1.Flower Box, Flower Box! Celebrate all things green and abloom this summer with these lovely postcards published by Princeton Architectural Press.
Sunflowers, roses, succulents, ferns, wildflowers— this rich bouquet of postcards features one hundred botanical postcards by ten celebrated artists from around the world: Sonia Cavallini, Nour Flayhan, Carolyn Gavin, Jen Hewett, Sam Kalda, Marc Martin, Angela McKay of Ohkii Studio, Clover Robin, Wies van der Velde of SowiesoWies, and Rose Wong. A booklet about the artists highlights their creative processes, influences, and favorite plants.
I love the idea of having lots of postcards on hand — you just never know when you might feel like sending a little natural beauty through the mail to a special someone. Wouldn’t it also be fun to select several of these and frame them? 🙂
Juliet has just moved to a beachside town with her newly separated mother and her moody older sister. When she meets their new neighbor, Emma, the girls form an instant bond. Emma’s big family takes Juliet in, and the girls have fun together — starting with the night they throw bottles with secret messages into the sea.
Then someone writes back to Juliet’s message. An email arrives, inviting her to join the Starry Beach Club. All she has to do is make someone else’s wish come true.
So Juliet and Emma set off to help as many other people as they can. It’s fun! But as Juliet spends more and more time away from home, enjoying her new town and Emma’s family more than her own mom and sister, she starts feeling lost. It’s been easy to find others to help. But maybe her star would shine a little brighter if she brought it closer to home.
Lisa is one of those rare, versatile authors who can write well in several different genres. Over the years, I’ve enjoyed her picture books, middle grade and YA novels. This new middle grade book sounds like the perfect summer read. Have you ever sent a secret message in a bottle?
We try so hard. Really we do. But Murphy’s Law usually prevails.
RELAX by Ellen Bass
Bad things are going to happen.
Your tomatoes will grow a fungus
and your cat will get run over.
Someone will leave the bag with the ice cream
melting in the car and throw
your blue cashmere sweater in the drier.
Your husband will sleep
with a girl your daughter’s age, her breasts spilling
out of her blouse. Or your wife
will remember she’s a lesbian
and leave you for the woman next door. The other cat —
the one you never really liked — will contract a disease
that requires you to pry open its feverish mouth
every four hours. Your parents will die.
No matter how many vitamins you take,
how much Pilates, you’ll lose your keys,
your hair and your memory. If your daughter
doesn’t plug her heart
into every live socket she passes,
you’ll come home to find your son has emptied
the refrigerator, dragged it to the curb,
and called the used appliance store for a pick up — drug money.
There’s a Buddhist story of a woman chased by a tiger.
When she comes to a cliff, she sees a sturdy vine
and climbs half way down. But there’s also a tiger below.
And two mice — one white, one black — scurry out
and begin to gnaw at the vine. At this point
she notices a wild strawberry growing from a crevice.
She looks up, down, at the mice.
Then she eats the strawberry.
So here’s the view, the breeze, the pulse
in your throat. Your wallet will be stolen, you’ll get fat,
slip on the bathroom tiles of a foreign hotel
and crack your hip. You’ll be lonely.
Oh taste how sweet and tart
the red juice is, how the tiny seeds
crunch between your teeth.
How to reach for that strawberry, and keep the tiger of dread and misfortune at bay?
As Gilda Radner used to say, “There’s always something.” We fret, worry, stress — and what we dreaded so much doesn’t come to pass — something else happens instead. Something we didn’t anticipate, couldn’t possibly prepare for, something totally out of our control. You know, the inevitable, the unavoidable. We are misfortune’s fool.
The Buddhist story Bass cites offers some interesting food for thought. Does the tiger who chased the woman off the cliff represent the past, while the tiger lurking below, the future? Do the black and white mice (yin/yang?) symbolize time? Caught in the middle, knowing she’s going to die, the woman ceases to dwell on the past or worry about her fate. She simply seizes the only moment she has, the present — and it’s sweeter beyond belief.
via All the Beautiful Things
Learning to relax, living in the moment, and trying to be a lot more ZEN about life in general is an ongoing challenge for most of us. What a good reminder to embrace the gifts that are before us and express gratitude, especially when things are difficult.
And things in this country ARE difficult. What place does poetry have in enabling us to cope?
In a 2014 NYT Artsbeat interview, Bass said:
Poetry is always grappling with the question: how do we go on? And one way is to find beauty — and humor — in the humblest, most unexpected places. And to praise this gorgeous, tender, terrifying life that is ours for just a second or two.
We’re all dangling from that vine. The strawberries are there for the taking.
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Philadelphia-born Ellen Bass co-edited (with Florence Howe) the first major anthology of women’s poetry: No More Masks! An Anthology of Poems by Women (1973). Her recent collections include The Human Line (2007), Like a Beggar (2014), and Mules of Love (2002), a Lambda Literary Award-winner. An advocate for women survivors of child sexual abuse, Bass dedicated years of service to the cause and became a pioneer in the field of supporting the healing process through words, starting with the book (coedited with Louise Thornton) I Never Told Anyone: Writings by Women Survivors of Child Sexual Abuse (1983). This was followed by The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (1988), coauthored with Laura Davis, and translated into twelve languages. Ellen is a Chancellor of the Academy of American Poets, and currently teaches in the low residency MFA program at Pacific University. She lives in Santa Cruz, CA, where she has taught writing and poetry workshops since 1974.
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The shockingly clever but not so shockingly talented and beautiful Karen Edmisten is hosting the Roundup this week. Be sure to sashay on over to check out the full menu of poetic goodness being served up in the blogosphere. Have a relaxing weekend! 🙂
We also learned that Candice was asked to write the story based on character sketches created by Georgia illustrator Christine Grove. This was the first time Candice had written a picture book in this way and with animal characters.
This time, Amanda is excited about being the first in her class to have a birthday and turn six, because then she’ll be special and famous. She has a School Bus themed birthday party all planned for Saturday and can’t wait to give her best friend Bitsy the first invitation.
But true to form, pink poufy Bitsy has beat Amanda to the punch. Bitsy’s birthday is the day before Amanda’s and her Princess Kitten birthday party is planned for the same day. Talk about spoiling everything! Despite Bitsy’s attempts to be accommodating, Amanda declares she won’t attend Bitsy’s party, so the formerly inseparable duo stop speaking to each other. What to do?
Christine has pulled out all the stops with her charming pictures (school bus wallpaper! adorable pandas with spot-on facial expressions! delectable sundae buffet!), making this story of friendship, compromise, and problem solving a joy to read.
I know you’ll enjoy hearing about how Christine created her panda characters and what she particularly enjoyed about working on this new book.
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🐼 MEET ILLUSTRATOR CHRISTINE GROVE 🎂
Tell us about when you first sketched the Amanda Panda character. What did she tell you about herself?
Initially she was a younger version, I found her to be independent and a bit strong willed — wanting things her way.
Early sketches
How was the personality that Candice created for her in Amanda Panda Quits Kindergarten similar to and different from that?
As the idea for the books progressed while working with Frances Gilbert, the editor, Amanda Panda became older — school aged. But she still had that same personality and Candice captured it perfectly! I just love how Candice expresses Amanda Panda’s emotions — I mean, who hasn’t felt their tummy lower than their knees? Finding out you have to share your birthday can be pretty traumatic, when you had plans to be the star of the day. Candice has written a relatable and humorous story. She made me giggle out loud — books are definitely a group effort and it’s all the better when you have a great editor, designer and author!
What kind of six-year-old were you? Were you more like Amanda or Bitsy?
Definitely not Bitsy, I was the kid who wanted to go unnoticed. (I still like to be in the background.) I was super shy for a long time. Amanda is not shy but I can relate to her determination and how she thinks things should be a certain way.
Please share a favorite childhood birthday party memory.
I have to pick just one? I can’t — they were always special and I felt celebrated, plus there was cake!
Christine’s drawing table is actually an old, beloved kitchen table.
Describe your journey to becoming a published children’s book illustrator.
I’ve always loved to draw but didn’t seriously consider it as a possible career until well into adulthood. I was going through some big life changes and during that time did some serious thinking about + researching becoming a children’s book illustrator. I entered an MFA program and while I was finishing I got my first book contract. It was thrilling! Maybe a year or so later I signed with my agent — also thrilling! — Maggie Byer Sprinzeles. She gets me assignments and is a dream to work with!
Could you briefly explain how you made the pictures for this book?
I always start a sketch on loose copy paper. The sketching part is my favorite! Then I scan it into Photoshop where I can clean it up and move things around if I want. After sketches were approved I used my light table to transfer them in with a micron pen onto Arches watercolor paper. Then they’re scanned again and I can make small adjustments needed in Photoshop.
Do you have a favorite spread?What do you remember most about creating it?
I’d have to say the Birthday Party scene. I’ll always remember that it took a really long time to paint! But details are my favorite so it was so fun to do. I loved doing the little sprinkles, the curlies on the cupcakes, and princess hats the best!
Overall, what did you like best about working on this project? How was it different from working on the first Amanda book?
I’d have to say the sketching. I can get lost in it, it’s a great feeling. For this project I hope I know Amanda even better and have been able to make my drawings fit who she is. I’d hate to disappoint her!
Tools of the trade: Wacom tablet and light table, and paint tubes mounted and organized on a board.
I love how you’re able to convey such a wide range of character emotions through endearing facial expressions, gestures, and posturing. Do you ever use child models for reference?
Every once in a while I might google a reference for facial expression but I mostly use my own, even making the face myself as I try to figure out how to best draw an expression. I don’t usually use a mirror, rather I feel it. Is that weird? Maybe I should start using a mirror more…
I also love the way you dressed the pandas, and all the charming and humorous details you included in the illustrations (school bus wallpaper! colored sprinkles! polka dots!). Were there any particular reference materials you found especially helpful?
Thanks! I do google children’s clothes to try to get reference material. The editor and designer gave me direction on that one, clothing is a challenge for me and I don’t know why.
Honey is Christine’s studio muse.
Did you know you wanted to illustrate children’s books when you were little?
I’ve always loved books. My mom read to me constantly when I was little. When I was in elementary school I used to hide under the covers with Dr. Richard Scarry books, a flashlight, paper and pencil, trying to copy what I saw.
Who are some of your favorite artists?
Besides Richard Scarry, I love Gyo Fujikawa, Eloise Wilkins, Lynn Munsinger, Carter Goodrich, Janet Ahlberg, I could keep going.
Which ones do you think have had the most influence on your style?
There are so many great illustrators. I do really love Munsinger. Her ink and watercolors are amazing.
Tell us about your famous collection of Derwent 2H graphic pencils. Why are you especially enamored of them? 🙂
Oh, probably because I have an emotional attachment to them, they were the first I used when sketching. I keep a glass jar of the nubs, I want to see how full I can get it in a lifetime. Although, I did recently discover the pencil extender, cool invention! Does just what you would think, attaches to the pencil nub so you can use it even longer.
Christine’s Derwent pencil stubs are in the glass jar.
Is there anything else you’d like us to know about this book?
Just that I hope you enjoy reading and looking at it, as much as I enjoyed creating the illustrations. I hope every time you look at the pictures you never get bored and can find a new little something maybe you didn’t notice before.
What’s next for you?
Right now I am finishing up finals for another children’s book. And I start another book right after that with a different publisher, just turned in the cover for that one.
I love the yummy birthday party double page spread with the two birthday cakes and that wonderful sundae buffet. Do you have a favorite sweet treat recipe you can share with us?
How about Princess Cupcakes!? I do like to make things from scratch but for these cupcakes a box mix works just fine. And you can add an extra egg and use milk instead of water to make it even richer and more delicious. Then decorate them how you want, make them your own. Go crazy with it!
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“Blue skies, smiling at me, nothing but blue skies do I see.” ~ Irving Berlin (1926)
If you’re American (or a music lover anywhere else in the world), you probably know Irving Berlin’s music — even if you don’t think you do. He wrote for and about us — the average American citizen — whom he considered to be “the real soul of the country.” He wrote from the heart, easily capturing ours. George Gershwin considered Berlin to be the greatest songwriter who ever lived.
His songs are exquisite cameos of perfection, and each one of them is as beautiful as its neighbor. Irving Berlin remains, I think, America’s Schubert. But apart from his genuine talent for song-writing, Irving Berlin has had a greater influence upon American music than any other one man. It was Irving Berlin who was the very first to have created a real, inherent American music.
At Berlin’s 100th Birthday Celebration at Carnegie Hall in 1988, Walter Cronkite said:
[Berlin] helped write the story of this country, capturing the best of who we are and the dreams that shape our lives.
So when we celebrate major holidays, Berlin is there (“Easter Parade,” “White Christmas”). He’s with us when we watch a classic musical on the telly (“Top Hat,” “Puttin’ on the Ritz,” “Annie Get Your Gun”). Since many of America’s most popular singers have recorded a Berlin tune or two (Frank Sinatra, Barbra Streisand, Rosemary Clooney, Willie Nelson, Bing Crosby), all of us would have likely heard at least one of Berlin’s songs somewhere, sometime.
Most notably, whenever we gather to honor our men and women in uniform, we sing Berlin’s signature song, “God Bless America,” the lyrics of which we’ve known by heart since childhood.
Last month, a new picture book biography was released that introduces young readers to Berlin’s extraordinary life and legacy. Write On, Irving Berlin! by Leslie Kimmelman and David C. Gardner (Sleeping Bear Press, 2018), traces Berlin’s life from the time he arrived in America with his family in 1893 until his death at age 101. He wrote some 1500 songs, comprising a substantial part of the Great American Songbook.
“Only love interests me, and I am only in contact with things that revolve around love.” ~ Marc Chagall
“Lovers in Blue” (1914)
I’m a longtime Marc Chagall fan, and during this, my THINK BLUEyear, I’m finding his work especially nourishing.
Who can resist his beautiful paintings– poetic inner dreamscapes replete with joy and childlike imagination? We are reminded that truth of vision is neither linear nor precise, but often abstract. He asks us to feel what he feels.
“Le Paysage Bleu” (1949)
French art critic Raymond Cogniat said this about Chagall’s work:
The most obviously constant element is his gift for happiness and his instinctive compassion, which even in the most serious subjects prevents him from dramatization . . . Musicians have been a constant during all stages of his work. After he first got married, ‘lovers have sought each other, embraced, caressed, floated through the air, met in wreaths of flowers, stretched, and swooped like the melodious passage of their vivid day-dreams. Acrobats contort themselves with the grace of exotic flowers on the end of their stems; flowers and foliage abound everywhere.
Sigh. And he said this about Chagall’s use of color, which is what initially attracts the viewer and captures his attention:
The colors are a living, integral part of the picture and are never passively flat, or banal like an afterthought. They sculpt and animate the volume of the shapes. . . they indulge in flights of fancy and invention which add new perspectives and graduated, blended tones . . . His colors do not even attempt to imitate nature but rather to suggest movements, planes and rhythms.
Chagall was able to convey striking images using only two or three colors. Look what he was able to do with BLUE!
Sometimes up is down, and down is up. Chagall painted his heart on the canvas. He once said:
In our life there is a single color, as on an artist’s palette, which provides the meaning of life and art. It is the color of love . . . If I create from the heart, nearly everything works; if from the head, almost nothing.
These days there seems to be a shortage of love in this country. A good antidote is to immerse oneself in Chagall’s work — the stunning, swirling blues of moonlight, romance, memory, compassion, holiness, fantasy, truth. A blue face, a blue angel, a blue village, all help to heal a broken world.
“Lovers in the Sky” (1928-30)
from Fables of La Fontaine (1997)
“Le Violoniste Bleu” (1947)
“Two Pigeons” (1925)
“Enfant avec une Colombe” (1977)
“Artist and His Model” (1973)
“Notre Dame et La Tour Eiffel” (1960)
“The Wedding” (1980)
“The Blue House” (1917)
“Window Over a Garden” (1917)
“Ebony Horse/Arabian Nights” (1948)
“The Painter” (1978)
“Le Rêve de Chagall sur Vitebsk” (1950-53)
“Acrobat with Bouquet” (1963)
“Lovers Among Lilacs” (1930)
“Self Portrait” (1959-1968)
“Monotypes en couleur” (1963)
“Le Champ de Mars” (1954-55)
“The Juggler of Paris” (1969)
“Le Cirque, Paris” (1967)
“Le Cirque, Paris” (1967)
“The Lovers” (1929)
“Lovers in Moonlight” (1938)
“Animal dans les fleurs” (1952-59)
“Blue Village” (1975)
“Around Her” (1945)
“Blue Face” (1967)
“Blue Angel” (1937)
“The Blue Studio” (1973)
“Les Amoureux en Bleu” (1930)
“I had only to open my bedroom window, and blue air, love, and flowers entered with her.” ~ Marc Chagall
1. Flower Box, Flower Box! Celebrate all things green and abloom this summer with these lovely postcards published by Princeton Architectural Press.
The shockingly clever but not so shockingly talented and beautiful 
So when we celebrate major holidays, Berlin is there (“Easter Parade,” “White Christmas”). He’s with us when we watch a classic musical on the telly (“Top Hat,” “Puttin’ on the Ritz,” “Annie Get Your Gun”). Since many of America’s most popular singers have recorded a Berlin tune or two (Frank Sinatra, Barbra Streisand, Rosemary Clooney, Willie Nelson, Bing Crosby), all of us would have likely heard at least one of Berlin’s songs somewhere, sometime.
