm and repetition connecting the words and images throughout this book. There are endless marvelous discoveries on page after page that encourage readers to flip between the tales, uncovering similarities and differences that will challenges them to think and question. Have a second or third helping of A FINE DESSERT – you will be glad you did!
– Reviewed by Cathy Ballou Mealey
Where Obtained: I reviewed a promotional copy of A FINE DESSERT from the publisher and received no compensation. The opinions expressed here are my own.
WIN A COPY!
Leave a comment below about your favorite dessert then follow us on Facebook for a chance to win a copy of this scrumptious picture book. No entries after 11:59p.m. PST on February 18, 2015. One lucky winner will be randomly selected on Thursday Feb. 19, 2015. If you do not leave a comment and follow GRWR on Facebook you will forfeit your chance to win. If you are not on Facebook, following on Twitter will qualify instead.
Before I read this fascinating nonfiction picture book about the history of the first Ferris Wheel, I had no idea of the backstory; the competition to find and build a structure for the 1893 Chicago World’s Fair that would be taller than the Eiffel Tower, the lack of financial support for its construction, the grueling work on the foundation in the dead of winter, the tight timeline in which to complete it, and the lack of faith professionals and the public had in the project. I’m thankful to Kathryn Gibbs Davis for opening my eyes to innovator, George Washington Gale Ferris, Jr.
“George had an idea, an idea for a structure that would dazzle and move, not just stand still like the Eiffel Tower.”
What wonderful feats of engineering and willpower enabled Ferris to prove all the naysayers wrong! Over 1.5 million naysayers to be precise, the amount of people who rode on the wheel at 50 cents apiece in the “nineteen weeks” that it was in operation. And they said it couldn’t be done. Not only did Ferris change the public’s mind, but he changed history by building out of steel, what is now a staple of amusement park rides.
“George knew something the chief did not. His invention would be delicate-looking and strong. It would be both stronger and lighter than the Eiffel Tower because it would be built with an amazing new metal — steel.”
On almost every spread, Davis has managed to weave in assorted facts about the wheel’s invention in a way that will keep youngsters as engaged and enthralled as I was. The story itself flows easily and the artwork is simply lovely to look at. Ford‘s fabulous jewel-toned illustrations of 19th century Chicago took me back in time to an era in the industrial age when even electricity in homes was not yet commonplace. But as the sun set each evening, Ferris’s wheel, with is 3,000 electric light bulbs, lit up the night sky and was visible “as far away as forty miles.” I was happy to learn that after the 1893 Chicago World’s Fair, in 1894 “the next Ferris wheel appeared in California on a cliff overlooking the Pacific Ocean.”
How sad I was to discover in the back matter (where sources are quoted, and a bibliography along with helpful websites are provided) that a New York Times obituary says Ferris passed away on November 23, 1896 while still in his thirties. I can just imagine all the other innovative contributions he could have made to society had he lived longer. As it is, the enduring popularity of his ride is a testament to Ferris’s genius, and Davis has done a terrific job conveying that in a most readable, enjoyable way.
WIN A COPY!
Leave a comment below about your favorite carnival ride then follow us on Facebook for a chance to win a copy of this must-have picture book. No entries after 11:59p.m. PST on February 11, 2015. One lucky winner will be randomly selected on Thursday Feb. 12, 2015. If you do not leave a comment you will forfeit your chance to win.
When my daughter was 7 or 8 she became infatuated with fairy and witch stories. But that was 13 years ago and the selection wasn’t very exciting. I’m happy to say that now there are so many more interesting books featuring assorted magical creatures and Mary Losure’sBackwards Moon (Holiday House, $16.95, Ages 7-10) is one of them. This recently published middle grade novel is perfectly suited for tweens who want action, adventure, fantasy and a satisfying conclusion, all in just 134 pages.
Cousins Nettle and Bracken are the two youngest witches in a coven made up of mostly older witches (“They were not just old, they were very old. Some were hundreds of years old.”) who live in a hidden valley being encroached upon by humans. The book opens on the very day that the girls discover something has gone terribly wrong with the magic Veil, originally spun to shelter their community from the outside world.
Suddenly it’s looking like the carefree days of playing Catapult are over. Things are about to change forever, thrusting Nettle and Bracken into a mission to save their coven by traveling to the human world. There the witchlings will attempt to find untainted Wellspring Water, crucial for the damaged Veil spell. They’ll also eventually seek out the Door leading to a safer world for all witches, far from the menacing presence of humankind. Even though the older, more experienced witches would seem like the natural choice to make this dangerous journey, the fear of Fading, or loss of magical powers caused by the proximity to humans, stops them from trying. The cousins’ youth, while providing them with increased protection from the Fading, does not guarantee immunity putting them at considerable risk as well.
Losure has created a believable world where only young humans can see the witches, initially complicating matters, but ultimately helping the girls on their quest. I found it fascinating how the author was able to convincingly convey the collision of the witch world with that of humans, in fact she had me at Seeking Stones. (magical rocks that will assist the witchlings). There are several engaging characters who help Nettle and Bracken including a young human girl named Elizabeth, a Witchfriend named Ben and a caring raccoon. Losure has included a nemesis for the cousins to evade, as well as many close calls that will keep tweens entranced. In 21 short chapters, we’re whisked away to a wonderfully imagined world where wishes can be used up and time is not necessarily on the side of the plucky main characters. All that makes for a more layered read and a desire to follow Nettle and Bracken into the safety they seek behind the Door, perhaps in a second book? I can wish, too!
Click here to read an excerpt from Backwards Moon.
This giveaway will be a bound book giveaway, sent to the winner from Holiday House. The winner must be a U.S. resident and over 18 years of age (parents/guardians can enter for children if they’re interested).
Author Mary Amato is also a songwriter, just like the protagonist of her new YA novel, Get Happy (Egmont USA, October 28, 2014, $16.99, Ages 12+ ). This fact provides a fresh hook: readers who get curious about the songs soon-to-be seventeen year-old Minerva writes when she’s working through her feelings can go to thrumsociety.com and listen to performances of the actual songs.
A funny moment in the book rings true and reflects Amato’s musical background: Minerva wants a ukulele for her birthday. She thinks she’s made this clear to her mother, but the two are rarely on the same page. So when Mom doesn’t come through, what does the uke-less Minerva do? She spends so much time practicing on the instruments at the music store that the store manager bans her!
The friendships in Get Happy also feel very real. Finnegan is a real BFF whom Minerva can count on when she’s down. He also pushes her to do things that are good for her. Notably, he gets Minerva to audition for a job with a company called Get Happy. The job entails, well, a tail! Minerva has to dress up as a mermaid, following a script to entertain at birthday parties. The job generates some funny and poignant moments and also turns out to be a place to meet new friends. Fin and Min meet Hayes on the way to the audition, and convince him to try out, too. Hayes is tall and friendly, and a cowboy — at least when he’s dressed for work. Cassie is the perfect princess, so perfect that her clients love her. Minerva notices every moment Cassie shares with Hayes, and finds herself feeling jealous. She even stalks Cassie on-line, leaving nasty comments on her blog.
The main conflict in the book feels less completely realized, but definitely adds suspense, and a sense of commonality for readers dealing with separated or divorced parents. Minerva’s father left when she was just a baby, but now he’s trying to get back in touch. If he’s as bad as Mom says, he’s not worth knowing, but Minerva can’t help wondering about him. Who is he, really? Should she try to contact him? Will Mom find out about the package he sent Minerva on her birthday?
Reading Get Happy is a good way to discover different paths for self-discovery — art, work, friendship — and will be especially enjoyed by younger YA readers.
Learn more about Amato’s books for younger children and educational resources for her books at www.maryamato.com.
Like a delicious French pastry, Happy Birthday, Madame Chapeau(Abrams Books for Young Readers; 2014, $16.95, Ages 4-8) is a treat not only to behold, but to be enjoyed frequently perhaps with some steaming hot cocoa. After what may be my fourth or fifth reading I can still say I’m on my Happy Birthday, Madame Chapeau honeymoon and continue to find wonderful things to devour on every page.
Observant readers will pick up clues that hat maker extraordinaire, Madame Chapeau is either a war widow, her soldier husband, or maybe her father, having fallen in combat; his hat on a kitchen chair as a sad reminder. Alone and lonely, even on that one night a year, her birthday, Madame Chapeau dresses up, resplendent in her birthday bonnet and takes a stroll to Chez Snooty-Patoot, “the best place in town.” But when she tumbles en route, a crow grabs her headpiece and flies off.
“My hat! My hat! Come back with my hat!
You simply can’t steal someone’s bonnet like that!
Someone quite special once made that for me.
You can’t steal my hat and fly off to a tree!”
Before she can say “baguette,” a baker offers her his trademark tall white hat and so begins the parade of people willing to help out with a loaner. From a policeman to a cowboy, to a Scotsman and a spy, to Charlie Chaplin – we all know his hat as we do the mime’s – total strangers yet lovely souls are being so very kind. I’m delighted, too, that both Beaty and Roberts chose to include such a diverse depiction of Parisians as it’s one of the most multi-cultural cities I know.
Without her special hat, but a birthday cake that’s been paid for, Madame makes her way to Chez Snooty-Patoot to dine alone or so she thinks! Meanwhile, an adorable young black girl whose mother was getting a fitting in Madame Chapeau’s earlier on in the story, is tailing the hat maker, yarn and needles in hand. (At one point we even see a mouse donning a cap matching the girl’s outfit!) NOTE: watch out for this mouse and his hats, as well as the dog and cat belonging to Madame.
“Excuse me, madame,” said a girl dressed in plaid.
“I made you a gift from some yarn that I had.
I made it myself, and I just want to say,
I hope you enjoy it … and Happy Birthday!”
This original new picture book, told in flawless, flowing rhyme is filled to the brim with exquisite, finely detailed watercolor and ink illustrations. Whether read-aloud or to oneself, Happy Birthday, Madame Chapeau, is like having a front row seat at Paris Fashion Week (paying homage to many designers) without the expensive price tag that goes along with it.
Click here to download a Happy Birthday, Madame Chapeau hat activity sheet.
TWITTER GIVEAWAY!
NOTE: Author Andrea Beatty added some cool info in the comment section which I’m paraphrasing here:
Beaty and Roberts show up in the restaurant. (She has a pen and is wearing Rosie Revere’s cheese hat. Roberts has a paint brush. Plus Iggy Peck’s parents make a cameo, too! All of the hats in the book are based on real hats. Some are David Roberts’ actual millinery designs.)
Click here for a link that shows some of the inspiration Roberts drew upon for his illustrations!
There’s a terrific twitter contest going right now to win 1 of 4 copies of the book. To enter, simply tweet a pic of yourself wearing a hat. #HappyBirthdayMadameChapeau. Winners will be announced on November 1!
An Interview With Mac Barnett & Jon Klassen
About Sam & Dave Dig a Hole
Plus a Giveaway!
Ready? Grab your copy (it’s the book birthday today for Sam & Dave Dig a Hole), brew a cup of tea (in honor of Jon), sit back and enter the world ofMac Barnett and Jon Klassen, two of today’s most creative talents in the children’s book industry. After you’ve read the Q&A, scroll down for a link to my review of the book and to enter the Rafflecopter giveaway.Sam & Dave Dig a Hole(Candlewick Press, $16.99, Ages 4-8) – in stores now.
INTERVIEW
Good Reads With Ronna:I read in thepromotional materialthat you were eating together at a diner here in L.A. when you began discussing the book. So, which came first, the chilaquiles or the egg, I mean the fried egg that is? Okay, joking aside, – when you sat down to brainstorm, did Sam & Dave exist already or just a hole to dig?
Jon Klassen: Oh! That morning? Everything. It was Sam & Dave and the hole that we came up with that morning. We left breakfast with basically that Sam & Dave are two kids going down and digging a hole, and missing what they wer searching for and ending up somewhere different from where they started off. All that stuff was kind of worked over the breakfast table.
GRWR:Now why digging as opposed to building? I’m just curious as they’re both things kids love to do.
KLASSEN: I think that maybe initially, it was. The idea of vertical movement through the book either up or down was kind of maybe the first little bit of the thing we got talking about.
Mac Barnett: Yeah, we did talk about both that morning.
KLASSEN: Yeah, I think we did talk about going up. … if you’re building up you kind of know what’s up there, there’s not really any mystery to it because you are just going higher into space. But digging down, if you start the way the book starts, where the ground is at the very bottom of the page instead of being able to see everything, you’re kind of finding things out as you turn the page. It’s just more exciting as a story and also something that kids can see their way to doing. If you’re building something that seems really complicated, it’s not as relatable …
BARNETT: Jon and I were both diggers as kids … We’ve dug a lot of holes. Everything that I built as a kid I was disappointed in and never looked like I wanted it to look. But I was never disappointed by any of the holes I dug. Those came out great!
GRWR:Has either one of you ever dug up any neat stuff as a child?
BARNETT: My best friend when I was a kid, we dug a lot of holes. And then he told me one time, when we dug a hole, that he found this little plastic skull that had red eyes that he told me were made out of diamonds and created this elaborate mythology around it. I was so amazed that we had dug this thing out of the ground.
And then he told me like three years later that he had just dropped it in the hole before he put his shovel in and then pretended to pick it up. I was devastated. I had created an entire mythology that just crumbled. I lost three years of my childhood that day. That was my big discovery which turned out to be false.
KLASSEN: There was a tree in a field behind our house. We lived in sort of a suburb in Toronto for a while. There was this big field that they kept promising they were going to turn into a school but it just being this crappy field. And it wouldn’t grow anything because it was sort of filled with … half-hearted attempts to pour cement or dump bricks. It was just a horrible little field, but we really liked it because you could run around and we built baseball diamonds and stuff back there. But the only thing that grew was this one tree that looked like it was never gonna ever sprout a leaf, but it was this gnarled thing. And I had a long row of unfortunate hamsters that got buried under the tree one by one after you know, you get a new hamster and it would die, you get a new hamster and it would die. There were probably like eight of them under the tree.
And every now and then I would go and try to find one of the hamsters. I don’t think I ever did though, I think I kept forgetting where I had buried them.
BARNETT: That’s amazing. Your story managed to be even more depressing than mine, Jon.
GRWR:When you collaborate on a book as a team, do you check in with each other daily?
BARNETT & KLASSEN: On this one (Sam & Dave) we did.
BARNETT: Particularly. Extra Yarn – a little bit less so. We talked about that book a lot and had a lot of conversations. That was probably closer to weekly, if that. Jon and I talk a lot anyway, though, and so were just talking everyday probably before we started working on this book. So this gave us something to talk about.
GRWR:Now you’ve got skulls and hamster skeletons to talk about.
BARNETT: You know what? You know there were skeletons in this book for a little while.
KLASSEN: Yeah.
BARNETT: And then, maybe then, they got taken out. But at one point there were a lot of skeletons in this book. Monster skeletons. Yeah Jon and I would talk. We’d open up an audio link between our computers every day and just talk about the book. And Jon would be making sketches and send them over to me and then we would talk about those. And sometimes he would create something that was so good that I would have to rewrite the text to support the illustration that was a moment that hadn’t occurred originally to us, but Jon would have a good idea. I think we each had a lot of impact on the other’s work. More so than any other collaboration I’ve done and I tend to collaborate closely with the illustrators I’m working with.
GRWR:Were all the fabulous “so close yet so far” visual gags always planned or did they evolve organically as the story evolved – in other words, was the book carefully plotted and dummied from the start so every page turn would be full of anticipation or did some of the things you came up with actually surprise and delight you, and maybe move you in a different direction?
BARNETT: It was definitely written for every page turn to have something like a near miss to build anticipation. That said, the exact mechanics of it changed. For instance, when they split up and go around the diamond. That was a way to miss the diamonds that wasn’t in it originally., but was just a drawing Jon did that we both really liked. It was definitely written very consciously to create that sense of anticipation and frustration. But it defitintely kept evolving after that as well. It was Jon’s job to kind of then work out how to exactly to maximize the emotional impact of all the near misses.
GRWR:Did you intentionally want an ending that’s open to interpretation, something to spur little and big imaginations or do you feel what occurs (without revealing too much) is obvious to the reader?
BARNETT: I think that any book is a conversation between the person who is making it or people who are making it and the reader. Any piece of art is a conversation between the creator and the reader, and some conversations demand a little bit more from their listeners than others do. Some conversations somebody is just talking right at you, they’re not really listening or making any contribution back. I think this isn’t one of those books.
This is a conversation that invites the listener/reader to participate a little more closely and that’s particularly true with the ending.
KLASSEN: I think that for me with this book, with the ending of it, what I’ve come around to and settled on, is that everything that, I think, that we want them (readers) to know is in the pictures.
BARNETT: Yes.
KLASSEN: The specifics in terms of discussing it like this or talking about it in a review or in a paragraph that describes the book for booksellers, or whatever else, it’s a tricky one. Because you can’t exactly say what happens. There’s not much of a term for it, but you know what happens because it’s in the pictures.
As specific as we want to get is the picture. I think that’s the best way of putting it. That is as much information as we know and as we want to know.
BARNETT:And that’s as much as we’re giving. I think that’s true of the sublime. That it’s a place where words can’t necessarily go.
GRWR:Ithink there needs to be more of that in books for kids’ imaginations these days.
BARNETT: I agree completely. It’s a reason that I come to literature and that I’ve always come to literature. And yet mystery, ambiguity, the sublime, these are things that are sometimes considered off limits in children’s books. And I don’t know why? They’re some of the greatest pleasures that art can offer.
GRWR:Do either of you have any rituals you practice before beginning work?
KLASSEN: I eat a lot of peanut butter.
BARNETT: Jon you make tea.
KLASSEN: I make what?
BARNETT: You make tea.
KLASSEN: I do make tea, yeah that’s true. I usually wake up and put water on for tea in sort of a blind stupor before I’m even knowing what I’m doing. Yeah, and just all of the stuff that goes along with that. I don’t know, I think that right now I’m in a spot, and I was for this book as well, where I don’t really have a studio place that I go to a lot. I work at home in a makeshift area ’cause I’m kind of between places I work and so I didn’t have as much of a routine with this one as I did with some of the other books. Usually I like to make the same lunch for weeks and weeks …
GRWR:Okay so Jon your routine is that you have tea in the morning.
KLASSEN: (Laughing) Yeah! Short answer is I have tea in the morning. (Laughter)
BARNETT: Yeah, that was all Jon’s ritual right there. My working is a kind of, my process is ugly and chaotic and there’s a lot of anxiety over not working and a lot of pacing around the house. I don’t know … the impetus to write has to come from the excitement of the idea or a contractual obligation (laugh). Those are the only reasons that could get me into a chair. I don’t have any kind of regular writing process.
GRWR: That’s cool.
BARNETT: I was gonna say both of us … would like to have a studio space. I don’t have one. I’ve always wanted one which is one reason that I think we always open that audio run between our computers. It kind of creates the illusion on some days when it feels … because it’s a lonely job writing books … it will create the illusion that you’re sharing a studio space with someone. A lot of our conversations just become quiet like, I just hear like shuffling of papers, the clinking of a mug over on Jon’s side of the desk for, you know, 20 minutes, 40 minutes or whatever, but it can be reassuring to have the sense of another person kind of struggling along working on stories, too.
GRWR:Wow what did people do 30 years ago?
KLASSEN: Well, they wrote pretty good books. (Laughter)
BARNETT: I was gonna say, 30 to 40 years ago, you do know the all those stories about like, Sendak sleeping on … Ruth Krauss’s couch and that kind of stuff? I mean people were collaborating on books so many of them lived in Manhattan or on that corridor from basically Manhattan to Maine that they were in the same room so much of the time. I think that it’s kind of cool that after a period where I think it’s a good thing that you don’t have to live in New York to write a children’s book or to illustrate them. Technology has allowed us to get a little bit closer to that romantic ideal I always have of you know Sendak and Krauss in the same room.
KLASSEN: There doesn’t seem to be those meccas anymore of like creative people headed for one town to do whatever it is is going on there, as much, so you have to sort of replace that with something.
GRWR:That’s great that lots of avenues have been opened for people that wouldn’t have existed. That’s what we need.
BARNETT & KLASSEN: Yeah, exactly.
BARNETT: That’s the good thing about it, right, that you don’t have to live in Manhattan to make picture books?
GRWR:I mean you could collaborate with someone in London now.
BARNETT: Yeah. I would definitely do that. Jon, you know, Jon hates English people so he would not do that. (Laughter)
GRWR: But he likes tea. (Laughter)
KLASSEN: The world has opened a little bit too wide. (Laughter)
BARNETT: Yeah, I think that is. That’s so cool. And you do see more of that. You do see people collaborating with illustrators in different countries.
GRWR:… I actually lived in London, so I think it would be pretty cool.
BARNETT: I lived in London for a little while, too.
KLASSEN: It’s a great town. Mac was kidding. I like English people.
BARNETT: That is true, Jon does love English people. He was just there.
KLASSEN: I was just in London like two weeks ago. It was great.
GRWR:Oh, were you doing promotions?’
KLASSEN: I was actually there twice this year for stuff. Walker books who publishes these books, the parent company of Candlewick, puts on these really cool events for this book. We went to a bookstore in London and saw a whole shop window full of dirt for the Sam & Dave book. it was really neat.
GRWR: Oh, that’s fantastic
KLASSEN: Yeah, it was fun.
GRWR:Guys, what’s the wildest question you’ve been asked by a kid when you’ve been at a school or at a signing?
KLASSEN: Mmm…I always think it’s weird that they want to know how old I am. And I don’t know what they think of the answer. When I say I’m 32 or 33 or whatever the heck I am. I don’t … and they always go, “Whoa!” I don’t know what that is?
BARNETT: They think you’re old. When they ask how long have you been doing books and you say seven years, then that means that’s older than them. I think it is crazy.
BARNETT: Oh, I was with some kindergartners in Chicago over winter and a little guy asked me how do you make a book? And so I ran through that and then he raised his hand again. And he said, “How do you make a baby?” And I was … was not ready for that presentation. That’s definitely the wildest thing I ever got asked. I told him I don’t make babies, I make books.
(Laughter)
GRWR:That’s a classic, just fantastic! Can you share any of your secrets for writing a successful picture book or maybe just tell me the elements that you strive for?
BARNETT: One thing that I think is so important for me because I can’t draw, but I do think picture books are a visual form and that even writing a picture book is a visual act. So, I’m always very conscious of the fact that there have to be strong images that I’m trying to create in my texts. And a really tight relationship between text and image. To essentially use the text most often to create opportunities for illustrators to look good, and to have some of the most exciting things in the stories that I’m working out happen in the pictures, the pictures that I’m not drawing, right and I don’t even have any conception of how it will turn out necessarily. I would say the three things that I’m always pretty conscious of is that relationship between text and image. Page turns, I think page turns are like the basic building blocks of a picture book. Each page turn is an opportunity to turn on the light or surprise and then lay out. Just like trying to create opportunities for interesting lay out and making sure that I’m writing about different kinds of images and that the scenes are changing or that the things we’re seeing are changing.
GRWR:That’s super. What about you, Jon?’
BARNETT: Just go with animals, that’s all he does.
KLASSEN: Yeah, it’s as simple as that (Laughter).
KLASSEN: I had a friend in college who, we were talking about what we think makes a story, and when we think we have a story versus just like some weird cool idea. And he said it was when you feel like it ended, at the end. Even if you didn’t know it was headed somewhere, he thought that as long as you feel like something ended, that’s when you have a complete story. And I like that … even my definition of what an ending feels like is kind of changing and this book changed it for me again, I think. You don’t really know what you want an ending to feel like, but as long as it lands in the definition of that word … picture books, especially are so short … have all sorts of different ways of making that happen and satisfying, whatever it is. It could be a totally local problem – it doesn’t have to be a big philosophical point although the better ones end up finding those things even accidentally. But as long as it feels like something that started ends, then you’ve got the book. I love the idea of how wide open that is and how you can sort of satisfy an audience with ways that they didn’t even know they could be.
GRWR: Or ways that you didn’t even know.
KLASSEN: Well, yeah. Well I think that works both ways, exactly. Like it surprises me as much as it surprises an audience I think when anything works. You don’t plan it. You’re trying to find a way to make it end and to make it feel like it just ended under its own power kind of.
GRWR:That’s how I felt at the end of this book. I was “Yes! Just a loud, “Yes!”
BARNETT: Oh, cool!
KLASSEN: Oh, that’s great!
GRWR:That’s just how I felt. Like, they did it, they did it. I love it. This is excellent, you got me and you’re gonna get everybody with this.
BARNETT & KLASEN: Aaaww.
GRWR:Can we count on you for a third collaboration, a kind of picture book trifecta?
KLASSSEN: Oh, yeah probably.
KLASSEN: I don’t know. I don’t know if it will feel like, you know a trilogy or anything like that.
BARNETT: I think this book is very different from Extra Yarn and I think the next thing that we do would probably be different again. But yes, yes.
GRWR: Yes? Oh awesome. You could be chameleons. I feel you both are very chameleon-like in what books you do. … If we took away your names, could people still identify you? Each story, each picture book, everything is so different. It’s very chameleon-like … Do you intentionally do that or do you just feel like that’s part of the creative process that when a person creates it’s just constantly changing?
BARNETT: Well I don’t like to repeat myself I think first and foremost. The stories that I tell or just in general, I don’t like to repeat myself .. and to do so in a book feels like such a wasted opportunity. Particularly picture books are such a young form. We’re just still figuring out what’s possible in them. I mean something that looks like a contemporary picture book doesn’t really even come around until like Wanda Gág, you know, and even then there’s a long time before Wanda Gág’s vision of what a book should be sort of won out. So we’re working with something that’s less than a century old and I feel like I’m just like running around on a blank map trying to like put flags in as many different areas as I can and it’s exhilarating!
GRWR:That is such an exciting way to put it!
BARNETT: Top that, Jon!
KLASSEN: Yeah. Now I can’t talk at all.
GRWR:That said, Jon, how do you feel about that?
KLASSEN: I think Mac’s got more range than I do that way. I think that even though I read a lot of Mac’s things, sometimes he’ll send me a text he’s working on … and I just I can’t believe he switched gears so quickly from the last thing he did. It’s all self-contained. It’s working under the rules of this particular one. I think he understands that concept of just following a very local set of rules to the story and having fun with that inside of it. There are probably themes and things that you could find. But it would take a minute, I think, because they are so self-contained. I like changing things myself and I always try to keep the decisions and the work kind of local to the story … I mean, I’m not sure that I stray as far from the things that I like, maybe story wise a little bit. To think of the ideas I’m working on for other books in the future are consciously sort of trying to keep trying different things. But I have a few things I like very much that I keep sort of going back to and I’m not sure I’m done with yet. So I don’t know if I have as much range that way. I’d like to think I do but I’m not sure when it all finally comes out of the printing press, it kind of looks like if it sits next to the other one it’s pretty close. (Laughter)
BARNETT: Oh, I think there’s something to not being attached to a visual style just writing picture books that is really liberating, too, and there’s something self-erasing about it. Kids will look at Extra Yarn or Sam & Dave Dig a Hole and see them, I think, as Jon Klassen’s book. That’s certainly how I saw books as a kid even when they were written by different people. I always identified them as the illustrator’s first. And so I think that if Sam & Daves or Extra Yarns sit comfortably, visually next to the Hat books, kids will often kind of lump them together that way, so you could see that as … self-erasing, but it actually … allows you to write in so many different styles. And part of why I feel so liberated, is it’s a completely different set of rules if I’m writing in Jon Klassen’s visual universe. Things work very differently in that world than they would in Adam Rex’s visual universe. And it is sort of like writing stories that take place on two different planets.
GRWR:Yep. That space on the shelf is getting larger and larger.
BARNETT: Oh, man. I know. It’s too big. People are tired, tired of my books, Ronna. They don’t want to get the phone call that I have a new book anymore. (laughter)
GRWR: What about you Jon?
KLASSEN: I think so. Yeah, I think we line up pretty close on that.
GRWR: If you guys weren’t creating books for kids, what would you be doing?
BARNETT: I think I would be teaching in some form. The plan I had right before I decided to write books, I was going to go and get my Ph.D. and become a medievalist. I may have been, you know, stroking a fat beard and reading Icelandic poetry.
GRWR: Did you say a medievalist?
BARNETT: A medievalist, that’s right.
KLASSEN: If you go to Ren (Renaissance?) faires, they’re all over the place.
BARNETT: I wasn’t a Ren faire medievalist. I was one of the cool ones, Jon. There’s a whole club. (Laughter)
KLASSEN: There’s always one guy in a Ren faire saying you have to call me doctor. And that’s the guy with the PhD.
GRWR: (Laughter)
BARNETT: And The turkey legs are outstanding.
GRWR: But anyway, parents and caregivers who purchase these books will be reading my interview with you on the blog so what would you like to say to those parents?
BARNETT: Hmmm, with me I think one interesting thing about the way picture books work … I would just say kind of thank you to them because they’re so much a part of it, not just for buying the books and choosing to read this book. By reading the book, a picture book, they’re so often read by a parent or caregiver or teacher, librarian or babysitter, they’re really as much of the creation of the experience as Jon and I are. They’re kind of the unsung 3rd creative force in putting a picture book together. I made this text. Then Jon interprets the text in illustrations which is then interpreted again by a parent before it finally reaches the audience. They’re choosing voices and telling our jokes and sometimes choosing to take out little pieces of dialogue or add things in. So really they’re like actors interpreting a performance so I thank them not just for getting the book, but for being part of an experience of bringing this thing to life.
KLASSEN: Yeah, I would try and say the same thing. My first picture books, well, we didn’t have a lot of picture books in our family’s house growing up. But my grandparents had all their books from when their kids were young. I think they had a lot more book clubs and stuff back then. There were all of these Dr. Seuss books and the reader books and things like that. They just had shelves of these things that were all the same size, but they were done by different authors and different illustrators and stuff. I still don’t really think of those guys very much. I think of those books and that room and that house and that time, all together as one big sort of feeling, and I still think that that’s still mainly the reason why I make books is because of that room and that house and those years and them having those books in that house it just creates a place you want to revisit. And this is the best way I sort of knew how to go back there was to keep trying to make these things. And the idea that they are in these houses and these rooms, they are making a place for their kids and memories that sort of you know the books are sort of merged into the memories of these rooms and those times. And it’s all sort of one thing, and they’re making it for them by having these books around. They are sort of creating a place for these kids that they can go and hear these stories, but also just feel like they feel in a really general way. It’s very important. It’s one of my most important memories.
GRWR:It’s hard getting rid of books.
BARNETT: I still have all of mine from when I was a kid. It’s true. I like what you said that, Jon. I always feel so grateful. We’re really, when we make books, like in a very intimate way invited into families and it’s such a privilege.
GRWR:I agree. I have to say that it’s been a privilege for me to chat with you guys but I’ve kept you long enough so I just want to say if there’s anything else you’d like to add before I let you get back to the rest of your day.
BARNETT: I just wanna say thank you, Ronna, this is a lot of fun talking to you. KLASSEN: Yeah, thanks for the time. We really appreciate it, and thanks for liking the book so much. That’s really great.
GRWR: Oh, that’s fantastic. Jon, I guess I’ll see you in L.A. or at the Ren (Renaissance) Faire.
BARNETT: We’ll all see each other at the Ren Faire. I’m coming down. (Laughter)
GRWR: Best of luck to you guys. I know the buzz is continuing to grow over Sam & Dave and I just wish you the best of luck. Thank you so much.
– Interview by Ronna Mandel with special thanks to Armineh Manookian for her invaluable help!
Click hereto read Ronna’s review of Sam & Dave Dig a Hole.
Want more humorous insights from Barnett and Klassen? Click here to read Mac Barnett & Jon Klassen Make a Book: A Transcript
ABOUT BARNETT & KLASSEN
Mac Barnett is the author of several award-winning books for children, including President Taft Is Stuck in the Bath, illustrated by Chris Van Dusen, and Extra Yarn, illustrated by Jon Klassen, which won a Boston Globe–Horn Book Award and a Caldecott Honor and his most recent, Telephone. Mac Barnett lives in N. California.
Jon Klassen is the author-illustrator of I Want My Hat Back, a Theodor Seuss Geisel Honor book, and This Is Not My Hat, winner of the Caldecott Medal. He is also the illustrator of House Held Up by Trees, written by Ted Kooser, which was named a New York Times Book Review Best Illustrated Children’s Book, and Extra Yarn, written by Mac Barnett, which won a Caldecott Honor. Originally from Niagara Falls, Ontario, Jon Klassen now lives in Los Angeles.
Dogs will be dogs. They chase cats. They dig holes. They get excited to see you, and nearly knock you over. They’re not trying to be bad. They don’t want to make you mad, but sometimes they do. This sounds like some children I know!
In Bad Dog Flash, by award-winning NZ author and illustrator Ruth Paul, (Sourcebooks Jabberwocky, Oct. 7, 2014, $15.99, Ages 3-8), a scruffy rascally puppy named Flash, can’t seem to do anything right. He’s only playing with the cat when he chases her up a tree. Flash didn’t mean to break the window. He just wanted to bring his stick inside. Those shoes smelled so good, he couldn’t help but lick and chew them, and the laundry hanging on the line …
Flash continues to misbehave and be corrected, in this adorable picture book, until he’s sent to the dog house for a time out, and is one sad pup. I giggled at the smirk Ruth Paul put on the cat’s face every time Flash got in trouble. Her old-time illustrations remind me of the classic Tip and Mitten books by David McKee from my early childhood.
Her text, with its rhythm, rhyme, and repeating refrain of “Bad dog, Flash,” make this a perfect read-aloud book for toddlers, and a delightful early reader for older children. Children will relate to Flash, who always seems to get in trouble, and will like it even more when he’s invited back into the house to snuggle, and finally hears, “Good dog, Flash!”
The Night Before College by Sonya Sones and Ava Tramer with artwork by Max Dalton, Grosset & Dunlap, 2014.
An homage to Clement Moore’s The Night Before Christmas, The Night Before College(Grosset & Dunlap, $9.99, Ages 17 and up) by Sonya Sones and Ava Tramer makes an ideal graduation gift, so pick up several copies at your local independent bookshop and who knows, you may even get a hand-written thank you note or phone call instead of a text or email! Please scroll down for details about our grad giveaway.
You know the Moore version, but did you know that … ?
‘Twas the night before college,
and from East Coast to West,
all the soon-to-be freshman
could simply not rest.
Parents, do you remember the drama of your child writing essays, all the waiting for email word of admissions, all your discussions with everyone from your Facebook friends to your family doctor? This rollicking rhyming tale will take readers through all the humor, stress and anticipation the academic world throws out at students. From Junior year junkets to colleges across the country to SAT exam prep, from the dreaded college interview to dreaming of dorm rooms, it’s all there for parents to relive and grads to kiss good-bye. For families fortunate enough to have their children finish high school and go on to college, The Night Before College is an up-beat celebration of the school years starting with a swift ode to preschool and elementary school.
By nine, they’d discovered some new Mayan ruins.
By twelve, they’d been courted to play for the Bruins.
Max Dalton’s cartoon-like artwork invites some careful viewing. My favorite illustration was of the college fair with table cloths of the various schools labeled “This State College,” “That State College” and “Yet Another School.” I honestly couldn’t stop grinning as Sones and Tramer hit all the highlights of pre-college life I first experienced courtesy of my daughter three years ago. I sure hope they’ll think about penning a sequel, The Night Before Real Life, for college grads! – Reviewed by Ronna Mandel
GIVEAWAY:
We’re giving away one copy of The Night Before College to one lucky winner. Enter now by completing private form below. The giveaway ends at midnight PST on Tuesday, May 27th. One winner will be selected using Random.org and notified on Wednesday, May 28th via email. Good luck!
1) Use private entry form below.
2) Be sure to include your name and address in the COMMENTS box.
3) LIKE us on Facebook and/or Twitter and let us know you did. LIKING us twice gives you an extra entry!
PRESIDENT TAFT IS STUCK IN THE BATH by Mac Barnett with illustrations by Chris Van Dusen is reviewed by Ronna Mandel.
– A Junior Library Guild Selection
President Taft is Stuck in The Bath written by Mac Barnett with illustrations by Chris Van Dusen, Candlewick Press, 2014.
President Taft is Stuck in The Bath(Candlewick Press, $16.99, Ages 4+), a new picture book written by Mac Barnett and illustrated by Chris Van Dusen, is as good as its cover, if not better, and the cover is just terrific (or should I say terry-ific?)! PLUS: if you enjoy this review, enter our giveaway to win a copy of the book. *Details below!!
I couldn’t wait to read my review copy of President Taft is Stuck in The Bath. I’d always heard the rumor/anecdote that the hefty (and I don’t mean muscular hefty, but big, heavy hefty) William Howard Taft, our 27th U.S. President, had gotten stuck in the White House tub, but I never pursued this line of inquiry let alone thought it was material for a children’s picture book. I was wrong! Thankfully Mac Barnett thought otherwise and chose to dig deep into the archives for this hilarious picture book that will make both parents and kids crack up (no pun intended). As I’ve said, I was ready from the cover and certainly from page 1, with its page-size portrait of a handlebar mustachioed, scowling Taft, to follow this riotous romp wherever it took me. I think you will feel the same way.
By including a plethora of the President’s cabinet called upon to remedy the situation, Barnett has created a cast of characters that do not fail to entertain. We first meet the demure Mrs. Taft. Her attempts to offer her husband suggestions as to how he could be extricated from the White House bathtub are disregarded by the angry and frustrated President. “It’s a disaster!” said Taft. He asked her to call for the Vice President who, upon seeing Taft’s dilemma, could not disguise his eagerness to be sworn in as President. When it was evident the V.P.’s one track mind was of no help, the President summoned the Secretaries of State, Agriculture, War, Navy, Treasury and Interior one after the other. But alas, all their over-the-top ideas proved futile.
And though it comes as no surprise that it’s the First Lady who saves the day, it doesn’t matter. It’s the artwork that’s the star here as we see a birthday-suited Taft finally freed from the tub. In all his naked glory, Taft the President is still human. The book’s uproarious take on this often-told tale may even tempt young readers to delve more deeply into the past of this and other American leaders.
Between Barnett’s delightful usage of early 1900s sounding language, “Blast that!” bellowed Taft. “A preposterous plan.” and Van Dusen’s humorous illustrations (who thought a picture book featuring an overweight man in a bathtub could be so engaging), the pair have managed marvelously to pull off presenting a president getting stuck in the tub in a way I could never have imagined. It doesn’t hurt that, while the anecdote has never been corroborated, Barnett includes an interesting author’s note along with “Some Facts Pertaining to President Taft and Bathtubs” that should not be missed. My takeaway – who cares if this tale is fact or fiction? It’s a lot more fun speculating with Barnett and Van Dusen!
Here’s a link to an interview with illustrator Chris Van Dusen.
* Enter here by sending an email with your name and address included. Be sure to write Taft is Stuck in the subject line. This giveaway valued at $16.99 ends at midnight PST on Monday, April 14, 2014. One winner will be chosen randomly on Tuesday, April 15th. You must first like us on Facebook or Twitter for eligibility. Good luck! U.S. and Canadian Residents only.
Return to the World of Avonlea
With an Anne of Green Gables Contest
“One of the most extraordinary girls that ever came out of an ink pot.” – The New York Times
Anne of Green Gables by L.M. Montgomery, Sourcebooks Fire, 2014.
Did you know that Anne of Green Gables was written over 100 years ago (1908 to be precise) and has sold over 50 million copies worldwide? When did you receive your first copy? Well, it’s time to revisit this classic courtesy of Sourcebooks who will be publishing both paperback and e-books of the beloved author’s works. In addition to delightful new cover art, the books will contain an introduction by the Canadian author’s granddaughter, Kate Macdonald Butler.
So mark your calendar now for the release of the Anne of Green Gables series in February 2014! Sourcebooks is proud to be the new home of L.M. Montgomery’s beloved novels and will continue to publish gorgeous brand new editions of all her classics throughout March and April.
Bookpage is hosting a contestfor theAnne of Green Gables series through January 31, 2014 called Kindred Spirits Sweepstakes, where all entries will have a chance to win the following:
· 1 Grand Prize Winner will win 2 Tiffany & Co. sterling silver key pendants
· 5 Second Place Winners will receive a full set of the Anne of Green Gables series from Sourcebooks Fire (6 books)
· 10 Third Place Winners will receive a copy of Anne of Green Gables
Visit their website here for a list of official rules. Submit your entries on the same page, or click here to enter and then tell others about this exciting contest. Plus, you can tell Sourcebooks about your experiences and send them the links so they can share them on their social media sites.
What memories do you have about reading Anne of Green Gables?
How did Montgomery’s stories inspire you?
Dive deeper into L. M. Montgomery’s world by “Montgom-ifying” your name, entering giveaways, downloading posters and excerpts and so much more on the Anne of Green Gables page on the Sourcebooks website.
“The books I read most as a child were by Lucy Maud Montgomery…”
