The ABC of It: Why Children's Books Matter

Current exhibition at NYPL, coverage by Jan Diolola, Pratt SILS 676

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"On Display"

The current exhibition up at NYPL contains a decent number of reputable artifacts---arguably some of the most notable relics known in children’s literature. Curator Leonard Marcus does an impressive job of organizing the items in a thematic schema, a canon of literature if you will. All throughout, many books, manuscripts, and personal letters occupy glass cases and bookshelves to be displayed for public viewing. It starts in a chronological pattern, but ends with more concept, theories, and trends in not only American literature, but works that have been published and beloved globally.  

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Max, the King of All Wild Things

Out of the many items on display, while all very integral in communicating this exhibition to the public, the piece of work that I chose to focus on in this exhibit is the giant crown depicting the facade of Max’s head, the main character in the highly-praised Where the Wild Things Are, written and illustrated by none other than Maurice Sendak. The structure stands from floor to just past the exhibition space walls, one side painted gold (just like his crown) and the other adorned with thick fur, representative of one of the monsters in the book. Right in the center, a cutout in the shape of one of the monsters (whilst “rumpus”) acts as an entranceway into the following exhibition room. 

As you enter, you are faced with a passage quote from the book, indicating that you are now in observance of one of Sendak’s most memorable works.

This idea, the symbol of Max’s head, is monumental to the history of children’s literature, especially in American children’s literature, because this giant veneer (the figure of the monster, as well as the crown itself), have been such iconic images for most children in my generation. In past years, educators, young readers, and those nostalgic for their youth have grown to accept Max as their own kin. Where the Wild Things Are has received many praise from the young and old, and was a Caldecott Medal recipient in 1964 for the sheer artistry in literature and colored illustrations. The image of that crown is one that resonates throughout all types of audiences, regardless of age.

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Generally Just "Wild Things"

Marcus includes other works that resemble the dark, escapist undertones that Sendak encompasses throughout Where the Wild Things Are. Propped next to it sits a drawing entitled “The Battle of the Birds” by Arthur Rackham, noting that the tones eluded by the image bears a similar semblance to the image on the book cover.

The drawing plays on the idea of giants, ogres, and “wild things” in general. Alongside these items (in the opposite side of the glass case) sat works from the brothers Grimm, as “The Boy Who Left Home to Learn Fear” by an etching by Pop artist David Hockney, said to be inspired by the tales of the Grimm brothers.

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And Max, the king of all wild things, was lonely and wanted to be where someone loved him best of all.

- Maurice Sendak, Where The Wild Things Are

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Mo Willems; An Honorable Mention

It was not much of a surprise to see the work of Mo Willems also showcased in this exhibit. Upon reading We Are in a Book! (Hyperion, 2010), the style in which the author depicts such simple illustrations, yet delivers this witty sense of humor through an interaction between the books characters and its audience would definitely be worthy of being included in an exhibition such as this.

While his other book (Knuffle Bunny: A Cautionary Tale) was chosen for this display, it is apparent that Willems has a great vision and an understanding of a child’s sense of humor, while being able to use that discernment in creating memorable works. It would be interesting to contrast his books with actual photgraphs of the city, seeing as he makes great use of a mixed-media outlet.