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Title: Atwater - Mr. Popper's Penguins
Date: 1948-01-11
Description: One letter from Florence Atwater to Elizabeth Rider Montgomery. Mr. Popper's Penguins was a Newbery Honor book in 1939. Illustrated by Robert Lawson, the story continues to be enjoyed today.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_atwater
Text preview (might not show all results): <?xml version="1.0" encoding="UTF-8"?> <mods xmlns="http://www.loc.gov/mods/v3" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w
Show more<?xml version="1.0" encoding="UTF-8"?> <mods xmlns="http://www.loc.gov/mods/v3" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"> <identifier type="local">20th Century Children's Authors - Atwater</identifier> <abstract> ---------- 20th Century Children's Authors - Florence Atwater - Mr. Popper's Penguins ---------- ---------- 20thCCA_Atwater_01 ---------- 7861 South Shore Drive Chicago, Illinois January 11, 1948 Miss Elizabeth R. Montgomery Seattle, Washington My dear Miss Montgomery: I am sorry to have been so long in answering you. I did get your questionnaire, but found it a little formidable. Indeed I did not know how to answer a good deal of it. However, I can probably answer the questions in your letter - at least about Mr. Popper's Penguin's. My husband has been hopelessly paralyzed for the last fourteen years - but the facts about his career before then you could probably dig out of some old Who's Who. When he was quite young he taught Greek at the University of Chicago (I was one of his students there, as a matter of fact) but he gave up the academic life for journalism. For a number of years he wrote a humorous column for the old Chicago Evening Post over the signature Riq. He used also to write articles for magazines. As for the genesis of the penguin book, it grew out of our seeing the Byrd movies of Antarctica expedition. We were so enchanted with the movies of the penguins that like Mr. Popper. We sat through the movie twice. My husband began the book shortly after - probably with our own two daughters in mind for the audience. He abandoned the manuscript, however, and I dug it out of his desk a couple of ---------- 20thCCA_Atwater_02 ---------- years after his stroke, and decided to finish it. (I had previously done a few short pieces for magazines myself). The original manuscript was much more of a fantasy than the final form: it was all a sort of dream. I rewrote the first few chapters and supplied a practical domestic background. The humorous chapters, such as the one where the repairman is called to bore holes in the icebox for the penguins, I left untouched. The last few chapters I had to supply entirely. Does this answer your questions? It is kind of you to be interested, and I am sorry to have been to slow in answering. Sincerely yours, Florence Atwater (Mrs. Richard Atwater) </abstract> </mods>
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Title: Daugherty - Andy and the Lion
Date: 1947
Description: Three page letter from James Daugherty to Elizabeth Rider Montgomery. Andy and the Lion was published in 1938 by Viking Press. The book was a runner-up for the Caldecott Award in 1939. A retelling of the fable Androcles and the Lion, Daugherty orginally designed the story as a wordless book. Text was added before publication at the request of the publisher.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_daugherty
Text preview (might not show all results): drawings were make in brush and ink and a separate set of drawings for the yellow plate which enriches and gives depth to the printed impression. ---------- 20thCCA_Daugherty_03 ---------- Up to this
Show more drawings were make in brush and ink and a separate set of drawings for the yellow plate which enriches and gives depth to the printed impression. ---------- 20thCCA_Daugherty_03 ---------- Up to this point there were to be no words accompanying the pictu tures but when the proofs came in the editors decided that people were unaccustomed to reading pictures without text and that there must be words. As I
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Title: d'Aulaire - Ola
Date: 1948
Description: Letter from Edgar and Ingri d'Aulaire to Elizabeth Rider Montgomery; Four page questionnaire completed by Edgar d'Aulaire; Four page questionnaire completed by Ingri d'Aulaire. Ola was published in 1932 by Doubleday Doran. The d'Aularies wrote and published as an author-illustator team gathering inspiration from nature and nordic folktales. According to the d'Aulaires, the intent of Ola was to present Norway to American children.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_daulaire
Text preview (might not show all results): ?: all of it If you did them yourself, which came first, the pictures or the text? pictures What medium did you work in?: lithography How much experience had you had in illustrating?: 10 years -------
Show more?: all of it If you did them yourself, which came first, the pictures or the text? pictures What medium did you work in?: lithography How much experience had you had in illustrating?: 10 years ---------- 20thCCA_d'Alaire_06 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or fair?: Medium Tall or short?: Medium Thin or plump?: Medium Color of eyes
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Title: Gramatky - Little Toot
Date: 1948-04-21
Description: Four page questionnaire completed by Hardie Gramatky; one letter from Hardie Gramatky to Elizabeth Rider Montgomery with suggested chapter revisions. Little Toot was published in 1939 by G. P. Putnam's Sons. Inspired by his studio view of tugboats on the East River in New York City, Little Toot was Gamatky's first children's book.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_gramatky
Text preview (might not show all results): or the text? In this case the pictures did. I was just doing them for fun. What medium did you work in?: Water-color. How much experience had you had in illustrating?: no children's books-- cartoons
Show more or the text? In this case the pictures did. I was just doing them for fun. What medium did you work in?: Water-color. How much experience had you had in illustrating?: no children's books-- cartoons and a few commercial drawings, only. These illustrations were based primarily upon impressions set down in watercolor of the actual scene before me. ---------- 20thCCA_Gramatky_04 ---------- D. WHAT SORT
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Title: Holling - Paddle to the Sea
Date: 1948
Description: Four page questionnaire completed by Holling Clancy Holling; Three letters to Elizabeth Rider Montgomery from Holling Clancy Holling. Paddle to the Sea was named a Caldecott Honor Book in 1942 and received the Lewis Caroll Shelf Award in 1962.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_holling
Text preview (might not show all results): with the illustrations of your book?: Practically everything except making the plates. If you did them yourself, which came first, the pictures or the text?: Text What medium did you work in?: Water-
Show more with the illustrations of your book?: Practically everything except making the plates. If you did them yourself, which came first, the pictures or the text?: Text What medium did you work in?: Water-color, pencil, pen How much experience had you had in illustrating?: years. ---------- 20thCCA_Holling_08 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or Fair?: Dark Tall
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Title: Knight - Lassie Come Home
Date: 1947-11-19-1948-02-26
Description: Four page questionnaire completed by Jere Knight; one letter to Jere knight from Elizabeth Rider Mongomery; one letter to Elizabeth Rider Montgomery from Elizabeth Morton. Lassie Come Home was published by John C. Winston Co. in 1940.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_knight
Text preview (might not show all results): book?: He originally did a set of illustrations of his own in black and white, as well as a color jacket for book, but Winston decided on Kirmse. If he did them himself, which came first, the picture
Show more book?: He originally did a set of illustrations of his own in black and white, as well as a color jacket for book, but Winston decided on Kirmse. If he did them himself, which came first, the pictures or the text? He was in touch with Kirmse when she was doing the illustrations, and answered all questions she had put to him on type of dog, etc. ---------- 20thCCA_Knight_04 ---------- D. WHAT SORT
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Title: Lattimore - Little Pear
Date: 1947-12-02-1948-02-09
Description: Four page questionnaire completed by Eleanor Frances Lattimore; Two letters to Elizabeth Rider Montgomery from Eleanor Frances Lattimore; Little Pear was published in 1931 by Harcourt, Brace and Co. The Eleanor Frances Lattimore Papers are housed in the de Grummond Collection at The University of Southern Mississippi.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_lattimore
Text preview (might not show all results): children, and this accounts for my working at night, if I'm doing a book. Keeping house takes care of all the daytime hours. C. ILLUSTRATIONS How much did you have to do with the illustrations of you
Show more children, and this accounts for my working at night, if I'm doing a book. Keeping house takes care of all the daytime hours. C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: I made them all (105 of them) If you did them yourself, which came first, the pictures or the text?: I made a few "sample" dreawings, submitted with the manuscript. What medium did you
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Title: Lenski - Little Auto
Date: 1947-11-12-1949-01-01
Description: Four page questionnaire completed by Lois Lenski; Two letters to Elizabeth Rider Montgomery from Lois Lenski; One postcard to Elizabeth Rider Montgomery from Lois Lenski. Little Auto was published in 1934 by Oxford University Press. The book was considered to be innovative because at that time authors did not write about ordinary things like automobiles in children's literature.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_lenski
Text preview (might not show all results): ;ahead of its time, because authors did not write about ordinary things like automobiles in children's stories then. When did you begin to write the book?: Drawings and text were done together in a sm
Show more;ahead of its time, because authors did not write about ordinary things like automobiles in children's stories then. When did you begin to write the book?: Drawings and text were done together in a small dummy - which was tried out on groups of children - few changes being made, because it satisfied them. How much had you had published when you began it? (Give names of books) 15 books written
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Title: Means - Shuttered Windows
Date: 1947-11-14-1950-01-09
Description: Four letters from Florence Crannell Means to Elizabeth Rider Montgomery and a four page questionnaire completed by Florence Crannell Means. Shuttered Windows was published in 1938 by Houghton Mifflin.
Digital Collection: 20th Century Children's Authors
Type of resource: text
Object custodian: Special Collections
Related Collection: 20th century children's authors collection: writing about writing in letters and personal narratives
Local Identifier: 20thCCA_means
Text preview (might not show all results): 20th Century Children's Authors - Means</identifier> <abstract> ---------- 20th Century Children's Authors - Florence Crannell Means - Shuttered Windows ---- ------ ---------- 20
Show more20th Century Children's Authors - Means</identifier> <abstract> ---------- 20th Century Children's Authors - Florence Crannell Means - Shuttered Windows ---- ------ ---------- 20thCCA_Means_01 ---------- Florence Crannell Means 595 Baseline Road Boulder, Colorado November 14, 1947 Elizabeth Rider Montgomery 3209 Alki Avenue Seattle 6, Washington Dear Miss Montgomery, How interesting your books do sound! Some of the titles are very familiar, but I have read non of them. Like fictioneers, I take out a good deal of my reading on my own. That is not so self-centered as it sounds; for some time the actual hours had been lacking, with a dear bedfast mother in our home; and for still longer the ability to read much, because of slowly increasing cataracts and other eye difficulties, together with this apparently everlasting migraine. That is off the record, though. I'm delighted that you wish to include Shuttered Windows in the new book. It Means much to me. And, by the way, I am sending one present day snapshot, for I hardly recognize myself in these then-year-past pictures. ---------- 20thCCA_Means_02 ---------- This is really belongs to two of your questions, the one as to special difficulties and the later one - "anything else about your writing- " When I went down to the sea islands, the stories about little children were my goal, and I chose Mather primarily because it had a practise teaching school on its campus, with plenty of (lovable!) little children, many of them from the most utterly primitive homes. Before this I had spent some time getting acquainted with other minority groups in their own environment, and had found them pretty easy to make friends with. Here, I was warned, the problem would be different; I must not expect to find the teen-age girls friendly, nor at all open to friendly advances from the resented white. Gullahs, mostly, proud and even dour. So, I was careful to make it clear that I had no intentions of using them in writing. At first I tried my best not to act like a writer at all, but that didn't work, for I kept being asked to speak in classes and chapel and son on. Soon I gave up concealing my guilt, but made it known that I was writing about small children - my only intent. The girls warmed up steadily; hurry as much as I could, I'd find my room done, when I came up from breakfast, and a neatly lettered and decorated card on the pillows, saying, "Good morning, Mrs. Means!" and perhaps a vase of flowers or a boutonniere of opoponax on the dresser; and at night the bed would be turned down, with the card turned about and saying, "Good night, Mrs. Means!" ---------- 20thCCA_Means_03 ---------- They took me on hikes through the wonderful dusky woods; they had a party for me. And when the last day of my visit came, there were three or four who tried all day to get a visit with me. Always there seemed to be a teacher there ahead of them, and I'd look up only to see a disappointed face bob back out of sight. Time for the evening bell came, and still they had failed, so I asked the principal if they might come anyway. She consented, and they poured in, with as many more as the room would hold, in nighties, robes, slippers - and usually with firmly tied heads, so the damp breezes should not "take out the straight." Till near midnight they talked. They told about their hopes and fears and immediate plans. And at last there was a flash of eyes between two of the leaders, Susan and Jessie Ree; and as if by pre- arrangement, Jessie Ree (volatile, brilliant, poetic), burst out, "Mis' Means, we wish you'd write a book about us! Just as if we were white girls! ---And leave the problem out." There was gooseflesh all over me and dew in my eyes. Then Susan, a leader, tall and straight and independent, who became the beginning of my Harriet, said something that made the dew thicken: "Oh, Jessie Ree! Nobody could write about us and leave the problem out." Well, you see? I had to write that book, though I had not meant to at all. ---------- 20thCCA_Means_04 ---------- The then editor in the Children's Department of Houghton was distressed but pretty determined. Such a book, with neither the comic nor the tragic stressed, would have a painfully limited sale. At the time I was corresponding with Wilma McFarland, the vividly interesting editor (then) of Portal, Methodist publication for girls. I think I had just cut Tangled Waters for a serial for her. I added a postscript to a letter, telling her of my publisher' unwillingness to have me do this book and asking her whether she would like a serial of that sort. A joyful assent came back by air, with the assurance that it would have book publication even if Houghton didn't want it. Houghton soon did, I'm glad to say. They have always been remarkably liberal in their attitudes. Ira Rich Kent, who long had charge of my own work, had been editor of Youth's Companion, to which I had sold some of my first stories and poems. That was the reason I sent him my first book, Candle In The Midst, and I always thanked my lucky stars, for he was the kind of publisher that embodied all the best, kindest, most delightful. It was a deep personal blow to receive word of his death just tow years ago. My whole family felt it. As Shuttered Windows, there was an initial difficulty which I neglected to mention: my own superficial personal acquaintance with the glamorously beautiful region. Previously I had tried always to use the thoroughly familiar ground...Then it occurred to me that the difficulty could be obviated by having my viewpoint character (Harriet) ---------- 20thCCA_Means_05 ---------- an outlander herself, seeing as unfamiliar a scene as I did, and with as limited a knowledge of it. I really did think that was a little bit smart of me. Miss Walters, then the principal of Mather, was interested in the evolving book, and through her I instituted a prize contest for letters which should tell of customs, sayings, superstitions, and elements which the girls would like to see embodied in "their book." That brought me a great deal of material. And when the book had had its second writing, I sent it to Miss Walters, and she read it aloud to her senior English class, for careful scrutiny. The teachers also scanned it with care for inaccuracies. Yes, the girls seemed to like it, when it was done...I have kept in touch with a number of them, through the years Another thing I forgot, in the questionnaire, was a particularly silly set of nicknames which we used: my husband was Pebblers, I was Spuggins, Eleanor was Larky, and Pixy, her little terrier, was Gann. Don't ask me why. Other home nicknames for me - well, one has always been Gypsy; and another my late beloved father's, My Son Tommy. I'm mostly Mom to my daughter; and the four adorable grandchildren (from three to nine) named me Nanny when I called myself Granny to them. My husband is Boppa.----That Gypsy really is confidential, since it is my husband's own name for me, and I give it only to add a touch to the picture....All my newer Please don't use it. ---------- 20thCCA_Means_06 ---------- friends, when they begin to use my first name, first disdain the Flossy they hear older friends use - "How absurd, for you!" - but almost everyone comes to it. Life has been so interesting - so exciting in a quiet way - that I could go on indefinitely when someone really asks for it! Work with the Indians has been a delight, and has led to many adventures and to a Hopi Sun- Clan name and a Hopi namesake, now beginning her nurse's training at Granado, Arizona. As I suggested in the dedication of Assorted Sisters, the latest, I have an Assorted Family. Have just been dressing a doll for Christmas, for Flossy Lee, my Chinese granddaughter in Shanghai; Have three more "grand children" there, and a daughter; and a Spanish-American family to whom I am always Nanny (Jody doesn't think our blood-kin grandchildren really belong to me as he does); two Japanese who call me Aunt Flo, two Burmese girls who call me Aunt Flossy; and so on. I like it. ---------- 20thCCA_Means_07 ---------- And my best wishes to you in this fascinating project. Sincerely yours, Florence Crannell Means ---------- 20thCCA_Means_08 ---------- Florence Crannell Means 595 Baseline Road Boulder, Colorado January 12, 1948 Elizabeth Rider Montgomery 3209 Alki Avenue Seattle 6, Washington Dear Miss (or is it Mrs.?) Montgomery, (oh, excuse my blindness! It is Mrs. I see) It has been a pleasure to read the chapter you have written about Shuttered Windows. I like it, and am grateful to have so fine a piece of publicity for the book. There was a practically nothing that seemed to need change. One little point, which I have noted on the script, is that it was a particular group of Negroes that i was warned about: these Gullahs on the islands off the coast and in the Carolina Lowlands. The other, even more trivial, point, is that I don't recognize myself when I wear an "ie," for it has always been "Flossy" in our family. Before I send it back to you I'll ask my husband to read it over, too, and note anything that he may not like; but I don't see how there can be anything! I am delighted with the list of other books you have chosen, also, and proud to be included in that goodly company. We shall be watching for your book. Don't you think there are a terrific number of Us Writers that are bedeviled with migraine? I was much interested in your experience with it, for it is the second time these eye exercises have been commended to me on that score. I know a little about them, and we have one book on the subject, but I have been deterred by the urgency of my debt to physicians and high though my regard for them, I think they are remarkably slow in letting down their barriers against the new. Don't you? About six years ago I had my eyes examined for "aniseikonia" rather newly discovered eye defect, and was found to have a marked degree of the defect, and given glasses which for a long time out my migraine attacks to four or five a year (of the prostrating ones, that is) from the two a week which I had been having, - meaning intervals only when bought by shots of gynergen. But a year of caring for my dear bedridden mother, after several years when she was partially bedridden, and months when she was my beloved helpless baby, and then her death last March, - these have brought the migraine back, and more nearly incessant than ever. The doctor thinks it is the prolonged overdraft of energy and emotion, together with slowly increasing cataracts. And have you noticed the opinions of medical men recently, after ---------- 20thCCA_Means_09 ---------- much study? That all these other things - allergies, eyes, overwork - may be the trigger to set off the attack; but that the cause is an inherited over-sensitivity of the brain? I suppose we are almost all too high-keyed. But if I had to give up this prismatic world of mine, in exchange for entire freedom from the unutterable distress of migraine - well, would I? But I shall get the Aldous Huxley (one of my friends had it laid out for me not long ago, I recall) and rend it thoughtfully, in the light of your experience. If you have time, do tell me whether - No, you needn't, for I am pretty sure you must have taken the treatment under a specialist. It has been fun to meet you, and i shall hope to hear from you again some day. And come and see us when you are in Colorado Cordially yours, Florence Means P.S. My husband read the chapter and came in with the peculiarly blank look of a man who has had a thing explained twice while he was away exploring the possibilities of the income tax. "What is this, dear?" Both giggling and scolding, I explain. "Well, it's fine!" he says heartily. "It's really fine!" And if you knew how discriminating he is, you'd really like that. ---------- 20thCCA_Means_10 ---------- Palmer Lake, Colorado July 20, 1948 Thank you so much for the carbon of your definitive chapter on S.W. - I like it very much indeed. You may be interested to know that S.W. has just outrun all my other fourteen Houghton books on sales - and isn't that gratifying for its theme?-------- Thank you too for the information about the eyes.-- We are here at our beloved mountain shack, but only briefly: all gay paint, bright calico, log fires, spruce trees. Come see us.-----And please give my regards to your Janet and tell her how glad I am that she likes my books.----Would not let a post card do if deadlines were not just now pressing. You know! Sincerely, Florence Crannell Means ---------- 20thCCA_Means_11 ---------- Mrs. Elizabeth R. Montgomery 3209 Alki Avenue Seattle 6 Washington ---------- 20thCCA_Means_12 ---------- Boulder January 9, 1950 Dear Mrs. Montgomery, Your new book is perfectly delightful! As you know, my reading is strictly LTD., so I've so far only tasted The Story Behind Modern Books, reading maybe a dozen of the chapters. But I shall read them all! That's the kind of book it is. When my latest sales report came, some three weeks ago, Carl and I noticed a considerable increase in the good, steady sale of Shuttered Windows. "Wha's'is?" says Carl. Flossy cogitated. Briefly, "What but E.R.M?" sez she. It really does seem as if it must be your book, plus ---------- 20thCCA_Means_13 ---------- the use of the S.W. chapter in American Girl, plus the reprint in a widely distributed pamphlet (The Jewish Committee's). So here's another thank you. Know what I mean to do? Make a list, from yours (I've a suspicion it will be make a list of yours.), of books which our dear grandchildren should have, and then have their mother, our Eleanor, check which they already possess, for the five (Jeremy, to be sure, only seven months old) have a library of several hundred. When we visit them, there is never time to make a list for references, as I've proposed doing. And did I tell you that Eleanor - Eleanor Hull - has had her first book published and is working on the next? Tumbleweed Boy, first one; The Third Wish probably the next title. Again, congratulations! Sincerely, Florence Means ---------- 20thCCA_Means_14 ---------- Shuttered Windows Published by: Houghton Mifflin Co. Real Name: Florence Crannell Means Pen name: Florence Crannell Means What do your family and friends call you?: Flossy! and Fludel A. YOUR BACKGROUND Date of birth: May 15, 1891 Place of birth: Baldwinsville, N.Y Father's occupation: Minister Number of brothers: 0 and sisters: 1 Father's nationality: American Mother's nationality: American Kind of home during childhood (farm, small town, city apt, etc.): Small town, larger towns Corning, New York - Crystal City and Topeka, Kansas. Amount of schooling (high school, college, etc.): high school, college work by extension courses, summer courses Tutoring by father - then president Theological seminary Two years in art school. Economic status during childhood (poor, middle class, wealthy): middle Special interests as a child (sports, books, games, etc.): Books, dolls, drawing Childhood ambitions: Definitely to be (1) a writer, (2) an artist, (3) a missionary (4) a kindergarten teacher. When did you begin to write?: As soon as I could print Why?: Goodness knows. An irresistible force. Who encouraged you?: Father - Mother - and one artist aunt What and when was your first success or recognition?: Sold a love story to Will Carleton's magazine "Every Where," when I was fifteen. How did you happen to write for children? First because I had a child, and told her stories; second (I think) because my grandparent's pioneering demanded writing and seemed well suited to a children's book - Candle in the Mist. Went on from there. Anything else about your background which has a bearing on your writing. The general bookroominess of our family, and Father's fondness for reading aloud to us: Shakespeare, Browning, Tennyson - anything. Father's own writing - many articles, many poems, much exegesis, several books of essays and sermons. Also the gathering of people of every race, color, kind, creed, at the parsonage. Also, I think, the fact that the eldest of my father's sisters, Euretta Crannell, conducted first normal courses in Albany schools, died in harness, and was honored by "Crannell Free Kindergarten." ---------- 20thCCA_Means_15 ---------- B. THE WRITING OF THE BOOK Where did you get the idea for the book?: On the spot. Visiting the sea off the coast of South Carolina, to write two little paper-covered books of stories about little children in the Deep South. When? (Season as well as year): Autumn, 1935. (good thing I keep a diary) Were the characters real people, or based on real people?: Based on real people. Great-Grandmother's original was a majestic old woman whom I met on the amazing little island Hilton's Head, when one of the teacher's from Mather School and I were entertained at her "grand's" home. Others were pupils at Mather. Where were you living at the time?: Denver in winter, Palmer Lake in summer What was your major occupation?: Homemaking and writing. Names (also nicknames) and identities of members of your household at the time. (if children, give ages.): My father and mother, who had retired and built on an apartment so that we were under one roof but had separate homes; my husband, Carl (too many nicknames for him), and our daughter, Eleanor, through college and a graduate course in dine arts, writing a little herself (much more since), and serving as Counselor for a Camp Fire group in one of our schools in the underprivileged district, so that our house was a happy rendezvous for Spanish- American, Japanese and plain white girls. Did you talk the book over with any of them?: Plenty, always; this time my husband a bit discouraging, only because fearing repercussions for me. Did you discuss it with an editor?: Yes; Houghton thought it a very bad bet from a monetary standpoint. Wilma McFarland, editor of PORTAL, was enthusiastic. Where and how did you get the material? (library research, travel, personal experience, etc.): All three ways - four, counting the etcetera. Got everything I could find at the library. Had first been impelled to write something when we made our first motor trip to the Deep South, about 1934 made another trip and settled down on the campus at Mather, boarding school for girls. and another trip in 1936 When did you begin to write the book?: July 5, 1937 Where?: Palmer Lake, at our mountain cabin: in my spruce tree study, a circle of spruces on the hillside behind the cabin. How much had you had published when you began it? (Give names of books) Rafael and Consuelo (junior age, pub by Friendship Press), Children of the Great Spirit, ditto, Candle in the Mist, Ranch and Ring, Bowlful of Stars, Dusky Day, Singing Wood, Tangled Waters, Penny for Luck. What was your purpose in writing this book?: Purpose: to give happiness to the girls at Mather, who had asked me to write such a book and introduce white girls to Negro girls. How do you write? (typewriter, long-hand, dictate): Typewriter - hunt and peck. Where? (study, office, etc.): Study, in winter home, spruce tree study in summer. Do you keep regular office hours?: Yes. If so, what are they?: 9 to 12 then 9:30 to 12 now. Do you revise much?: Yes. Write easily or laboriously?: Easily, first writing joyfully rapid. Do you let your family or friends read your work, or try it out on children?: My family always read or hear my books first; then my writer friends (we have a colony of them in Denver); and when the setting is at all strange to me, I have the script carefully read by one or more people who are on the ground. ---------- 20thCCA_Means_16 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): With few exceptions, I myself. Love to do it. Did you make an outline before writing the book?: Yes. Did you decide on the title first or last?: First if possible, last if necessary. How long did it take you to write the book?: First writing, first revision, about three months. Final revision another two. This title about midway of the writing- the shuttered windows of rural schools seemed to say so much: they let in bitter cold and rain in season; closed, they shut out the light. Did you work on it steadily?: Between second and final revision, a long interval, for reading in a Mather English class and by family and friends. Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.): No particular difficulty. At first I had a "mystery" angle, besides the mystery of Black Moses, which delighted me: family silver hidden in one of the high old tombs which I saw in the woods, during War-Between-States. As I went on, I became convinced that the story would be stronger without it. Cut it. Was your book accepted immediately by a publisher?: Yes; in spite of having tried to dissuade me from writing it. Houghton accepted it before completed. Was it immediately popular on publication?: I think it was. Anything else about your writing that might be of interest, especially anything that concerns this book.: See appended pages C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: Not a great deal. If it were Tangled Waters or Great Day, I'd have good stories for you. I had hoped a portrait - Reinold, I believe - who did magnificent pictures of the Island Negroes, could be secured. However, I like Armstrong Sperry's drawings, and they have seemed generally, though not invariably, acceptable to the Negro reader. How much experience had you had in illustrating?: you probably don't care about an answer to this; but I had great dreams of illustrating my own. Did illustrated early shorts; but soon found my technique (to be as kind to myself as possible) not at all equal to the demands of present-day publishers. However, I find me hard to satisfy; something like an automobile passenger who is able to drive and so is watchful and critical of the driver. ---------- 20thCCA_Means_17 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or fair?: Very "dark gittin' light! Burnet, graying Tall or short?: Tall Thin or plump?: Medium Color of eyes?: Dark brown Wore glasses?: yes, since seven years old Color of hair?: Black, graying (then) Kind of hair--long or short?: Short, then, no, half and half. Curly or straight?: Curly how did you wear it?: One side long, in braid across head. Any special features of you appearance (square jaw, dimples, stoop, etc.) Dear, dear: a nose that caused me as much suffering as Amy March's Are you quiet or talkative?: Talkative. Friendly or reserved?: Friendly/ My seven-year-old grandson sat on the edge of my bed last summer (migraine putting me down a great deal) and crooned fondly, "Nanny is always laughing." Are you quick-tempered or calm and placid?: Well, Sometimes I'm afraid it's plenty quick, but it stays inside - as "migraine people's" are likely to, I think What sort of clothes do you wear most when writing?: (sports, suits, slacks, etc.) House coats or slacks. Favorite occupations and hobbies?: WRITING; painting, motoring, getting acquainted with all kinds of people, just plain walking. What is your normal speech like?: (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.) Pretty correct, but with plenty of contractions My daughter discourages my slang, which she says I use with enthusiasm but also with inaccuracy. If strongly religious, give denomination.: Baptist. Also a member of the Wider Quaker Fellowship, and head of the fellowship of the little Friends' Community Church at Palmer Lake. Any other details about yourself, no matter how trivial, which might help me to picture you in my own mind.: Darndarndarn! My most frequent right now, is our new home with its gorgeous mountain setting and our exuberant chant "Oooh, what a beautiful morning! Oh, what a beautiful day!" Can you direct me to any articles or books which have been written about you?: Siri Andrews wrote an article which was published by HORN BOOK early in 1946, and reprinted by Houghton for distribution on request. Junior Book of Authors may have some other angles; I forget. Who's Who has notes of course.
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Title: Milne - The complete tales of Winnie-the-Pooh
Date: 1947-06-12
Description: Two page letter from A. A. Milne to Elizabeth Rider Montgomery. Winnie the Pooh was published in 1926 by Dutton. This simple letter about the origins of Winnie the Pooh is postmarked from Crotchford Farm, Sussex, the setting of the Pooh stories.
Digital Collection: 20th Century Children's Authors
Type of resource: text
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MABEL: Multimedia Archives Based Electronic Library

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