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NOVEMBER IS STEIG MONTH!
This November,
William Steig would have turned 100. Celebrate all month: host readings
of your favorite Steig books, develop a Steig vocabulary, and try your
hand at illustrating one of his stories. For more ideas,
see the
activity sheets created by
The Jewish Museum in conjunction
with the exhibit “From the New Yorker to Shrek! : The Art of William Steig” at 5th Avenue and 92nd Street in New York, New York.
Students can hire an essay writer with great expertise in your field of study by using this helpful papers writing service at Academized.com, that is well-known for delivering quality papers written from scratch.
Download a
bookmark which may be presented at The Jewish Museum for a $2
admission discount to the exhibit.
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About William Steig
(1907-2003)
Called the "King of
Cartoons" by Newsweek, William Steig has carved out dual
careers as both a highly respected and entertaining cartoonist and an
award-winning, best-selling author of children's picture books and novels.
Illustrating for The New Yorker since 1930, Steig has
produced more than sixteen-hundred drawings as well as onehundredseventeen covers for that publication. His cartooning work is
collected in more than a dozen books. Beginning in 1968, at the age when
others are contemplating retirement, the then sixty-one-year-old Steig
launched a career in children's books, bringing to that medium the same
tongue-in-cheek and sometimes gallows humor that has made his adult work
so popular. With his third title, Sylvester and the Magic Pebble,
he captured the prestigious Caldecott Medal. Many critics, including Roger
Angell writing an appreciation of his colleague in The New Yorker,
consider this to be "still his masterpiece." His first venture
into children's novels, the 1972 Dominic, won for Steig the coveted
Christopher Award. Other award winners followed: the Newbery Honor Books Abel's
Island and Doctor De Soto, as well as such popular picture
books as Farmer Palmer's Wagon Ride, The Amazing Bone, Yellow
& Pink, Brave Irene, and Spinky Sulks. Steig's book
sales worldwide approach two million.
In semi-retirement since the 1990s, the prolific Steig continues to turn
out winning titles even in his own tenth decade of life. Picture books
such as Shrek!, Zeke Pippin, Grown-ups Get to Do All the
Driving, The Toy Brother, and Toby, Where Are You?,
attest to the longevity of Steig's illustrative line and wit.
Additionally, he continues to illustrate the work of others, including
that of his artist wife, Jean, all of which demonstrate that humor truly
is for Steig a fountain of youth. Joshua Hammer described Steig in People
as "an idiosyncratic innocent in a never-never land of his own
making, waging a private war against the craziness of modern life with the
pen of a master and the eye of a child." Steig's humane and
insightful books are so popular with children simply because kids
immediately respond to the author's vision, which is as enthusiastic and
wide-eyed as their own.
Steig was born in Brooklyn, New
York, on November 14, 1907, and spent his childhood in the Bronx. His
father, an Austrian immigrant and a house painter by trade, dabbled in
fine arts in his spare time, as did his mother. As a child, Steig was
inspired by his creative surroundings with an intense interest in painting
and was given his first lessons by his older brother, Irwin, who was also
a professional artist. In addition to painting, his childhood imagination
was captured by the romance of many other creative works that crossed his
path: Grimm's fairy tales, Daniel Defoe's Robinson Crusoe, Charlie
Chaplin movies, Howard Pyle's Robin Hood, the legends of King
Arthur and the Knights of the Round Table, Englebert Humperdinck's opera Hansel
and Gretel, and especially Carlo Collodi's Pinocchio.
As a young man, Steig found an
outlet for his talent by creating cartoons for the high school newspaper.
Throughout his youth he also excelled at athletics, and during college he
was a member of the All-American Water Polo Team. After high school
graduation, Steig spent two years at City College, three years at the
National Academy, and five days at the Yale School of Fine Arts before
dropping out. "If I'd had it my way", Steig tells David Allender
in Publishers Weekly, "I'd have been a professional athlete, a
sailor, a beachcomber, or some other form of hobo, a painter, a gardener,
a novelist, a banjo-player, a traveler, anything but a rich man. When I
was an adolescent, Tahiti was a paradise. I made up my mind to settle
there someday. I was going to be a seaman like Melville, but the Great
Depression put me to work as a cartoonist to support the
family."
"[My] father went broke during the Depression," Steig recalls to
People's Hammer. "My older brothers were married and my
younger brother was seventeen, so the old man said to me, 'It's up to
you.' The only thing I could do was draw. Within a year I was selling
cartoons to the New Yorker and supporting a family." His father's
strong, independent values greatly influenced Steig: "My father was a
socialist -- an advanced thinker -- and he felt that business was degrading,
but he didn't want his children to be laborers. We were all encouraged to
go into music or art." Steig has passed his father's ethic on to his
own children by encouraging them never to take nine-to-five jobs, and they
have taken his advice to heart: son Jeremy is a jazz flautist, daughter
Lucy a painter, and Maggie an actress.
Before Steig started writing children's books, he was well established as
a noted cartoonist in The New Yorker. During his early days as a
free-lance artist, he supplemented his income with work in advertising,
although he intensely disliked it. During the 1940s, Steig's creativity
found a more agreeable outlet when he began carving figurines in wood;
his sculptures are on display as part of the collection in the historic
home of Franklin D. Roosevelt in Hyde Park, New York, and in several
museums in New England. Steig also claims responsibility for originating
the idea of the "contemporary" greeting card, telling Alison
Wyrley Birch in the Hartford Courant: "Greeting cards used to
be all sweetness and love. I started doing the complete reverse -- almost a
hate card -- and it caught on."
Writing books for children was a
career Steig began relatively late in life, and it came about by chance
rather than intention. In 1967, Bob Kraus, a fellow cartoonist at The New
Yorker, was in the process of organizing Windmill Books, an imprint
for Harper & Row. Kraus suggested that Steig try writing and
illustrating a book for a young audience. The result was Steig's
letter-puzzle book entitled C D B!, published in 1968. Roland the
Minstrel Pig, published the same year, is the story of a pig who sings
and plays the lute for the entertainment of a harmonious assortment of
other animals. Roland abandons the security of his community: "He
dreamed for days of fame and wealth, and he was no longer satisfied with
the life he'd been living." The pig embarks on a romantic quest,
discovering loneliness and evil along the road to fame and fortune. He
encounters Sebastian the Fox who, true to fox-form, plans to feast on the
portly pig. Roland is saved by his own resourcefulness; his singing is
heard by the King -- a lion -- who saves him from the hungry fox and appoints
the talented pig court minstrel. In Pipers at the Gates of Dawn: The
Wisdom of Children's Literature, Jonathan Cott called Roland the
Minstrel Pig "a charming but hardly major work" and
"Steig's testing ground as a children's book creator."
The process of creating children's books proved a short learning curve for
the inventive Steig. With his very next title, Sylvester and the Magic
Pebble, he joined the ranks of the best, winning the Caldecott Medal.
The story of a young donkey who collects pebbles for a hobby, Sylvester
and the Magic Pebble has been interpreted variously as a metaphor for
death and for childish helplessness. Sylvester finds a lovely red pebble
one day which allows him to make a wish. On his way home to show his
parents, he meets a lion and without thinking wishes he were a rock so
that the lion cannot hurt him. Thereafter he is trapped inside a stone's
body, until one day his parents finally come on a picnic, sit on him and
find the magic pebble, and return their donkey son to his true form. Anita
Moss, writing in the St. James Guide to Children's Writers,
commented that this picture book "justly deserves its wide
recognition as one of the most distinguished works in contemporary
American picture books . . . Steig addresses children's fears of separation
from their parents, as well as their fears and terrors and even wishes for
radical transformations."
"Like Isaac Bashevis Singer,
E. B. White, and a select company of others, Steig is a writer of
children's books whose work reaches beyond the specific confines of a
child audience," noted James E. Higgins in Children's Literature
in Education. "[He] has the unusual childlike capacity to present
incidents of wonder and marvel as if they are but everyday occurrences. He
writes not out of a remembrance of childhood, but out of the essence of
childhood which no adult can afford to give up or to deny." The power
of luck, the capacity of nature for transformation and rebirth, the
existence of beneficial magic; all are a part of this "childhood
essence" and are ever-present in Steig's books. Wishes, even unspoken
ones, are granted in the author's vision of how the world should be. In
the Caldecott Honor Book The Amazing Bone, the daydreaming Pearl
the Pig dawdles on her walk home from school. "She sat on the ground
in the forest, . . . and spring was so bright and beautiful, the warm air
touched her so tenderly, she could almost feel herself changing into a
flower. Her light dress felt like petals. 'I love everything,' she heard
herself say." She discovers a magic bone, lost by a witch who
"ate snails cooked in garlic at every meal and was always complaining
about her rheumatism and asking nosy questions." That the bone talks
is not surprising to our heroine, or even to her parent, and is accepted
as a matter of course by the reader.
Positive themes reoccur throughout
Steig's works: the abundant world of nature, the security of home and
family, the importance of friendship, the strength that comes from
self-reliance. Many of the animal characters inhabiting Steig's sunlit
world also possess "heroic" qualities; quests, whether in the
form of a search for a loved one or for adventure's sake alone, are
frequently undertaken. Higgins wrote, "In his works for
children . . . [Steig] sets his lens to capture that which is good in
life. He shares with children what can happen to humans when we are at our
best."
Steig populates his stories with animals because they give him more
latitude in telling his tales and because it amuses children to see
animals behaving like people they know. "I think using animals
emphasizes the fact that the story is symbolical-about human
behavior," Steig told Higgins. "And kids get the idea right away
that this is not just a story, but that it's saying something about life
on earth." Steig avoids interjecting political or social overtones to
make his books "mean" anything. Human concerns over existence,
self-discovery, and death are dealt with indirectly. "I feel this
way: I have a position -- a point of view. But I don't have to think about it
to express it. I can write about anything and my point of view will come
out. So when I am at work my conscious intention is to tell a story to the
reader. All this other stuff takes place automatically."
In 1972, Steig published his first children's novel, Dominic, the
story of a dog hero. Dominic, a latter-day King Arthur, saves victims from
the evil Doomsday Gang, and in between battles plays tunes on his piccolo.
Moss declared that "Dominic is a beautifully crafted, highly
lyrical wish fulfillment fantasy." So enchanted was Steig with the
Homeric quest he set Dominic on that he followed it up a year later with
another longer story for children, The Real Thief, about a goose
called Gawain on an exiled journey. Another long tale is the Newbery Honor
Book Abel's Island, in which a rich and idle Edwardian mouse,
dressed in a smoking jacket, is stranded on an island after a storm. Here,
Robinson Crusoe-like, he must learn to survive; in the process he learns
to appreciate all of life, including nature and art.
Reunited with his wife, he is a
changed mouse. In a Junior Bookshelf review of the book, M. Hobbs
called Abel's Island "a remarkable, I would venture to say a
great book, absorbing on any level but beneath it all, a fable of our
times."
Another mouse appears in Doctor De Soto, this time as a rather
inventive dentist who must stand on a ladder and use a winch for his
larger clients. One day, going against his own rules, the good doctor
agrees to treat an animal that could prove dangerous to him, a fox in need
of relief. But the fox, true to form, can think of only one thing during
the dental procedure -- how good the kindly doctor might taste. Yet De Soto
is no fool: he coats the fox's teeth with glue, preventing any such
nonsense. Kate M. Flanagan, writing in Horn Book, felt that this
Newbery Honor story "goes beyond the usual tale of wit versus might:
the story achieves comic heights partly through the delightful irony of
the situation."
Caleb & Kate was the first of several books where major characters are
portrayed in human form. "Caleb the carpenter and Kate the weaver
loved each other, but not every single minute," the book begins. It
is a story of the separation, loss, search, and joyful reunion of a
married couple who love each other deeply despite their human folly. Joy
Anderson writes in Dictionary of Literary Biography: "Steig is
at his best in Caleb & Kate, combining what he has learned about
prose and using all his artistic gifts; the tongue-in-cheek humor that is
never beyond the child, eloquent language as well as inventive play, both
in language and illustration."
"Steig's themes are rendered in elegant, sometimes self-consciously
literary language," Moss wrote in St. James Guide to Children's
Writers. "The presiding voice in these works is urbane and witty,
yet never condescending; rather it invites the young reader to participate
in this humorous, sophisticated view of the world." Steig will often
pepper his writing with "big words," giving his readers a chance
to expand their vocabulary while adding to the verbal patterning of his
stories. "And there are the noises!" Steven Kroll of The New
York Times Book Review commented. "Mr. Steig knows children are
just beginning to experience language and love weird sounds. 'Yibbam
sibibble!' says the bone in The Amazing Bone. 'Jibrakken sibibble
digray!' In Farmer Palmer's Wagon Ride, the thunder 'dramberambe
roomed. It bomBOMBED!' Beyond the noises, there is a rich, wonderfully
rhythmic use of language . . . How clear that is in his very first
illustrated story, Roland the Minstrel Pig, as Roland and the fox
walk along with 'Roland dreaming, and the fox scheming."'
Steig explained to Higgins the process by which he begins his stories:
"First of all I decide it's time to write a story. Then I say: 'What
shall I draw this time? A pig or a mouse?' Or, 'I did a pig last time;
I'll make it a mouse this time.' Then I start drawing . . . [Usually] I
just ramble around and discover for myself what will happen next."
Sometimes Steig conjures up a visual image that inspires a story, as with
the book Amos & Boris. "It was one of the book's last
illustrations (the picture of two elephants pushing a whale into the sea)
that provided the seed from which the story grew." As noted in Children's
Books and Their Creators, "Steig's illustrations are instantly
recognizable, as he uses a consistent style involving a fairly thick
sketchy black line with watercolor added loosely, often including stripes,
polka dots, and flowered patterns in his characters' clothing and in the
backgrounds."
In Spinky Sulks, Steig also uses an all-too-human character, a
young boy who goes into the world's longest funk after being hurt by a
parent's stinging words. A green monster, however, is at the center of Shrek!,
who leaves home in search of an equally repugnant bride. A reviewer for Horn
Book commented that this "satire is written with Steig's unerring
sense of style and illustrated with pleasingly horrid pictures of the
lumpy, repulsive Shrek." The 1994 Zeke Pippin tells the tale
of a harmonica-playing pig who leaves home in a snit after his family
falls asleep at one of his performances. Slowly the pig begins to discover
that his harmonica is magical, having the ability to put listeners to
sleep. Magical music comes to the rescue when he is threatened by dogs and
a coyote. Beth Tegart, writing in School Library Journal, noted
that "this is another whimsical journey into family relationships
that focuses on the magical objects and the ingenuity of youth."
Tegart concluded that Zeke Pippin was a "humorous and
heartwarming book." Comparing Zeke Pippin favorably to such
classic Steig titles as Sylvester and the Magic Pebble and The
Amazing Bone, Ann A. Flowers noted in a Horn Book review that
"Steig's hand has lost none of its cunning; his trademark
illustrations are as bold and funny as ever, and the text gives no quarter
to the idea of limited vocabulary." Flowers concluded that Zeke
Pippin was "[a]nother hit by the master."
A crossover title for Steig was the 1995 Grown-ups Get to Do All the
Driving, which Steig intended for adults but which his publishers
packaged for both adults and children. The Toy Brother, on the
other hand, is clearly kid-oriented. Yorick is a medieval boy who finds
his younger brother Charles "a first-rate pain in the pants."
When his alchemist parents leave for a trip, Yorick fools around in their
laboratory only to turn himself into a miniature boy. Charles loves the
role reversal, until Yorick is finally restored to full size. Booklist's
Susan Dove Lempke remarked that "Steig embellishes his always rich
vocabulary with medieval words to delightful effect and decorates his
artwork with rich hues and purple borders." Barbara Kiefer concluded
in a School Library Journal review of The Toy Brother that
readers "will delight in Steig's droll expressions, both visual and
verbal, but the subtle lesson about brotherly love will not be lost amid
the comic goings-on."
Toby, Where Are You? is a 1997 tale of a hiding boy whose parents
search throughout the house, pretending not to see him. Illustrated by
Teryl Euvremer, the book contains the usual Steig humor in a game of
hide-and-seek. Pete's a Pizza, a 1998 picture book written
and illustrated by Steig, presents a sulking soulmate to Spinky, but in
this case the depressed youth is cheered up when his father turns him into
a pizza. Pete is kneaded and tossed like dough, adorned with checkers
instead of tomatoes and thrown into the couch-oven, much to the boy's
delight. Publishers Weekly remarked that the "amiable quality
of Steig's easy pizza recipe will amuse chef and entree alike." Signe
Wilkinson declared in The New York Times Book Review that
"America will be a better place if the Steig family pizza party
catches on.
America has been, if not a better place, at least a funnier place, for the
nearly seventy years of William Steig's cartooning and writing career. As
Moss noted, "Steig is quite simply one of America's finest artists.
His witty, humorous books celebrate the powers of the imagination, art,
language, and nature. His comic works are deeply humane and appeal to
children and adult critics alike. He has created enduring gifts for the
world's children and has reminded all of his readers that laughter helps
us to survive."
Steig's recipe? "I enjoyed my childhood," he told Angell in The New
Yorker. "I think I like kids more than the average man does. I
can relax with them, more than I can among adults . . . Children are
genuine . . . I like to think that I've kept a little innocence. Probably
I'm too dumb to do anything else."
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