Katherine Keenum

Website alert: To supply a detail in a story, I was looking at images of street sellers in The Cries of London at the British Library. The playbill seller interested me, but I didn't see any way to download the page from the British Library site. A quick web search led me to this reproduction of the same plate at the Sound and History site—and, wow! all kinds of useful material for the historical novelist!

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Ottilia Adelborg (1855–1936) is another of the Scandinavian female artists who was an almost exact contemporary of the real (and the fictional!) Jeanette. She studied at the Swedish Royal Academy at the same time Jeanette was in Paris and may have studied in France later herself. She became a children's book writer and illustrator. The English-language edition of her Clean Peter is available online.
 
She also illustrated other writer's books, such as The Wonderful Adventure of Nils Holgersson by Selma Lagerlöf, for which this watercolor is a preliminary design. I haven't read the Lagerlöf book (which is available in a new translation), but this picture of a daydreaming boy and a tiny figure climbing out of the chest could suggest a story just by itself, don't you think? Or prompt a poem about the nature of imagination?
 

It's the glasses. Dark glasses, no less! The medieval iconography of Moses with horns is goofy enough, but these spectacles are irresistible. The question is, What to do with the picture besides use it to expound an oddity in art history? Maybe let it provide a model for some imaginary wizard? I like the idea of substituting a goat's face for the man's.

Incidentally, the Hagenau Bible, from which the picture comes, also illustrates a moment in publishing history, the move into mass-produced books through a rationalized system within scriptoria. Might the head scribe of a magical scriptorium be a demon?

At bedtime, I'm rereading Kelly Barnhill's excellent middle-school novel, The Girl Who Drank the Moon. This time, what struck me when I took the book off the shelf was the cover art by Yuta Onoda. Flat, poster-style art works well for making a jacket visible across a room, and Japanese manga-anime styles can thus be very effective. But just look at the volume and motion achieved in billowing skirt of the girl's cloak! And the depth and contrast created by the fiery band below the shadowy city under that huge moon with the swirling origami birds. This isn't cartoon work.
 
I explored Onoda's website and was led by it to my next YA choice, How Do You Live?—which is even better when you open out the book and find that the jacket is wraparound. Maybe you can't judge a book by  its cover—but, as the publishing industry knows, it sometimes helps!

Back to a possible future for my character, Jeanette Palmer, and Japonisme. I have thought for a long time that children's book illustrations could be one direction for her career to take. In that connection, the Red Rose Girls offer lots of hints. And now, although I don't yet know a thing about it really, the influence of Japanese woodcuts on early twentieth century illustrators seems clear. So hurrah for Helen Hyde! She actually went to Japan and learned woodcut technique. A quick search on-line has quickly turned up three informative, well illustrated websites to get me started: (1) An American in Japan: Helen Hyde. (2) Pioneering Women Printmakers: Helen Hyde and Lilian May Miller in Japan. And (3) In Memoriam Helen Hyde, American Japoniste. If you only look at the picture, enjoy!

Years ago, my mother-in-law gave me a copy of Michael Ende's novel, The Neverending Story, the text of which is printed in alternating red and green. I was grateful for the giver's recognition of my tastes and tickled by the two inks; but, frankly, I hadn't given the book a thought for ages. Then an online reference to The Folio Society's new edition sent me to my shelf. Yes! my older edition was still there, and it's now in the queue for a possible reread.

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Although bulb spears and even daffodil buds are showing in south-facing patches, we've still got snow on the ground here in the Berkshires. A little shivering among the flowers? With a bend in meaning from the original, this example of the paper engineering art of Ukrainian illustrator Yevgeniya Yeretskaya seems a perfect way to say goodbye, Winter—hello, S-S-Spring!

When I was a child, my mother had a rule that you couldn't buy a book unless you had first borrowed it from the library and knew you wanted to read and reread it. Well, as soon as I got wind of Shaun Tan's new book, Creatures, I borrowed it through interlibrary loan. The art work, of course, is terrific. I turned each page. At his comments in the final section, I started flipping back and forth. The more I got out of the pictures, the more I knew I wanted to study them again and again—and also to think more about what Tan has to say, not only about these pieces in particular, but about art and stories in general. Right. I bought a copy (from an local independent bookstore, natch).

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My copy of Little, Big (to which I subscribed in 2008!) arrived last week; and, oh, yes, it was worth the wait. The interplay of John Crowley's text and Peter Milton's art is just what they hoped: the illustrations are independent of the text and yet they illuminate. In fact, earlier this week, I woke up and saw out my window a Peter Milton landscape. My bedroom window looks up a field to a row of white pine trees. In the gray light of early morning, light snow had fallen and the scene might as well have been one of his etchings. When a book makes you see through its eyes, well, what could be better?

Today, while a thin dusting of snow lies over the hills outside my window, a used copy of Boxwood (1960 edition) arrived in the mail. The book was a collaboration between the woodcut engraver, Reynolds Stone, and poet Sylvia Townsend Warner, who illustrated a set his landscapes. For more about the project, including four examples, see 'Possibilities in a Collaboration': Boxwood in Context.