{"id":2011,"date":"2010-10-19T00:01:17","date_gmt":"2010-10-19T06:01:17","guid":{"rendered":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2011"},"modified":"2010-10-19T19:21:57","modified_gmt":"2010-10-20T01:21:57","slug":"one-impossibly-enjoyable-conversationwith-richard-michelson-before-breakfast","status":"publish","type":"post","link":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2011","title":{"rendered":"One Impossibly Enjoyable Conversation
with Richard Michelson Before Breakfast"},"content":{"rendered":"


\n

“‘Someday I’m going to be president.’ Mama looks at me proud, like I already am.”<\/em>
— From Richard Michelson’s Busing Brewster<\/em><\/a><\/strong>,
illustrated by R.G. Roth (Knopf, May 2010)<\/center><\/p>\n

It’s a pleasure to welcome Richard Michelson<\/a><\/strong> to 7-Imp today. I don’t want to belabor this introduction, since I think this interview is full of all kinds of goodness and I want you to get right to Rich’s words, but for those who might need it, I offer a Rich Michelson 101: <\/p>\n

Rich is a poet and children’s book author, whose books have received many honors, including the prestigious Sydney Taylor Book Award (Gold Medal) in 2009 for the stirring As Good As Anybody: Abraham Joshua Heschel and Martin Luther King\u2019s Amazing March Towards Freedom<\/a><\/strong><\/em>, illustrated by Raul Col\u00f3n<\/a><\/strong>. Clemson University named Michelson the R. J. Calhoun Distinguished Reader in American Literature for 2008. Rich has worked with a whole slew, to be precise, of talented illustrators — not only in his well-crafted picture-book writing and poetry work, but also as the owner of R. Michelson Galleries<\/a><\/strong> in Northampton, Massachusetts, a most wonderful-looking visual arts space I long to visit myself. It is in this space that Rich champions and showcases the work of many of today’s contemporary picture book illustrators (as well as the work of those who have passed<\/a><\/strong>). <\/p>\n

Opening this post is a spread from Rich’s latest title, Busing Brewster<\/em><\/a><\/strong>, illustrated by R.G. Roth and released by Knopf Books in May of this year. The book, Publishers Weekly<\/em> writes, “provides an immediate, child\u2019s-eye view of court-ordered busing in the 1970s…Using soft earth tones, Roth\u2019s…stylized mixed media images are an amalgam of angular characters, geometric shapes, and patterned fabrics that feel like an artful interpretation of the era\u2019s cartoons. They readily underscore the collision of innocence and prejudice, anger and hope.”<\/em> I asked Rich a bit more about this title in the interview below, and to those of you not familiar with his previous titles, I encourage you to check out this page at his site<\/a><\/strong> which features his works for children thus far. <\/p>\n

This interview does lots of things, I think, but I’m particularly happy about the fact that it (and Rich) celebrates the art of the picture book. Since that is what I try my absolute darnedest to do here at 7-Imp, I think Rich is just about the perfect visitor and I have been a long-time fan of his work, which explores—in his words below—“the complex ways we socialize and politicize our children.” So, without further ado, I welcome Rich and thank him for taking the time in his busy schedule to stop by. <\/p>\n

* * * * * * *<\/font><\/center><\/p>\n

7-Imp<\/font><\/strong>: Tell me about the genesis of this book. I know authors might loathe being asked about “inspiration,” but what made you want to tell this story? You say in an author’s note that you wrote this before Obama took Office. Can you talk a bit about how gratifying it must have been when that happened, in light of the story you wrote?<\/font><\/p>\n

Rich<\/font><\/strong>: I am both a mid-list author (therefore grateful to be given any attention whatsoever) and Jewish (questions are our stock in trade. Nu?), so I don\u2019t loathe being asked anything. Though it is true that I come down on the side of hard work and curiosity, and I am not often visited by the gods of Inspiration.<\/p>\n

Busing Brewster<\/a><\/strong><\/em> is based on the story of many young African-American children in the 1970s, who were bused to previously-segregated all white schools. A few years ago, I was reading the newspaper and I came across an interview with a successful politician who, as a child, had been bused from his home in a black neighborhood to a school in the white section of the city. He attributed many of his achievements to the opportunities busing had afforded him, yet he insisted that his triumphs were not worth the trauma he had suffered as a child.<\/p>\n

<\/p>\n

I am always interested in the complex ways we socialize and politicize our children, and many of my books deal with racial issues, so I began thinking about the well-intentioned, but failed, experiment of forced busing and what it must have felt like for the 6- and 7-year olds, who were already negotiating the more usual complications of starting school and \u201cfitting in.\u201d<\/p>\n


\n

“All night Bryan’s punching his pillow. WHOOSH!<\/font> ‘Central’s the white school,’ he says. WHOOSH!<\/font> ‘I ain’t waking up at six.’ WHOOSH! WHOOSH! WHOOSH!<\/font> ‘Sittin’ an hour on the bus.’ ‘Ain’t no Negroes at Central.'”<\/em><\/center><\/p>\n

So, Busing Brewster<\/em> became a story about dealing with bullies and the prejudices of others while trying to make new friends. This is as relevant to every child\u2019s life today as it was to Brewster and Bryan and Freckle-face. It is also a story about the difference that a teacher or librarian or parent can make in a child\u2019s life. The larger historical context of busing and segregation is my background canvas and something children will come to understand as they re-read the book — or encounter the subject in other older texts.<\/p>\n

While I imagined Brewster as wanting to grow up to be President, it never occurred to me, while writing the book (in 2003, well before I\u2019d heard the name Obama), that this could happen in my lifetime, not to mention prior to publication. My characters, especially Brewster\u2019s mother and Miss O\u2019Grady, the librarian, had much more faith and optimism than I had. How nice that they proved their author wrong.<\/p>\n


\n

“‘What’s that sign say?’ I ask Bryan. There’s white people lined up on both sides of the street. ‘Welcome to Central,’ Bryan answers. But then I see him give Jules one of his ‘better don’t tell on me’ looks.”<\/em><\/center><\/p>\n

7-Imp<\/font><\/strong>: Had you worked with R.G. Roth before? If not, what was it like to see his illustrations for this story for the first time?<\/font><\/p>\n

Rich<\/font><\/strong>: Honestly, it was disorienting. I admit that I had pictured the story in a more realistic manner, similar to E.B. Lewis\u2019s<\/a><\/strong> work on my books Across the Alley<\/a><\/strong><\/em> and Happy Feet<\/a><\/strong><\/em>. So, when I saw Rob\u2019s interpretation it took me a few moments (days) to readjust, and now I can\u2019t envision the book any other way.<\/p>\n


\n

“SMASH! BAM! CRASH!<\/font> I didn’t even see the rock. I just heard the glass shatter. Bryan squishes me down under the seat. ‘Wish we could stay at Franklin,’ Bryan says. From down here Franklin seems a million miles away.”<\/em><\/center><\/p>\n

That is the wonder of collaboration. When it works, the illustrator does not simply illustrate the words or follow the author\u2019s instructions. They bring their own vision to the project. For a book to rise, the whole needs to be greater than the sum of the parts.<\/p>\n

I\u2019ve had the good fortune of collaborating with some of my closest friends who, lucky for me, also tend to be among the country\u2019s most accomplished illustrators (E.B.<\/a><\/strong>, Raul Col\u00f3n<\/a><\/strong>, Mary Azarian<\/a><\/strong>, Leonard Baskin<\/a><\/strong>, Barry Moser<\/a><\/strong>), but it is the publisher who chooses the illustrator. I had not worked with Rob before, nor met him, which is rare for me, considering my \u201cday job.\u201d<\/p>\n

So, seeing the illustrations reminded me why I love picture books and why I got into this business in the first place.<\/p>\n

{Ed. Note: Below are the cover of and illustrations from Rich’s <\/em>Across the Alley<\/a><\/strong>, illustrated by E.B. Lewis<\/a><\/strong> and a 2006 National Jewish Book Award Finalist
(Putnam, 2006)}:<\/em><\/center><\/p>\n


\n
\n

“Last winter, I watched his finger spell out HI through the frost on his bedroom window. He wrote each letter backwards, and then waved.”<\/em><\/center><\/p>\n


\n

“‘You’ll be the next Jascha Heifetz,’ Grandpa says proudly one night when he comes to turn out the light. ‘I think you’re ready for the recital at the temple next Tuesday afternoon.’ My palms turn sweaty like I’ve been caught throwing a spitball. I want to tell him it was Wilie, but I can’t think of anything to say.”<\/em><\/center><\/p>\n


\n

“Willie’s first notes sound like the radio when I”m searching for the signal that announces the Dodger games. But then Willie closes his eyes, and you can tell by his face that he’s found the right station.”<\/em><\/center><\/p>\n

<\/p>\n

7-Imp<\/font><\/strong>: Speaking of picture books, would you like to weigh in on the recent New York Times<\/em> article<\/a><\/strong>, lamenting the state of the picture book?<\/font><\/p>\n

Rich<\/font><\/strong>: My completely un-researched, unsubstantiated opinion (but why hold me to a more stringent standard than the Times<\/em> reporter?) is that the same number of picture books are being sold, but the reason that 99% of authors\/illustrators have seen their royalty checks erode is that our siphoned-off purchases are all going to Mo Willems<\/a><\/strong>, whose sales (I cannot reveal my sources!) are accelerating at the exact same rate that the rest of the industry\u2019s sales are declining. Mo is plotting a takeover of the entire kidlit world (as the below secretly-photographed drawings prove).<\/p>\n


\n

Pigeon in the Hat<\/em><\/center><\/p>\n


\n

The Elephant and Piggy Sneeches<\/em><\/center><\/p>\n

Answering from another perspective—that of someone who has been working for 30+ years to get pictures in books of all kinds, including adult books—I have to say that visual literacy is as important as verbal literacy. I\u2019d like to see the opposite trend. Everybody should be reading picture books throughout their lives. My gallery highlights many fine press books by renowned artists like Leonard Baskin<\/a><\/strong>, who has collaborated with some of our greatest poets (Ted Hughes<\/a><\/strong>, Anthony Hecht<\/a><\/strong>, etc), and illustrated Shakespeare, Dante, Melville and other \u201cadult\u201d authors. Barry Moser<\/a><\/strong> has illustrated many contemporary adult novelists and poets, as well as the classics. The greatest illustrators do not just \u201cillustrate\u201d the words of the page, thus narrowing our imagination; they bring their own creative vision to complement and expand the text. If the whole works, it is always greater than the sum of its parts. I could go on forever about this topic and I\u2019ve given many hour lectures at conferences, libraries and, unfortunately, cocktail parties (while my host ushers me toward the door), but I don\u2019t want to hijack your blog.<\/p>\n

The marketplace, of course, is a different matter entirely, but as far as I can see, to quote Clinton, \u201cit\u2019s the economy, stupid.\u201d Picture books cost more than books without pictures, and everyone is watching their pennies. Library budgets are down. Technology is adding additional options for our dollars. Sure, the publishers are buying less picture book manuscripts and sometimes it seems that the quality books (i.e. books by me and my friends) are being crowded out by \u201cliterary fast food\u201d (i.e. books by people I don\u2019t like or don\u2019t know), but nobody ever said life is fair or easy or static, and frankly I am always amazed at how many people do still value art — and are willing to put their money where their values are.<\/p>\n

7-Imp<\/font><\/strong>: What’s up at the gallery right now?<\/font><\/p>\n

Rich<\/font><\/strong>: It has been an especially busy time… We just opened two new Leonard Nimoy photography exhibitions at both Mass MoCA<\/a><\/strong> and the gallery<\/a><\/strong> (both are on view through December 31). Nimoy is giving a lecture ay Mass MoCA on Thursday, October 21st, at 5 p.m. if any New Englanders want to attend. <\/p>\n


\n

{Ed. Note: Head on over to this June interview<\/a><\/strong> to read the great story about how Rich got his gallery business off the ground. It centers on a
high-stakes game of ping pong, no less.}<\/em><\/center><\/p>\n

Contest time: Can you name the six children\u2019s book authors\/illustrators who posed for Nimoys most recent Secret Selves project? You can see images here<\/a><\/strong> and here<\/a><\/strong>. I\u2019ll send a signed copy of Busing Brewster<\/em> or your choice of any of my earlier books to the first person to get all six names. {Ed. Note: For more information on Nimoy’s Secret Selves photography project, read here<\/a><\/strong>. And, if you’re interested in guessing, contact me<\/a><\/strong> and we’ll get your answers to Rich via email.}<\/em><\/p>\n

Disclaimer: Local Northamptonites, friends and family (sorry, Ma), and those bloggers to whom I\u2019ve already given the key are ineligible. (So, no, Ms. Betsy Bir<\/a>d<\/strong>, you can\u2019t play).<\/p>\n


\n

Rich and Jennifer Michelson with Leonard Nimoy
{Ed. Note: Evidently, Rich has a story he sometimes tells about impersonating Nimoy’s son. I think he’ll have to visit 7-Imp again to dish on that one.}<\/em><\/center><\/p>\n

<\/a>
\n

(Click to super-size this panoramic shot of Michelson’s gallery.)<\/em><\/center><\/p>\n

Next up, we are already planning the details of the 21st Annual Illustration Show. The opening reception, with lots of your favorite authors\/illustrators in attendance, is November 7th from 4-6. Everyone is welcome. We\u2019ll be featuring new original works by E.B. Lewis<\/a><\/strong>, Mo Willems<\/a><\/strong>, Jules Feiffer<\/a><\/strong> (originals from Phantom Tollbooth<\/a><\/strong><\/em> will be on view, along with watercolors from Jules\u2019 The Odious Ogre<\/a><\/strong><\/em>, his newest\u2014first time in 50 years—collaboration with Norton Juster<\/a><\/strong>), Raul Col\u00f3n<\/a><\/strong>, Wendell Minor<\/a><\/strong> (who will be receiving the 3rd Annual Norton Juster Award—from Norton Juster himself\u2014for his contribution to children\u2019s literacy), Jarrett Krosoczka<\/a><\/strong>, Mordicai Gerstein<\/a><\/strong>, Tony DiTerlizzi<\/a><\/strong>, Jane Dyer, Barry Moser<\/a><\/strong>, Ruth Sanderson<\/a><\/strong>, Scott Fischer<\/a><\/strong>, G. Brian Karas<\/a><\/strong>, Gary Lippincott<\/a><\/strong> (Brian and Gary both have new books with Jane Yolen<\/a><\/strong>, who will be in attendance as well), Eric Velasquez<\/a><\/strong>, and, and, and\u2026 I can keep going but easier to just send you to the group shot<\/a><\/strong> from last year\u2019s show and tell you \u201call these folks plus more!!\u201d And, of course, our usual selection of Dr. Seuss<\/a><\/strong>, Maurice Sendak<\/a><\/strong>, Tomie dePaola<\/a><\/strong> and, yes, even Eric Carle<\/a><\/strong> drawings are available. You can see some of the illustrations here<\/a><\/strong>.<\/p>\n

<\/a>
\n

(Click to enlarge and play Spot the Illustrator.)<\/em><\/center><\/p>\n

<\/a>
\n

Front Row:<\/strong><\/font><\/font> Heidi Stemple, Rebecca Guay, Jane Dyer, Jeannie Birdsall, Diane deGroat, Barbara Diamond Goldin, Nonny Hogrogian, Susan Yard Harris. Second Row:<\/strong><\/font><\/font> Brooke Dyer, Shelley Rotner, Norton Juster, Jane Yolen, Lesl\u00e9a Newman, Brian Karas, Barry Moser, Susan Pearson, Anna Alter, Alice Schertle. Third Row:<\/strong><\/font><\/font> Wendell Minor, Jeff Mack, Rich Michelson, Kathy Brown, Nancy Sippel Carpenter, Jeannine Atkins, David Kherdian. Back Row:<\/strong><\/font><\/font> Carol Weiss, Mo Willems, Scott Fischer, Jarrett J. Krosoczka, Mordicai Gerstein, Paul Jacobs.<\/em>
(Click to enlarge photo.)<\/center><\/p>\n

And for everyone coming to this year\u2019s illustration exhibit, please come early. I will be speaking at the Eric Carle Museum<\/a><\/strong> (5 miles from the gallery) from 1 to 2 about The History of Jewish Children\u2019s Books, in conjunction with their incredible exhibit<\/a><\/strong>, Monsters and Miracles: A Journey Through Jewish Picture Books<\/em>. I am honored to have illustrations from four of my books represented in this exhibit.<\/p>\n