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Identifier: wwu:24101
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: info:fedora/wwu:24050
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): 20th Century Children's Authors - Gramatky ---------- 20th Century Children's Authors - Hardie Gramatky - Little Toot ---------- ---------- 20thCCA_Gramatky_01 ---------- Little Toot Published by: G.P. Putnam's Sons Year: 1939 Real Name: Hardie Gramatky Pen Name: same What do you fami
Transcript text preview (might not show all results): 20th Century Children's Authors - Gramatky ---------- 20th Century Children's Authors - Hardie Gramatky - Little Toot ---------- ---------- 20thCCA_Gramatky_01 ---------- Little Toot Publish
Show more20th Century Children's Authors - Gramatky ---------- 20th Century Children's Authors - Hardie Gramatky - Little Toot ---------- ---------- 20thCCA_Gramatky_01 ---------- Little Toot Published by: G.P. Putnam's Sons Year: 1939 Real Name: Hardie Gramatky Pen Name: same What do you family and friends call you?: Hardie A. YOUR BACKGROUND Date of birth: April 12, 1907 Place of birth: Dallas, Texas Father's occupation: Clerk - died 1918 Number of Brothers: 2 and sisters: none Father's nationality: American Mother's nationality: American Kind of home during childhood (farm, small town, city apt. etc): city dwelling-house Where: Hollywood and Wilmar, California Amount of schooling (high school, college, etc.): 2 yrs. Stanford Univ. Economic status during childhood (poor, middle class, wealthy): poor-mid.cl. Special interests as a child (sports, books, games, etc.): cartooning-- sketching and painting out-doors--traveling on my own. Childhood ambitions: to have my own comic-strip (as writer and artist) When did you begin to write?: At Stanford Why?: Primarily for classes in writing--then for campus publications. Who encouraged you?: My mother and my aunt who helped raise us three boys. What and when was your first success or recognition: Sold my cartoons to newspapers as far back as 1923; but no recog. as writer until "Little Toot". How did you happen to write for children?: I've worked with children a great deal and taught classes of them in water-color painting, etc. I loved it. Anything else about your background which has a bearing on your writing.: I guess I was an idea-man from the start whether in pictures or in story, always seeking new experiences--not restless, just curious. One summer out of Stanford I got a job in a logging camp in Gray's Harbor, Washington just for the lark of doing something entirely different. (Mel Sayre on the Seattle P.I. might give you a slant on this, altho I knew him indirectly.) I quit a $300 a week job in Hollywood (as animator for Walt Disney) to start a life anew in New York on our own. Neither my wife nor I knew a soul in the big city when we arrived. That was in June 1936. ---------- 20thCCA_Gramatky_02 ---------- B. THE WRITING OF THE BOOK Where did you get the idea for the book?: I had an old loft of a studio in downtown New York overlooking the East River. The boats on the river fascinated me; and I made sketches of them classify them as definite characters. Soon one small tug-boat seemed to be in evidence more than all the rest. When? (Season as well as year): June- December, 1937 Were the characters real people, or based on real people?: Based on my personification of these real boats-freighters, tugs ocean-liners. Where were you living at the time?: 13 East 9th St. New York City What was your major occupation?: Hack artist and free-lance illustrator-- I also exhibited and sold watercolors in a gallery on 57th St. Names (also nicknames) and identities of members of your household at the time. (if children, give ages.): My wife Dorthea; nicknamed "Doppy". (No children at the time.) Did you talk the book over with any of them?: Yes, with my wife. Did you discuss it with an editor?: Certainly not. Where and how did you get the material? (library research, travel, personal experience, etc.): Personal experience and observation. When did you begin to write the book?: August 1937 Where?: In that loft studio on Hanover Square (just off Wall Street). How much had you had published when you began it? (Give names of books) Nothing What was your purpose in writing this book?: Henry holt Co. had a contest- (the Julia Elsworth Ford award). My book placed tenth out of 1500 entries. How do you write? (typewriter, long-hand, dictate): long-hand then type. Where? (study, office, etc.): Studio. Do you keep regular office hours?: Yes. If so, what are they?: 9 A.M. to 10 P.M. with nice days off if I have the time. Do you revise much?: very much Write easily or laboriously?: Depends on the day. Do you let your family or friends read your work, or try it out on children?: My wife first; then any child that is available, including our own Linda. ---------- 20thCCA_Gramatky_03 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): myself Did you make an outline before writing the book?: No Did you decide on the title first or last?: About middle How long did it take you to write the book?: two days Did you work on it steadily?: Revisions took much longer. 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. Was your book accepted immediately by a publisher?: Not for a year. Was it immediately popular on publication?: Very popular. Anything else about your writing that might be of interest, especially anything that concerns this book.: When I submitted the book to one reputable publishing house they said "Children aren't thinking that way this year." C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: Did all the illustrations If you did them yourself, which came first, the pictures 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 OF PERSON YOU ARE What did you look like when you wrote this book? Dark or Fair?: fair Tall or short?: medium Thin or plump?: medium Color of eyes?: hazel Wore glasses?: occasionally Color of hair?: sandy Kind of hair--long or short?: don't know Curly or straight?: curly How did you wear it?: parted on left Are you quiet or talkative?: quiet Friendly or reserved?: friendly Do you laugh a great deal or are you usually grave?: not grave Are you quick-tempered or calm and placid?: don't know What sort of clothes do you wear most when writing?: (sports, suits slacks, etc.) old clothes Favorite occupations and hobbies?: gardening and sketching What is your normal speech like?: (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.) short statements Can you direct me to any articles or books which have been written about you?: American Artist Magazine - March 1947 ---------- 20thCCA_Gramatky_05 ---------- ---------- 20thCCA_Gramatky_06 ---------- ---------- 20thCCA_Gramatky_07 ---------- ---------- 20thCCA_Gramatky_08 ---------- ---------- 20thCCA_Gramatky_09 ---------- ---------- 20thCCA_Gramatky_10 ---------- Hardie Gramatky Roseville Road Westport, Comm. April 21, 1948 Dear Miss Montgomery: When I look at the date of you last letter I blush with shame. I am so sorry to have delayed answering you. I just finished a new book myself call Creeper's jeep and believe me you have my sympathy. and the lest of luck to you. I realize it must be very difficult writing about some- one you have never met. I must say you are game to tackle Such a proposition; and I think you have done darn well. how- ever, you have asked for criticism and I believe you are a person who can take it. So far, your story sound like a hollow shell--just mere words. I think I can help you both with notations on you story and with the following: In the first place, take the point of view. Please don't make this a sob story, My life has always been a very exciting one. Money has never been my aim. I loved drawing life as I felt if existed. That spirit could be captured in many forms of art. Corny as it sounds--I loved life. I had six years at Disney's to think of what I wanted to spend my life doing; and when my contract was up I knew where I was going. all the fellows at the studio knew too--and they were all for it. Many men had left the studio before only to be the one who could leave and not have to return. It was done more in the spirit of a game. Walt Disney is still one of my best friends no one has ever worked for a finer or a more liberal employer. He deserves all success because of his high ideals. Walt knew that I was going to art school four nights a week for the six years I worked for him. I was doing good work, but he realized my interests were elsewhere; and he would be the last to stand in my way. When I left for New york he gave me several letters to magazine editors he knew. I had to use only one of the letters to find our that I would have to work it out my own way. The July issue of TRUE magazine is running quite a spread on my paintings around New York Harbor. They asked me to write a couple of thousand words to supplement their article. I am sending you my copy in case it may be of help in your getting a feel of this locale. Please forgive me if I cut corners. I am a very direct person. I sincerely appreciate what you are doing. I know it will be swell. Kindest regards, Hardie Gramatky
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Identifier: wwu:24106
Title: Means - Shuttered Windows
Date: 1947-11-14/1950-01-09, 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: info:fedora/wwu:24050
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 ---- ------ ---------- 20thCCA_Means_01 ---------- Florence Crannell Means 595 Baseline Road Boulder, Colorado November 14, 1
Transcript 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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Identifier: wwu:24107
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: info:fedora/wwu:24050
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_milne
Text preview (might not show all results): 20th Century Children's Authors - Milne ---------- 20th Century Children's Authors - A. A. Milne - The Complete Tales of Winnie-the-Pooh ---------- ---------- 20thCCA_Milne_01 ---------- Dear Miss Montgomery, The chronology of the autobiography is, of course, more accurate than that of any
Transcript text preview (might not show all results): 20th Century Children's Authors - Milne ---------- 20th Century Children's Authors - A. A. Milne - The Complete Tales of Winnie-the-Pooh ---------- ---------- 20thCCA_Milne_01 ---------- Dea
Show more20th Century Children's Authors - Milne ---------- 20th Century Children's Authors - A. A. Milne - The Complete Tales of Winnie-the-Pooh ---------- ---------- 20thCCA_Milne_01 ---------- Dear Miss Montgomery, The chronology of the autobiography is, of course, more accurate than that of any magazine story you may have read, and the ottoman incident happened after the publication of Pooh. The truth (if this even interests anybody) of the genesis of the stories is as follows: Owing I suppose to the success of When We Were Very Young, I was asked by an editor for a children's story. I wasn't keen to write one, but my wife suggested that I could use one of the stories I had told our child at bed-time. She had never heard these, or she wouldn't have suggested it. A bed time story for a child is merely an excuse for postponing sleep and these were just a progression from one conventional dragon or what-not to another, with intermittent warnings that the next one would have to ---------- 20thCCA_Milne_02 ---------- be the last. However, I did remember that among these flounders and absurd postponements of the final "Good-nights" Pooh and a balloon had once made a fairly rational appearance. So I turned this into the asked for story...and, when more were sought for other editions, kept Pooh, introduced the remaining animals, abandoned balloons, and became strictly realistic. Yours sincerely, A.A. Milne
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Identifier: wwu:24104
Title: Lattimore - Little Pear
Date: 1947-12-02/1948-02-09, 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: info:fedora/wwu:24050
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): 20th Century Children's Authors - Lattimore ---------- 20th Century Children's Authors - Eleanor Frances Lattimore - Little Pear ---------- ---------- 20thCCA_Lattimore_01 ---------- 4116 Pomma Ave. Miami 33, Florida December 2, 1947 Dear Miss Montgomery, I am sorry to be so long in fillin
Transcript text preview (might not show all results): 20th Century Children's Authors - Lattimore ---------- 20th Century Children's Authors - Eleanor Frances Lattimore - Little Pear ---------- ---------- 20thCCA_Lattimore_01 ---------- 4116 Po
Show more20th Century Children's Authors - Lattimore ---------- 20th Century Children's Authors - Eleanor Frances Lattimore - Little Pear ---------- ---------- 20thCCA_Lattimore_01 ---------- 4116 Pomma Ave. Miami 33, Florida December 2, 1947 Dear Miss Montgomery, I am sorry to be so long in filling out this questionnaire for you. My husband has been seriously ill, and I've let most things slide until I knew he was getting better. I'm glad that you want to include "Little Pear" in your new book. That's my own favorite of my books, I suppose because it was the first one. Enclosed is a snapshot which I'd like returned, please. It was taken a few years after I wrote Little Pear, in the first summer of my marriage. My address after Dec. 15 will be Edisto Island, South Carolina. We have a home there, and are returning for a long rest. Very sincerely yours Eleanor Frances Lattimore Andrews ---------- 20thCCA_Lattimore_02 ---------- Mrs. Robert Armstrong Andrews Edisto Island, South Carolina February 9, 1948 Dear Miss Montgomery: I like your story about me very much. And I cannot think of any changes to suggest, beyond the few I've written on your manu- script. It must be interesting work, writing a book such as yours. You are including most of my favorite juvenile authors, so of course I'm glad to be in their company. With best wishes, Sincerely yours, Eleanor Lattimore Andrews P.S. My husband is very much better. Thank you! ---------- 20thCCA_Lattimore_03 ---------- Prompted by Pictures The job that made a job Little Pear Published by: Harcourt, Brace and Co Year: 1931 Mrs. Robert Armstrong Andrews Real Name: Eleanor Frances Lattimore Andrews Pen name: Eleanor Frances Lattimore What do your family and friends call you?: Eleanor She made a job for Herself. A. YOUR BACKGROUND Date of birth: June 30, 1904 Place of birth: Shanghai, China Father's occupation: Teacher Number of brothers: 2 and sisters: 2 Father's nationality: American Mother's nationality: American Kind of home during childhood (farm, small town, city apt, etc.): In a college compound Where: Shanghai, Paotingfu, later Tieutsin Amount of schooling (high school, college, etc.): Taught by parents Economic status during childhood (poor, middle class, wealthy): middle, I guess Special interests as a child (sports, books, games, etc.): Drawing, outdoor and indoor games. Went to seashore every summer, swimming, diving etc. Childhood ambitions: To be an artist, to go to America When did you begin to write?: Professionally, in 1929 Why?: In order to earn a living, and to market my drawings Who encouraged you?: Elizabeth B. Hamilton, then Juvenile Editor at Harcourt Brace What and when was your first success or recognition?: When "Little Pear," my first book, was published in 1931 How did you happen to write for children? Because I like children, and have drawn children ever since I can remember. Anything else about your background which has a bearing on your writing. My family lived in Europe (Switzerland, Germany, England.) in 1913 ΓÇô 1915. Years later in 1932 I went to Europe again. I've put some things from various times in my life in to my books. My family life was harmonious and happy, and even now that we are all married and scattered, my brothers and sisters and I keeps in close touch with our parents who are living in Washington, D.C. (their old home.) ---------- 20thCCA_Lattimore_04 ---------- B. THE WRITING OF THIS BOOK Where did you get the idea for the book?: It was suggested that I write a "real" story about an everyday Chinese child, to match drawings I had in my portfolio. It was the suggestion of Mrs. Hamilton When? (Season as well as year): Winter, I think - 1928- 29 Were the characters real people, or based on real people?: They were imaginary, based on village children such as I'd seen during my childhood in China. Where were you living at the time?: In New York City What was your major occupation?: Free-lancing as an artist Names (also nicknames) and identities of members of your household at the time. (if children, give ages.): I was living in a small apartment with another girl who wrote articles for decorating magazines. My family home was in Hanover, N.H., my father being Professor of Chinese History at Dartmouth at that time. Did you talk the book over with any of them?: No. Did you discuss it with an editor?: The idea in general, not the story Where and how did you get the material? (library research, travel, personal experience, etc.): Personal recollections for background material. The incidents were all imaginary. When did you begin to write the book?: In Dec. or Jan., 1928-1929 Where?: I wrote the first draft at The Studio Club, New York- and finished it at apartment mentioned above. How much had you had published when you began it? (Give names of books) This (Little Pear) was my first book. Since then, I've written 15 more What was your purpose in writing this book?: To see if I could do it, and to have a book to illustrate. How do you write? (typewriter, long-hand, dictate): Longhand and on the typewriter Where? (study, office, etc.): At home, anywhere Do you keep regular office hours? If so, what are they?: I work at night usually Do you revise much?: Sometimes Write easily or laboriously?: Sometimes it's easy, sometimes not. Do you let your family or friends read your work, or try it out on children?: Not till a story is finished ---------- 20thCCA_Lattimore_05 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): I make my own final copies now. Did you make an outline before writing the book?: Chapter titles only Did you decide on the title first or last?: Last How long did it take you to write the book?: One week (first copy.) I added two chapters later. Did you work on it steadily?: Quite steadily Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.) I wrote too quickly and did not put in enough description. Since the first book, I've written more slowly, and generally work out a plot first. Was your book accepted immediately by a publisher?: Yes Anything else about your writing that might be of interest, especially anything that concerns this book. Since I wrote Little Pear I've married and had two 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 work in?: India ink and brush How much experience had you had in illustrating?: I had drawn all my life, and as a child illustrated stories I wrote myself. ---------- 20thCCA_Lattimore_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?: Tall, 5 ft. 5 in. Thin or plump?: Thin Color of eyes?: blue Wore glasses?: When I work Color of hair?: light brown Kind of hair--long or short?: short and wavy Curly or straight?: Curly how did you wear it?: I can't remember! Any special features of you appearance (square jaw, dimples, stoop, etc.) Oval face, slightly turned up nose, one cheek dimple Are you quiet or talkative?: Rather quiet Friendly or reserved?: Friendly Do you laugh a great deal or are you usually grave?: Sometimes I laugh, usually fiarly quiet Are you quick-tempered or calm and placid?: Not quick tempered, but on the high-strung side. What sort of clothes do you wear most when writing?: (sports, suits, slacks, etc.) Just a housedress, or a sweater and skirt Favorite occupations and hobblies?: Gardening, pets, travel, etc. What is your normal speech like?: (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.) Much too rapid What are some of your pet expresssions and exclamations?: I don't think I have any. If strongly religious, give denomination.: Not strongly religious Any other details aobut yourself, no matter how trivial, which might help me to picture you in my own mind.: Very happy with my husband, and with my two sons, Peter and Michael, now nine and eleven years old. Can you direct me to any articles or books which have been written about you?: I believe I'm included in several anthologies, such as "Junior Book of Authors."
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Identifier: wwu:24105
Title: Lenski - Little Auto
Date: 1947-11-12/1948-01-01, 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: info:fedora/wwu:24050
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): 20th Century Children's Authors - Lenski ---------- 20th Century Children's Authors - Lois Lenski - Little Auto ---------- ---------- 20thCCA_Lenski_01 ---------- Little Auto Published by: Oxford University Press Year: 1934 Real Name: Lois Lenski Covey Mrs. Arthur Covey Pen Name: Lois Lens
Transcript text preview (might not show all results): 20th Century Children's Authors - Lenski ---------- 20th Century Children's Authors - Lois Lenski - Little Auto ---------- ---------- 20thCCA_Lenski_01 ---------- Little Auto Published by: O
Show more20th Century Children's Authors - Lenski ---------- 20th Century Children's Authors - Lois Lenski - Little Auto ---------- ---------- 20thCCA_Lenski_01 ---------- Little Auto Published by: Oxford University Press Year: 1934 Real Name: Lois Lenski Covey Mrs. Arthur Covey Pen Name: Lois Lenski (maiden name) What do you fmaily and friends call you?: Lois A. YOUR BACKGROUND Date of birth: Oct. 14 1893 Place of birth: Springfield Ohio Father's occupation: Clergyman Number of Brothers: 2 and sisters: 2 Father's nationality: American Mother's nationality: American Kind of home during childhood (farm, small town, city apt. etc): Small town Where: Anna, Ohio Amount of schooling (high school, college, etc.): Sidney O. Highschool-grad-1911 Ohio State univ. B.S. in Ed 1915 Art Students League N.Y. Westminster School of Art, London Economic status during chldhood (poor, midle class, wealthy): "Poor preacher" Father had $700 a yr. salary and sent us all five to college Special interests as a child (sports, books, games, etc.): Usual small-town games and sports. We always had books for Christmas; "Youth's Companion." Childhood ambitions: to sew; to draw; to teach; to write. When did you begin to write?: In 1926 when I wrote my first book: SKIPPING VILLAGE pubd in 1927 Why?: To accompany a set of pictures I had drawn reminiscent of my childhood. Who encouraged you?: Helen Dean Fish, then Children's Editor of Frederick A. Stokes Co. to whom I showed the drawings. What and when was your first success or recognition?: From 1922-1927 I had illustrated a number of books for other publishers. How did you happen to write for children?: All my work has always been for children. I have never had any desire or inclination to work for adults. Anything else about your background which has a bearing on your writing.: My urge to draw in childhood took the form of copying other pictures, often cover designs of magazines; I once got a 3.00 prize for copys of a cover on the "Women's Home Companion." A fresco artist, decorating the interior of the "new church" which my father built, while staying in our home, suggested that I be given a real box of Windsor Newton water colors. My father sent away for them, and it was a big thrill when they came - 20 different colors instead of only three! I had no instruction in drawing or painting until after I went to college. There I took all the art I could get. ---------- 20thCCA_Lenski_02 ---------- B. THE WRITING OF THE BOOK first book, pub'd 1934, 13th printing 1944- Where did you get the idea for the book?: From my son, Stephen, age 4, and his playmates. When playing with wagon, tricycle or kiddie car, it was always an imaginary automobile - they were always pumping up tires, getting stuck in mud, etc. Playing "auto" seemed to be a major interest of the modern small boy, so why not put it in a book? When? (Season as well as year): Year before publication-1933- Were the characters real people, or based on real people?: I made Mr. Small the size of proportions of 4 yr. old Stephen; to be not a man, but a little boy pretending to be a man, and doing the things a man does to an automobile. Where were you living at the time?: At my present home "Greenacres," in Torrington Conn. What was your major occupation?: Author-artist; also housewife taking care of my family. Names (also nicknames) and identities of members of your household at the time. (if children, give ages.): My husdand, Arthur Covey, mural painter, with his studio also on the place - my step-daughter, Margaret, and step-son Laird, were away in school at the time. Did you talk the book over with any of them?: I worked it out with Stephen himself - to his whole-hearted approval. Did you discuss it with an editor?: Yes-Grace hogarth (former editor at Oxford) told me years later, she considered the little book very revolutionary at the time, and herself very daring to accept it, She says it was "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 and illustrated; others by other artists; illustrated. Can give a list if necessary. (see over) What was your purpose in writing this book?: To get away from the over-worked idea of personalizing" a vehicle and making it think and talk. To show what the man does to make a vehicle go - which is the small child's first and lasting interest. A child in his play never personalizes a vehicle. He plays he is the man who makes it go. How do you write? (typewriter, long-hand, dictate): Long stories for children are written first in long-hand, then revised and typed once or twice. Picture books have trial hand-painted text in dummy. Often corrected and altered many times. Later a typed copy is sent to pub'r. Where? (study, office, etc.): I have a studio - a separate building a stones throw away from our home. Do you keep regular office hours?: Yes. If so, what are they?: From 9 to 5 ususally. Do you revise much?: One or two revisions on older books. Write easily or laboriously?: I work harder over my writing than over my drawing. Do you let your family or friends read your work, or try it out on children?: I try my stories out on children (of age for whom book is intended) myself. I have them read and checked by technical experts, if the subject covers something that is new to me. ---------- 20thCCA_Lenski_03 ---------- Books written and pub'd prior to 1934: Skipping Village 1927 Jack Horner's Pie (nursery rhymes, illustrated) 1927 Alphabet People 1928 A Little Girl of 1900, 1928 The Wonder City 1929 Two Brother's and their Animal Friends 1929 " " " " Baby Sister 1930 Spinach Bay 1930 Benny and His Penny 1931 Grandmother Tippytoe 1931 Arabella and Her Aunts 1932 Johnny Goes to the Fair 1932 The Little Family 1932 Gooseberry Garden 1934 The Little Auto 1934 "Mr. Small" books: The Little Auto "Mr." Small The Little Sail Boat "Capt." " The Little Airplane "Pilot" " The Little Train "Engineer" " The Little Farm "Farmer" " The Little Fire Engine "Fireman" " ---------- 20thCCA_Lenski_04 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): I make all copies. Did you make an outline before writing the book?: For my older books, yes. Did you decide on the title first or last?: Whenever it happens to suggest itself, either first or last- Was it immediately popular on publication?: It had a resonably good sale the first year; the demand for it (and the other Mr. Small books) has steadily increased. C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: I made them all first. The text was written to accompany the pictures. If you did them yourself, which came first, the pictures or the text? Pictures first usually - then a text to go with them. What medium did you work in?: Wash drawings in tones of gray and black, with one flat color printing. This method to make the book as inexpensive as possible. How much experience had you had in illustrating?: 12 years of illustrating experience, sometime more that 1 book per yr. ---------- 20thCCA_Lenski_05 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or Fair? Much as I do now except my hair is whiter. Tall or short?: tall Thin or plump?: medium Color of eyes?: blue Wor glasses?: None in 1934. Reading glasses now for reading, and close work. Color of hair?: blond - now gray Kind of hair--long or short?: Bun on neck then- now a short bob. Curly or straight?: curly Favorite occupations and hobbies?: formerly gardening - now given up becuase of poor health. Can you direct me to any articles or books which have been written about you?: Junior Book of Authors - Wilson Co - and other biographical books Horn Book July 1946 ARticle by Maud Hart Lovelace Pulishers Weekly June 22, 1946 " " R.W. G. Vail Library Journal July 1946 " " Helen Dean Fish Chapter IV in "Bequest of Wings" by Annis Duff - Viking Press 1944 ---------- 20thCCA_Lenski_06 ---------- LOIS LENSKI GREENACRES R. F. D. No. 2 TORRINGTON, CONN. Nov. 12, 1947 Elizabeth Rider Montgomery 3209 Alki Ave. Seattle 6, Washington Dear Miss Montgomery: Your letter and questionnaire came the other day, and I am much interested in your proposed book. It should be a labor of love to compile it - I must say I really envy you! Children seem to be so interested in the authors behind their books, and so many schools do "author projects." For these reasons, I feel sure that such a book will fill a real need and become very popular. I have filled out your questionnaire as well as I could in the limited space at my disposal. Of course, the methods used in my picture books are different from my older books where thwere is more of a story; and a good many of your questions apply to the latter type of book rather than to a picture book. However, I have done the best I can. The articles which were published about me and my work last year in connection with the Newbery medal for STRAWBERRY GIRL (and which I have listed for you) will give you a pretty good idea of the personal side. In addition, I am sending you a clip- ping from a Hartford paper, which gives some idea of the way I combine professional work and domestic. I am also enclosing an outline which I made out for the use of Mrs. Lovelace for the background of her HORN BOOK article. This has an elaboration of the facts behind the evolution of the "Mr. Small" books, which will interest you; the rest about my historical and regional books for older children you may disregard, but I would like to keep it all together. These two items I must ask you to return as soon as you have finished with them. The folders you may keep. I am sure you could get the use of some of the Mr. Small "cuts" from Oxford, if your article is to be illustrated. I have, for a long time, wished to do a complete story about "Mr. Small" whom Frederick Melcher has nicknamed "That Famous American," or have wished that Eunice Blake of the Oxford Press would do it. There is a whole anthology of stories about Mr. Small and his devoted fans that needs to be written. Since the war, the books are going into foreign countries, too - The Scandinavian, Spanish, and other languages. Before the war, they were in English, South African and Arabic editions. So little Mr. Small is riding all over the world! With best wishes for the success of your book, and do let me know if I can help further in any way. Sincerely, Lois Lenski ---------- 20thCCA_Lenski_07 ---------- Winter address: Dunedin, Fla- box 507 Home address: Greenacres RFD2 Torrington, Conn- Jan. 17, 1948 Dear Miss Montgomery; Your letter of Jan. 7th was forwarded from my home in Conn. to me here, where i am spending the winter months. i had to leave my typewriter behind in the snow drifts, so hope you can bear with my handwriting. I like your story of "The Big Mr. Small" very much. Strangely, you describe it almost exactly as it did happen - the inception of the idea. Actually I was in the living room, and Stephen and his friends were in the yard just outside the door, playing "auto". One thing you've missed - my vexation, for I said to myself: "Goodness: Don't they ever play anything else? Girls play dozens of games, but boys only one - auto, auto, auto, all the time!" The fact that their play was so "incessant" made me conclude: "since they never play anything else, this must be a major interest of the modern small boy. So why not put it into a book?" (Incidentally also, I noticed that they never personalized their cars or vehicles- that is entirely an adult fancy.) Another point I wish you could make is regarding "the secret of his popularity." Various people have tried to account for it, but have missed the point entirely. Could you add this; (or rewrite in you own words) "Due to the fact that Mr. Small is a boy dressed like a man, the child reader can more easily identify himself with the hero. The immediate reaction of every small boy is a desire to be Mr. Small, and to do the thing he does. I have marked a few other small changes in your text. I like your outline and choice of books. I shall want a number of copies of your book, when it is ready, to distribute amoung individual children schools and libraries - I am sure it will be delightful. When you type "The Big Mr. Small" in its final form, would it be asking too much to type a copy for me to keep in my Mr. Small file? Thanks ever so much! All good wishes for the success of the new book- Sincerely, Lois Lenski Thanks for returning outline and clippings. I am a little sorry it couldn't have been "Strawberry Girl" as I feel my regional books will be my most permanent. ---------- 20thCCA_Lenski_08 ---------- I like your outline and choice of books. I shall want a number of copies of your book, when it is ready, to distribute amoung individual children schools and libraries - I am sure it will be delightful. When you type "The Big Mr. Small" in its final form, would it be asking too much to type a copy for me to keep in my Mr. Small file? Thanks ever so much! All good wishes for the success of the new book- Sincerely, Lois Lenski Thanks for returning outline and clippings. I am a little sorry it couldn't have been "Strawberry Girl" as I feel my regional books will be my most permanent. ---------- 20thCCA_Lenski_09 ---------- Lois Lenski R.F.D. No. 2, Torrington, Conn. Dear friend: I have been seeing some nice reviews of your book. It should fill a much needed place in schools and libraries. Are the pub- lishers not sending complimentary copies to the contributors? I am anxious to see a copy; hope to buy others to present to schools that cannoy buy it - with best wishes for the book's success - Sincerely, Lois Lenski ---------- 20thCCA_Lenski_10 ---------- Elizabeth R. Montgomery 4801 Beach Drive, Seattle, 6, Wash.
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Identifier: wwu:24102
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: info:fedora/wwu:24050
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): 20th Century Children's Authors - Holling ---------- 20th Century Children's Authors - Holling Clancy Holling - Paddle to the Sea ---------- ---------- 20thCCA_Holling_01 ---------- Holling Clancy Holling ---------- 20thCCA_Holling_02 ---------- 699 East Foothill Blvd., Altadena, Californi
Transcript text preview (might not show all results): 20th Century Children's Authors - Holling ---------- 20th Century Children's Authors - Holling Clancy Holling - Paddle to the Sea ---------- ---------- 20thCCA_Holling_01 ---------- Holling
Show more20th Century Children's Authors - Holling ---------- 20th Century Children's Authors - Holling Clancy Holling - Paddle to the Sea ---------- ---------- 20thCCA_Holling_01 ---------- Holling Clancy Holling ---------- 20thCCA_Holling_02 ---------- 699 East Foothill Blvd., Altadena, California, January 23, 1948 Elizabeth Rider Montgomery, 3209 Alki Avenue, Seattle 6, Washington Dear Miss Montgomery: Your last letter of January 2 has just arrived via Boston, and has jolted me into startled realization of my negligence Upon receipt of your first letter the filing out of your questionnaire was started (quite expansively as you will note - if you cannot decipher cuneiform please write and we will send "Holling's Handy Helper in Handling His Hen Scratches," complete with guide maps and instructions). Then my publisher hinted that, if my new book hopes to be born in '48 its author ought to hump himself with the illustrations. Everything else was dropped (it was already dropped before this, but the hint only dropped everything deeper), including another questionnaire for an an- thology to be published in England, business letters in stacks, and the pleading missives of friends and relatives. Christmas and New Years saw me nailed to the drawing board. People have sometimes expatiated on the "effortless ease of creation" suggested by PADDLE-TO-THE-SEA and TREE IN THE TRAIL. At the time of creation of the idea, yes. But from then on - rolled sleeves, shovel and pick! This new book, SEABIRD, has the same format as PADDLE. But the story takes in much more territory in space and time. The story thread hangs on a seagull carved in walrus ivory which sails with four seafaring generations, starting in an 1830 whaling ship off Greenland and ending in a plane. My illustrative struggle was a struggle only in the necessity for deletion. (I really love my work). For each page of pictures, data and sketches had been amassed, enough for a book. The finished material had to be axed unmercifully to emerge basic, concise, yet comprehensive. Thus your questionnaire was laid aside for a day and was literally buried under hundreds of sketches. The completed illus- trations have now been mailed. And now, coming out of a daze, your letter of January 2 is the first of many groups to be answered. Your outline of the subjects to be included in your book is appealing. It is flattering to find my simple PADDLE in such good company. Please put me on your sales list for an autographed, first edition copy! Sincerely, Holling Clancy Holling ---------- 20thCCA_Holling_03 ---------- 699 East Foothill Blvd., Altadena, California, March 24, 1948 Mrs. Elizabeth Rider Montgomery, 3209 Alki AVenue, Seattle 6, Washington Dear Mrs. Montgomery, You've done a swell job with the PADDLE story. It could go as is. However, because it is so darn good, I've nudged it here and there to sharpen facts in some places and broaden meanings in others; so that from here on out i can refer questioners to your anthology for the real dope on how PADDLE got under way. Your title, I am afraid, may get me in wrong with some of my Indian friends. I can hear them now - "Huh! So this guy knows more about us than we do? Ho! Wait till we this him again! Boy, will we pour it on!"... In other words, because I can change a car's tire doesn't mean i know the secrets of its motor. And really knowing Indians is akin to understanding atomic fission.... Perhaps you could snare a title which would, instead of being boastful, point a moral for the young reader. nothing so trite as "helping others we help ourselves" but with that general idea. Lucille and i helped the old woman with no thought of reward (our reward was in proving to ourselves that we were smart enough to remember certain designs), yet she gave us an extension on our original ideas which formed the book's character.... Or you might pick up a title from something like HOW BITS OF BIRCHBARK HELPED TO BUILD A BOOK....(When I started on this title thing I really meant to help. Hope I haven't driven you into a bog). We may have met. My jabberings have been listened to (and politely) at assorted gatherings all over this area. Though I am not partial to wearing buttons, my clubs include California writers' Guild (not a union), P.E.N. International, Southwest Museum etc. i helped with training films at the Walt Disney Studios during the war, went with Walt and party to Mexico getting data for a health film series for Latin America, wrote and mouthed the narration for "Rite of Spring", taken from its Fantasia context for a school documentary which we tried out at a session of some three hundred audio-visual experts at the studio. Any of this in your territory? The Disney contact was not mentioned in data sent you, because i am not a Disney man and do not want to be known as such - and purposely keep the film angle separate from my books. if I can help further, please let me know. (Or are you by this time saying "what does he mean further!. *%#$". Sincerely, H.C. Holling ---------- 20thCCA_Holling_04 ---------- 699 E. Foothill Blvd., Altadena, Calf., July 25, 1948 Dear Mrs. Montgomery: Just returned from the east, hence the delay in answering you last letter. The story on "PADDLE" reads very well, and your title "RETURNED WITH INTEREST" is excellent. It has been fun working with you. Be sure to have your publishers ship me a copy of the book when it comes out. Good luck, and happy sale-ing! Yours sincerely, Holling P.S.Am enclosing a few shots on signatures to used at will. My preferences might be No. 1 or 4. ---------- 20thCCA_Holling_05 ---------- Paddle-to-the-Sea Published by: Houghton Mifflin Co. Year: 1941 Real Name: Name: Born Holling Alison Clancy. Father died in 1918. Because the Clancy line was extended by innumerable cousins, while the Holling line ended with my mother, I added another "Holling" to my name for books. To save confusion, the name was legalized and I am now known as Holling Clancy Holling, but old friends still recognize me as being the original Holling Clancy. What do you family and friends call you?: Holling A. YOUR BACKGROUND Date of birth: Aug 2-1900 Place of birth: Grandfather Holling's Farm, Henrietta Township, Jackson Co. Father's occupation: School Supt. Number of Brothers: 1 and sisters: 1 Father's nationality: Canadian Irish-French in Canada for 2 centuries Mother's nationality: American-- English stock, mother's grandfather direct from England Kind of home during childhood (farm, small town, city apt. etc): Childhood, North Mich. S. Peninsula. Small towns with fairly large high Schools Adolescence on the Holling Farm Where: Westbranch, and AuSable, Mich. 2 yrs. after leaving AuSable it was destroyed by forest fire. Amount of schooling (high school, college, etc.): Graduate Leslie High Sch. Leslie Mich. Grad. Art Institute, Chicago. Special tutoring Anthropology Economic status during childhood (poor, middle class, wealthy): Middle Special interests as a child (sports, books, games, etc.): Father was good horseman. Learned to ride young - I had a pony. Father inducted me into mysteries of natural sciences - hence love of woods, books. Mother was pianist, wrote verse, plays etc. locally. Hence love of art, music etc. Childhood ambitions: To own and control a circus To write and illustrate books When did you begin to write?: First- drawing, pig with litter at 3 First verse (local paper) at 5 - ever anon! Why?: Natural expression. Each new experience I documented in drawn pictures. Who encouraged you?: Mother, Father, assorted relatives. Father's brothers and sisters were missionaries in India, Africa. Visits home gave me much food for imagination. What and when was your first success or recognition: Difficult to determine as I grew into it. Mother wrote and produced plays and musicals for Father's schools and I was in them. First actual publications were in boy's magazines as youngster. Verse in adult mag. etc. First books - See Oct. Supplement: Who's Who in Am.; 1942 How did you happen to write for children?: Grew into this phase also. An intense interest in hows and whys of life gave me an interpreter complex: suppose you could say that I wanted to know how a thing was done so that I could pass it on to others. Regard myself as an interpreter. Anything else about your background which has a bearing on your writing.: From small-town-farm environment graduated to big city env. (Chicago) but I was still the "Wilderness-lover." A year in the deserts of New Mexico helped. Also, working on scientific staff (Taxidermist Asst) of Field Museum of Nat. Hist., Chicago gave me great impetus. Field trips, Montana and British Columbia for specimens. One real turning point was meeting of Dr. Ralph Linton, Head of American Ethnology Dept. at the museum. We struck up a bargain and after a day's work in Zoology, Dr. Linton (in his office) gave me from one to 3 hours lecture in Anthropology. He tried out his courses on me. (He was later at Columbia Un,, now at Yale). A couple of years of this gave me a foundation in the study of Man - past, present and possible future Which acted as a key or an entire filing system in my brain for the correlation of scattered information. Hence, any information now gleaned has its pigeon-hole in my mind and becomes part of a subconscious fund available for future books. (I plan to Produce Bushels!) ---------- 20thCCA_Holling_06 ---------- P.S. Look at designs on title contents page, map etc. of "Paddle" and you will see patterns in birch bark as related below - (though of course not in old Chippewa design). B. THE WRITING OF THE BOOK Where did you get the idea for the book?: Touring the Gulf States, Lowell Thompson of H.M.Co. wrote me about illustrating a book for them. At Boston I gave Lowell various ideas for books. He liked the idea of a story about a river. So Mrs. Holling and I started west again in our studio-trailer for the headwaters of the Missouri. En route, Wisconsin and Minn., idea shifted to a river in the Great Lakes. When (Season as well as year): Autumn 1938 On a fishing boat in Lake Superior I said "that's it - a chip floats along the river in the Lakes, clear to the sea." Later that month, Lucille (Mrs. H.) and I met a Chippewa woman selling birch bark baskets near Fort William Ont. She used hideous designs from magazines- flower pots, sunbonnet babies, roses etc. We said "why not use the original Chippewa designs but tho her mother had remembered then, she had forgotten. So Lucille and I at Fort William Camp, from memory, cut out many birch patterns of Chippewa and Cree designs. These I did on the orange-colored tree-side of the bark, traced with a point and all inside the outline scraped neatly. This gives a darker silhouette on the dark bark. The woman was astonished at the authentic designs and because we even cut them in bark patterns, like the old-time Chippeway. To show her gratitude and pleasure she gave us, among other things, a carving made by a 12-year old Chippewa friend. We still have it - a kneeling Indian with drawn bow. If a 12 yr. old could do this, I reasoned, then an Indian in a canoe would be easy. So there was my `chip' to float thru the `river' in the Lakes' to the sea. My high school summer vacations had been spent (2 years) working on Great Lakes freighters. Lucille and I had camped all around the Lakes on long canoe trips, including Nipiquo country. So the story virtually developed on its own, as naturally as a chip going downstream. The title came while we camped in Bryce Canyon, Utah. I thought of having the boy carve "I am Paddle-to- the-Sea" ____ verbal thing - as an Indian would say "I am Paddling to the sea! But the words seemed simple and direct, and the title was born as is. When did you begin to write the book?: 1939 Where?: Sequoia Park, Calf. extending to Olympic Pen. (Neah Bay region) finished Altadena Calf. My desert books are often written in canoes, canoeing books in deserts. Perspective, you see. How much had you had published when you began it? (Give names of books) See "Who's Who, Oct sup., 1942" page 208 - also "Story and Verse for Children" - page 813 by Miriam Blanton Huber What was your purpose in writing this book?: To give youngsters a taste of the North Country I knew - to have fun making a book - and for cash! How do you write? (typewriter, long-hand, dictate): Where? (study, office, etc.): Do you keep regular office hours?: Yes. If so, what are they?: No Do you revise much?: Yes Write easily or laboriously?: It all depends Do you let your family or friends read your work, or try it out on children?: Read it to my wife. Never to children. ---------- 20thCCA_Holling_07 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): or sometimes to save time typist. Did you make an outline before writing the book?: No Did you decide on the title first or last?: First How long did it take you to write the book?: Problematical. Some paragraphs rewritten 60 times for simplicity and rythm. Did you work on it steadily?: At times. Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.): No rough spots in story proper. Sometimes difficult to choose which writing told story best. In PADDLE, TREE and new book SEABIRD, each page of some 300 words is a complete chapter. This necessitates work in framing all ideas for that page simply and yet without losing the plot, excitement, etc. (As against such writing, sonnets are a cinch!) Was your book accepted immediately by a publisher?: Yes Was it immediately popular on publication?: Thank Heaven! Anything else about your writing that might be of interest, especially anything that concerns this book.: The rests between spurts were swell! C. ILLUSTRATIONS How much did you have to do 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 or short?: 5' 101/2" Thin or plump?: Slender Color of eyes?: Dark blue Wore glasses?: No Color of hair?: Dark Brown Kind of hair--long or short?: Medium Curly or straight?: Straight How did you wear it?: See picture Any special features of your appearance (square jaw, dimples, stoop, etc.): Would dearly love a square jaw but haven't one. No dimples. No Stoop. Are you quiet or talkative?: It all depends. Friendly or reserved?: Ditto Do you laugh a great deal or are you usually grave?: Not manic- depressive However, can howl with glee or be sober as hell. Are you quick- tempered or calm and placid?: Every alternate leap-year. What sort of clothes do you wear most when writing? (sports, suits slacks, etc.): Sometimes trunks only. Sometimes overcoats. Altitude and weather dictate. Favorite occupations and hobbies?: Too many What is your normal speech like? (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.): Yes. And the shadings can be subtle. What are some of your pet expressions and exclamations?: I blush. Profanity not habitual. If strongly religious, give denomination.: Brought up a Methodist - but am very broad in view. Could still be called Christian. Any other details about yourself, no matter how trivial, which might help me to picture you in my own mind. Latin Americans call me "simpatico." I become with no effort the age to which I am talking. Even some dogs seem to wonder why I have no tail. Cats regard me with favor. Also old people. Also my wife (this statement - should be qualified at length. Can you direct me to any articles or books which have been written about you?: See Who's Who Supplement for Oct. 1942. It contains most complete list of my books. if you have a photograph or snapshot of yourself of about the vintage of your book, I would appreciate it. Of course I would return it promptly. Please keep the thing!
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Identifier: wwu:24109
Title: Stong - Honk the Moose
Date: 1948-01-12
Description: Letter from Phil Stong to Elizabeth Rider Montgomery and a four page questionnaire completed by Phil Stong. Honk the moose was published in 1935 by Dodd, Mead.
Digital Collection: info:fedora/wwu:24050
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_stong
Text preview (might not show all results): 20th Century Children's Authors - strong ---------- 20th Century Children's Authors - Phil Strong - Honk the Moose ---------- ---------- 20thCCA_strong_01 ---------- Washington, Conn., Jan. 12, 1948 Dear Miss Montgomery: I think this is a very good little sketch. I have made two or three v
Transcript text preview (might not show all results): 20th Century Children's Authors - strong ---------- 20th Century Children's Authors - Phil Strong - Honk the Moose ---------- ---------- 20thCCA_strong_01 ---------- Washington, Conn., Jan.
Show more20th Century Children's Authors - strong ---------- 20th Century Children's Authors - Phil Strong - Honk the Moose ---------- ---------- 20thCCA_strong_01 ---------- Washington, Conn., Jan. 12, 1948 Dear Miss Montgomery: I think this is a very good little sketch. I have made two or three very minor corrections, "Biwabik, Minn." rather than Iowa. I must have slipped on the debate thing - I coached debate for four years in high school and college but not in this school Thanks very much for thinking of me and the best of luck for your book. It sounds like an excellent idea, especially for schools and libraries. Sincerely, Phil Stong There might be an amusing line in the fact that I started this story about a place where it often gets to be 40 below sitting in front of two open port- holes with the electric fan going. When we reached New York there was a foot or so of snow on the ground. ---------- 20thCCA_strong_02 ---------- Honk the Moose Published by: Dodd, Mead and Co. Year: 1935 Real name: Philip Duffield Stong Pen name: Phil Stong What do your family and friends call you?: Phil, to my face. A. YOUR BACKGROUND Date of birth: Jan. 27, 1899 Place of birth: Keosauqua, Iowa Father's occupation: Merchant Number of brothers: 2 and sisters: Father's nationality: American Mother's nationality: Same - both families Came to the country before 1750 Kind of home during childhood (farm, small town, city apt, etc.): Farm and small town Where: Keosauqua, Iowa. Amount of schooling (high school, college, etc.): A.B. (Litt. D., LL.D.) Economic status during childhood (poor, middle class, wealthy): M.C. Special interests as a child (sports, books, games, etc.): Reading, music, varied athletics - football, wrestling, boxing, swimming. Childhood ambitions: Writing. (Lapses to radio, medicine, law, etc.) When did you begin to write?: As soon as I had enough penmanship. Why?: Born liar - writing was the only way to get away with it. Who encouraged you?: Various people - principally my English Professor in College, Lewis Worthington Smith of Drake University. What and when was your first success or recognition?: State Fair - 1932 How did you happen to write for children?: The editors at Doubleday and Co., thought that a farm juvenile was indicated by State Fair. "Farm Boy" was Junior Guild. Since then I've done about a dozen. Anything else about your background which has a bearing on your writing.: Iowa was somewhat self-conscious in my childhood. Garland and Hough and Hughes had had almost our first national recognition. My uncle, E. R. Harlan, for many years Curator of the Iowa State Historical Museum, knew all three. A distant relative, Mrs. Julia Baldwin, of Keosauqua had had a best-seller. My mother, also, thought that an author was a shade higher than a President. No was out of the trap even if I had wanted out. ---------- 20thCCA_strong_03 ---------- B. THE WRITING OF THE BOOK Where did you get the idea for the book?: In 1920 in a hotel in Ely, Minn., where I had gone to play football with the Biwabik town team. Before lunch some chap told me a fascinating story about a town moose, which lingered with me for fifteen years. When? (Season as well as year): About November. It was cold enough, I know, to run even a moose into the stable. (Ely son, 23-13, or something like that). Were the characters real people, or based on real people?: Characteristics derived from various people, of course. I was teaching in Biwabik and it was easy to make alloys. Where were you living at the time?: Iron Range of Minnesota when I heard the story - boat in the Caribbean and apartment in NYC when I wrote it. What was your major occupation?: Writing. Previously I had been on the old New York World and many other publications as writer and editor. Names (also nicknames) and identities of members of your household at at the time. (if children, give ages.): No children - wife frequently referred to as V-A. Name is Virginia. Did you talk the book over with any of them?: Told planned story to wife and editor at Dodd and had some helpful suggestions. Did you discuss it with an editor?: Covered above. Where and how did you get the material? (library research, travel, personal experience, etc.): Covered above. When did you begin to write the book?: On a little holiday in the Caribbean that year. Where?: Covered above. The thing took about three weeks and I did a major part during a rough winter trip on the way back to NY. when our friends were ill. How much had you had published when you began it? (Give names of books) "State Fair", "Farm Boy", "Stranger's Return", "Village Tale", "Week End", "Career". Worked on the movies of the novels. What was your purpose in writing this book?: Amuse some of the younger citizens and keep myself in business. How do you write? (typewriter, long-hand, dictate): Type. Where? (study, office, etc.): Study. Do you keep regular office hours? If so, what are they? No. Work most days, at least a little. Because of A.M. nwsp, background work most late at night. Do you revise much?: Very little Write easily or laboriously?: Which day? Sometimes it runs easily; sometimes not. I've done 3900 in a day and 500 in a week. Do you let your family or friends read your work, or try it out on children?: My wife. She's a parsimonious but careful novelist ("The Dollar Gold-Piece", "The Hollow Skin", etc.) and also a first-rate English and Latin scolar. (Taught Latin in a West Point coaching school). In general I would consider it a poor idea, but with her special training she is very helpful. ---------- 20thCCA_strong_04 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): My agent's typing bureau Did you make an outline before writing the book?: No. Why would one on a simple tale? On some novels I schedule general movements on a leaf of note paper. Did you decide on the title first or last?: After the story was planned but before writing How long did it take you to write the book?: 3-4 weeks Did you work on it steadily?: Interrupted between the tour and resettlement in America. Ordinarily I would have worked steadily. Stories nag at one. Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.) In as short a story as this one is not likely to hit difficulties. In the adult novels I have often had trouble because the characters would not act the for the best in- terests of the plot. Once they establish themselves they may or may not try to fit in to the narrative structure. This calls for arbitration, of course. Was your book accepted immediately by a publisher?: "State Fair" accepted third time out. Since then, all books contracted in advance. Was it immediately popular on publication?: Very good advance. Anything else about your writing that might be of interest, especially anything that concerns this book.: As you can see, though this was only my second juvenile, I had a fairly good background of general writing - a few novels, a good deal of periodical material, long experience with newspapers, magazines, syndicates - even advertising and movies. This predicates a certain fluency - given a good story, such as the one I heard up on the Iron Range, one is fairly certain to get a mildly successful book. C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: Kurt Wiese, the illustrator, and I are collaborators, rather than author and artist. I "X'ed" passages in this that seemed good picture stuff. I've never done so since - Kurt and i understand each other completely. Kurt needs no X-ing. Kurt is completely confident that he will get situations for his styles and I am blissfully certain that he will find them without any bother from me. ---------- 20thCCA_strong_05 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or Fair?: Toward fair Tall or short?: 6'1" That was tall. Thin or plump?: 182-5 - medium Color of eyes?: Hazel to gray Wore glasses?: Not then, by ten years. Color of hair?: Mouse brown Kind of hair--- long or short?: Ordinary Curly or straight?: Two waves How did you wear it?: Left side part. Any special features of your appearance (square jaw, dimples, stoop, etc.): Nose not quite pug; not quite roundish face, full at chin. Are you quiet or talkative?: Yes and no Friendly or reserved?: F. when possible Do you laugh a great deal or are you usually grave?: Amused, ordinarily. Are you quick-tempered or calm and placid?: Medium. What sort of clothes do you wear most when writing?: (sports, suits slacks, etc.) Pajamas, slacks. Writing is hard work. Favorite occupations and hobbies?: Writing, reading, music, small dogs - not to small - phonograph (about 2500 records) - microscope, almost anything. What is your normal speech like?: (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.) Midwest - correctly colloquial, if possible. What are some of your pet expressions and exclamations?: Do you want the Postal Department to intercept this? I had a rugged youth. But I don't go in much for exclamations except in great stress. If strongly religious, give denomination.: Agnostic. Any other details about yourself, no matter how trivial, which might help me to picture you in my own mind. Disorderly gent - unutterably lazy and impolite about everything that doesn't interest me - not directly impolite but engaged elsewhere - so sorry. Pathologically curious about things in abstract but only occasionally in person; i.e.; I know a bit about hieroglyph- ics but today, after three days, I learned that a neighbor had gone crazy. Selfish, per se, but not about people and things that engage me. Can you direct me to any articles or books which have been written about you?: Chiefly small periodical bits, or brief references. Homer Croy mentions me in "Corn Country". There have been a few things but they're of no particular importance. If you have a photograph or snapshot of yourself of about the vintage of your book, I would appreciate it. Of course i would return it Promptly. I don't have a thing. Georges Schreiber did a caricature of me about then but I don't have a copy of it. Perhaps one of the local newspaper morgues. Phil Stong
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Identifier: wwu:24108
Title: Rawlings - The Yearling
Date: 1948-03-24
Description: The Yearling was published in 1938 by Charles Scribner's Sons. Rawlings was awarded the Pulitzer Prize for fiction in 1939 for The Yearling.
Digital Collection: info:fedora/wwu:24050
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_rawlings
Text preview (might not show all results): 20th Century Children's Authors - Rawlings ---------- 20th Century Children's Authors - Marjorie Kinnan Rawlings - The Yearling ---------- ---------- 20thCCA_Rawlings_01 ---------- Marjorie Kinnan Rawlings Gross Creek Hawthorn, Florida March 24, 1948. Dear Miss Montgomery: Your list of boo
Transcript text preview (might not show all results): 20th Century Children's Authors - Rawlings ---------- 20th Century Children's Authors - Marjorie Kinnan Rawlings - The Yearling ---------- ---------- 20thCCA_Rawlings_01 ---------- Marjorie
Show more20th Century Children's Authors - Rawlings ---------- 20th Century Children's Authors - Marjorie Kinnan Rawlings - The Yearling ---------- ---------- 20thCCA_Rawlings_01 ---------- Marjorie Kinnan Rawlings Gross Creek Hawthorn, Florida March 24, 1948. Dear Miss Montgomery: Your list of books is really impressive. Your text on The Yearling is accurate. No, I don't need the mimeographed sheet returned. With all good wishes, Marjorie Kinnan Rawlings ---------- 20thCCA_Rawlings_02 ---------- "The Yearling" Published by: Charles Scribner's Sons Year: 1938 Real Name: Marjorie Kinnan Rawlings (Mrs. Norton Baskin Pen Name: ditto What do you family and friends call you?: Marjorie A. YOUR BACKGROUND Date of birth: Aug. 8, 1896 Place of birth: Washington D.C. Father's occupation: patent att'y Number of Brothers: 1 and sisters: Father's nationality: American Mother's nationality: American Kind of home during childhood (farm, small town, city apt. etc): divided between suburb of Wash, Where: and father's farm in Maryland Amount of schooling (high school, college, etc.): high school and B.A. from university of Wisconsin Economic status during childhood (poor, middle class, wealthy): middle class Special interests as a child (sports, books, games, etc.): books, anything to do with nature, building stories around paper dolls--hated regular dolls. When did you begin to write?: as soon as I could put pencil to paper Why?: couldn't help it Who encouraged you?: teachers and parents whom I showed the drawings. What and when was your first success or recognition?: at age of 11, winning $2 prize in children's page of Washington Post. Biggest money I ever received. How did you happen to write for children?: Never wrote specifically for child- ren. The Yearling just happened to be told simply enough to appeal to them. However, remember sitting on steps of Baptist Church and telling stories to other children. ---------- 20thCCA_Rawlings_03 ---------- B. THE WRITING OF THE BOOK Where did you get the idea for the book?: See introduction to school edition of The Yearling Were the characters real people, or based on real people?: See above Where were you living at the time?: Cross Creek, Fla. What was your major occupation?: Writing and orange growing Did you talk the book over with any of them?: No Did you discuss it with an editor?: Yes Where and how did you get the material? (library research, travel, personal experience, etc.) See school edition of The Yearling When did you begin to write the book?: See enclosed sheet Where?: Cross Creek How much had you had published when you began it? (Give names of books): South Moon Under, Golden Apples What was your purpose in writing this book?: writers seldom have a "purpose" in writing anything at all. They write because a theme and a set of characters are irresistible. How do you write? (typewriter, long-hand, dictate): typewriter Where? (study, office, etc.): front porch in warm weather, by fireplace in cold Do you keep regular office hours?: Yes. If so, what are they?: work 8 hrs. a day when on a book Do you revise much?: greatly Write easily or laboriously?: laboriously Do you let your family or friends read your work, or try it out on children?: neither ---------- 20thCCA_Rawlings_04 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): myself Did you make an outline before writing the book?: more or less Did you decide on the title first or last?: first how long did it take you to write the book?: See sheet Did you work on it steadily?: yes Was your book accepted immediately by a publisher?: Yes Was it immediately popular on publication?: I suppose so C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: Nothing ---------- 20thCCA_Rawlings_05 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or Fair?: Medium Tall or short?: Tall Thin or plump?: Thin then- Color of eyes?: Blue Wore glasses?: for reading Color of hair?: dark Kind of hair--long or short?: short Curly or straight?: straight Are you quiet or talkative?: Both Friendly or reserved?: Both Do you laugh a great deal or are you usually grave?: Both Are you quick-tempered ir calm and placid?: Both What sort of clothes do you wear most when writing? (sports, suits, slacks, etc.): whatever I have that isn't too ragged Favorite occupations and hobbies?: Nature, cooking, reading What is your normal speech like?: (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.): Reasonably correct - occasionally abrupt If strongly religious, give denomination.: strongly religious but of no denomination Can you direct me to any articles or books which have been written about you?: Suggest you write Mr. Norman Snow, c/o Scribner's, 597 -5th Ave., New York City 17.
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Identifier: wwu:24103
Title: Knight - Lassie Come Home
Date: 1947-11-19/1948-02-26, 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: info:fedora/wwu:24050
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): 20th Century Children's Authors - Knight ---------- 20th Century Children's Authors - Jere Knight - Lassie Come Home ---------- ---------- 20thCCA_Knight_01 ---------- Lassie Come Home Published by: John C. Winston Co. Year: 1940 Real Name: Eric Knight Pen Name: Eric Knight A. YOUR BACKGRO
Transcript text preview (might not show all results): 20th Century Children's Authors - Knight ---------- 20th Century Children's Authors - Jere Knight - Lassie Come Home ---------- ---------- 20thCCA_Knight_01 ---------- Lassie Come Home Publi
Show more20th Century Children's Authors - Knight ---------- 20th Century Children's Authors - Jere Knight - Lassie Come Home ---------- ---------- 20thCCA_Knight_01 ---------- Lassie Come Home Published by: John C. Winston Co. Year: 1940 Real Name: Eric Knight Pen Name: Eric Knight A. YOUR BACKGROUND Date of birth: April 10, 1897 Place of birth: Menston, Yorkshire, England Father's occupation: Jeweler Number of Brothers: 3 and sisters: Father's nationality: British Mother's nationality: British Kind of home during childhood (farm, small town, city apt. etc): industrial area of Yorkshire, Leads, Halifax, and surrounding countryside, knew hard- ships young in life, and began to work during school days Amount of schooling (high school, college, etc.): Sidney O. High School Economic status during childhood (poor, midle class, wealthy): Wealthy at birth poor thereafter Special interests as a child (sports, books, games, etc.): reading, drawing birds and flowers, dogs and horses, (came to U.S. when 15, at high school here interested in ice-skating, football, ice-hockey, et.) When did he begin to write?: At 15, was a copy boy on old Pilad Press, as a precocious lad was encouraged by editorial writers of that paper, and had published a series of great romances of history which were syn- dicated---those were the days of Christopher Morley on Phila. and others of note. C. H. Dickerman encouraged him most. What and when was his first recognition of success?: First published short story was a short-short in Liberty in 1930, then first novel "Invitation to Life" appeared 1934, "Song on Your Bugles" recommended by Book Society in England 1936; "Flying Yorkshireman" Book of Month, U.S. 1938 How did you happen to write for children?: LASSIE COME HOME was first pub- lished as a short story (long) in the Saturday Evening Post, and editor friend suggested it would make a wonderful book for children, EK added all the passages he had cut to make it a short story and lo, it was a book! Anything else about his background which has a bearing on his writing.: E.K. read everything and anything he could lay his hands on when young. He chanced into newspaper work, when 15 and continued in it thereafter, when after World War I he found that his eyes had been gassed and he was color-blind so could not be an artist (he had won medals for drawing in Boston and N.Y.), returned to Philadelphia and columns of dramatic criticism for which he got nation-wide acclaim. After first novel appeared was offered job in Hollywood, but did not like it there, and started writing as full time career in 1934. Before that he had only worked at his stories and novels at nights and odd moments. His writing all stemmed from his childnood years in Yorkshire... ---------- 20thCCA_Knight_02 ---------- B. THE WRITING OF THE BOOK Where did he get the idea for the book?: From our own collies, we had a come-home collie, originally named Lassie but better known to us as Toots When? (Season as well as year): 1930s... Were the characters real people, or based on real people?: Yes and no Where was he living at the time?: Springhouse Farm, Pleasant Valley, Pa. What was his major occupation?: Writing Names (also nicknames) and identities of members of his household at the time. (If children, give ages.): Wife: Jere; Daughter: Bettty; Dogs: Toots, Herrie, etc.---all collies... Did he talk the book idea over with any of them?: Read over each night what he has written each day Did he discuss it with an editor?: Jack Fraser of J. C. Winston (now dead) had idea of making the S.E.P. story into a book. Where and how did he get the material? (library research, travel, person- al experience, etc.): personal experience and creative genius. When did he begin to write the book?: About 1938...Published Dec. 17, 1938 in the Sat. Eve. Post. Where?: In the country, U.S.A. How much had he had published when he began it? (Give names of books) 3 novels (adult) miscellaneous short stories, including THE FLYING YORK- SHIRE MAN, a novella, which with others was title story for BOM volume What was his purpose in writing this book?: Making LASSIE into a book from the short story was no trouble at all, as he had cut it greatly to make is short story in length, and had been begged by his family to make it longer How did he write? (typewriter, long-hand, dictate): typewriter Where? (study, office, etc.): anywhere indoors or outdoors, the most unlikely places... Did he keep regular office hours?: Yes. If so, what were they?: more or less mostly he wrote full mornings Did he revise much?: Yes Write easily or laboriously?: easily and then edited laboriously Did he let his family or friends read his work, or try it out on children?: yes, both ---------- 20thCCA_Knight_03 ---------- Who made his final copies? (himself, private secretary, public typist, etc.): Wife Did he make an outline before writing the book?: seldom, not for LASSIE Did he decide on the title first or last?: it decided itself How long did it take him to write the book?: Between the original story, revisions, the book version and further revisions about 1 year Did he work on it steadily?: no Did it go fairly smoothly or did he hit rough spots?: smoothly Was the book accepted immediately by a publisher?: see above Was it immediately popular on publication?: yes Anything else about his writing that might be of interest, especially any- thing that concerns this book: Dedicated to Dr. Henry Jarrett, an English- man who was a great dog expert in this country, and a sort of foster-father to E.K., Dr. Jarrett imported some of the finest collies ever seen in this country---the Wellesbourne strain, he was a veterinary doctor, and a great dog fancier---judged many of the outstanding shows in this country and Canada, including the Madison Square Garden National show several times. E.K. was very fond of Dr. J. who, at 80, is still alive. C. ILLUSTRATIONS How much did he have to do with the illustrations of his 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 OF PERSON HE WAS What did you look like when you wrote this book? Dark or Fair? Very British Tall or short?: Tall Thin or plump?: Thin Color of eyes?: Hazel Wore glasses?: No, exceptionally good sight Color of hair?: Auburn, bushy Kind of hair--long or short?: longish and un- controlable, but not affectedly so Curly or straight?: light wave How did he wear it?: parted ont he right Any special features of his appearance (square jaw, dimples, stoop, etc.) Fine shaped head, good hair line with shock of hair undisciplined, clean nape, prominent cheek bones, moustache, typical Yorkshire aquiline nose, eyes and forehead all lined with smile lines, Was he quiet or talkative?: latter Friendly or reserved?: both Did he laugh a great deal or was he usually grave?: Contagious laughter, hearty could also be deadly serious and eloquently so. What sort of clothes did he wear most when writing? (sports, suits, slacks, sports clothes, mostly farming clothes--lue jeams and wool shirts. Favorite occupations and hobbies?: Farming, wood-carving, dogs, horses, ice- skating, making furniture, playing piano or piano accordian, singing, etc... What was his normal speech like?: (Meticulously correct, colloquial, slangy, abrupt, rambling, etc.) to Americans he sounded British, with the soft Yorkshire burr, to British he seemed Americanized; voice deep and resonant What were some of his pet expressions and exclamations?: Too varied to note, depended on mood, sometimes Yorkshire dialect, sometimes American slang Are other details about himm no matter how tricial, which might help me to picture him in my own mind: Healthy, ruddy complextion, not large in frame, a mixture of robustness and sensi- tivity, he was perfectly framed in the outdoors, but equally at home in a drawing room; incredibly versatile, outgoing yet deeply humble, his physical presence would dominate a room and he loved to entertain with story or music or showing off his animals; moslty he loved his fellow man and wanted to ask the questions which would bring remedies for the world's worst ills... Can you direct me to any articles or books which have been written about him?: Whit Burnett in various end papers of STORY magazine...Biographical notes in various magazines which published his stories (Esquire, Sat. Eve. Post, etc.) H.C. Wilson Directory of Authors and Library Reference Biographies, Who's Who, etc... ---------- 20thCCA_Knight_05 ---------- 3209 Alki Avenue Seattle 6, Washington February 26, 1948 Mrs. Jere Knight Springhouse Farm Pleasant Valley Bucks Co., Pa. Dear Mrs. Knight: Thanks so much for filling out my question- naire about the writing of Lassie Come-home. I thought you gave me all the information I needed, but when I began to write the chapter I find I have a couple more questions. About your collie Lassie--known as Toots: She got lost from us chasing a rabbit in the woods a good distance from home How did you find out she was a come-home dog? Had you sold her, given her away, or let her somewhere at some time? If there was some incident which revealed her as a come-home dog, and which later served as the inspiration for Lassie, that is the incident I will highlight Another thing, how old was Betty at that time? about 18 And did Eric Knight send the story cold to the Post, or was it after his Flying Yorkshireman story? That ran in the Post, didn't it? Through his agent, Curtis Brown Ltd. of N.Y.C. Sorry to bother you again, but I do want to do the best I can with this chapter. Sincerely, Elizabeth Rider Montgomery *And later on, once when we had left her in our packed car at the inter section of a busy city street and were unfortunately gone longer than we intended, she managed miraculously to crawl out the partly closed window and get out to relieve herself. But when we returned she was sitting by the car, and a man was standing by watching her who told us he had tried for a half an hour to coax her away from the car... There were other similar incidents in our joint lives (she was almost 12 when she died of grieving for Eric and me). Forgive the scribble /over ---------- 20thCCA_Knight_06 ---------- And if you need more I'll try to manage if you ask me. You see, I have remarried and have just become a proud mother (at the age of 40, can you imagine!) Jere Knight Lindtner ---------- 20thCCA_Knight_07 ---------- November 19, 1947 Mrs. Elizabeth Rider Montgomery 3209 Alki Avenue Seattle 6, Washington Dear Mrs. Montgomery: I thought it advisable, after looking over the questionnaire, to send it directly to Mrs. Ruth Ferguson at 400 East 49th Street, New York, New York, and I have asked her to forward the material to you when she has filled in the information. Where I was able to supply the information, I did so, but anything connected personally with Mr. O'Brien I felt she would be much more competent to handle. It was my privilege to have met bith Mr. and Mrs. Knight a number of times, and in fact while we were working on LASSIE COME- HOME, Eric Knight came into the office to discuss matters with us. He was a very colorful person with black hair and a sort of reddish moustache and a very ruddy complexion. He had rather much of an English accent, although not an unpleasant one, and was addicted to wearing coats and veste that did not match! He was a very jolly man and had only one real hatred that I knew of and that was the way they did business in Hollywood. Of course you may not want to use this, because it might not be advantageous, but it took him a long time to decide whether he wanted LASSIE filmed by M-G-M. Then after everything was settled, he was very cooperative, but I believe was killed before the picture had its premiere. In fact I am quite sure of that, since Mrs. Knight had already gone into the WACS and we were unable to contact her for the preview in Philadelphia. I am quite sure that Mrs. Knight, who is now Mrs. Frederick Lindtner, will be very helpful. She is a perfectly charming woman, and was before her marriage fencing champion in her class at the University ---------- 20thCCA_Knight_08 ---------- November 19, 1947 Mrs. Elizabeth Rider Montgomery of Pennsylvania. She has been in here to see me since her remarriage, and I understand she is still trying to straighten out the late Major Knight's notes on prospective books. Sincerely yours, Elizabeth Morton, Editor Trade Department
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Identifier: wwu:24099
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: info:fedora/wwu:24050
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): 20th Century Children's Authors - Daugherty ---------- 20th Century Children's Authors - James Daugherty - Andy and the Lion ---------- ---------- 20thCCA_Daugherty_01 ---------- Westport, Conn. Dear Elizabeth Rider Montgomery, I am naturally very encouraged to know that you contemplate li
Transcript text preview (might not show all results): 20th Century Children's Authors - Daugherty ---------- 20th Century Children's Authors - James Daugherty - Andy and the Lion ---------- ---------- 20thCCA_Daugherty_01 ---------- Westport, C
Show more20th Century Children's Authors - Daugherty ---------- 20th Century Children's Authors - James Daugherty - Andy and the Lion ---------- ---------- 20thCCA_Daugherty_01 ---------- Westport, Conn. Dear Elizabeth Rider Montgomery, I am naturally very encouraged to know that you contemplate listing Andy in your new book about books, and the story of their making. I have often wondered why the hell writers and artists ever go thru the enormous pain, effort, sweat and tears it takes to write a story or for that matter a single significant English sentence, paint a picture, or construct a poem, and then encourage the myth that they dash these things off in casual moods of airy inspiration. Perhaps you will throw some light on this mystery. I am somewhat at a disadvantage in the face of your questionnaire. As much of the data regarding time and place has escaped me and the particular story or picture book of Andy was never written at all. in the usual sense. I can however give you a more intimate genesis of its origin than your formidable questionnaire might reveal. I have always strongly felt that laughter was one of the great heal ing agents for the burdens of humanity. It lightens them at least. And i have always cherished a secret ambition to be able in some wa way to better spread this contagion of healing laughter. Another interest or theory I have contemplated is the telling of a story entirely in pictures without the use of words. In this country only Lynn Ward has done it- in his fine novels in wood cut. Of course the comic strip does this in a way but relies heavily on balloon captions and a compilation of plot rather than the simple but unlimited possibilities of pure pic turising At this point here is how Andy evolved. Mrs. Daugherty who has written several excellent juveniles, plays and novels, and myself were spending a long winter evening in our ---------- 20thCCA_Daugherty_02 ---------- frontier cabin in the Conneticut backwoods about fifty miles from New York. We were having some fine talk about the good plays we had seen and of course discussing the charms of Bernard Shaw 's play Androcles and the Lion. We had seen it performed in New York years ago. As you may recall it was the Lion that stole the show and had all New York rolling in the isles as they say for a whole season. It was in this mellow mood that I went into my studio before turning in and quickly sketched in pencil the picture sequence of Andy and the Lion. I naturally and unconsciously visualized the story in terms of my own middle western childhood. The problem that interested me was to tell a story communicating humor, good will and affection entirely thru the medium of pictures without words. The sketches lay in my studio for weeks among the Wilderness of a thousand and one drawings paintings and paraphernalia that litter this untidy shop. When supplies run low it is my practice to go into the settlements to trade and barter and stock up for the next stretch. Putting the sketches in the pocket of my store clothes I adventured to the great city with considerable misgiving and distrust. Greatly confused in the rushing stream of its energetic inhabitants, I happily remembered Kay Masee, as a person with a sense of humor and imagination and as a creative editor with the rare gift of extracting the best from the writers and artists of children's books. I had previously illustrated Benet's John Browns Body and other books for her. Miss Massee was vastly amused with the sketches and said you must make this into a book at once. This is an answer to prayer, You may be sure I said Amen. The finished 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 had never written anything except personal correspondence I passed this up. The editors drafted a text but this just didn't seem to work out. Finally as a last resort Miss Massee and I sat in her office and wrote on the back of each sketch a line that sounded right. It took about half an hour and was great fun and the whole fitted together perfectly. As a happy finale the famous Spenser Collection of rare manuscripts at the New York Public Library bought the original drawings to add to their collection of representative American art in this field. Oddly enough this account seems to be the exception that proves the rule about books and pictures being fashioned thru blood, tears and sweat. Or maybe my theory is all wrong anyway. In the Haycraft "Authors and Illustrators of Children's Books" is an autobiography which gives you the answers to most of your questionnaire. And if you still want more with some photographs I think I can dig up something in the files. I side with those artists and writers who are finding in the heart and meaning of American life and its people their theme and inspirat tion. The surface here has only been scratched, the possibilities for rich expression are unlimited. If I have failed to supply what you want on this them of Andy I ha have anyway made the above effort to be cooperative. With best wishes for the new project, sincerely James Daugherty
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Identifier: wwu:24098
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: info:fedora/wwu:24050
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.w3.org/2001/XMLSchema-instance"> <identifier type="local">20th Ce
Transcript text preview (might not show all results): ---------- 20th Century Children's Authors - Florence Atwater - Mr. Popper's Penguins ---------- ---------- 20thCCA_Atwater_01 ---------- 7861 South Shore Drive Chicago, Illinois January 11,
Show more---------- 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)
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Identifier: wwu:24100
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: info:fedora/wwu:24050
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): 20th Century Children's Authors - d'Alaire ---------- 20th Century Children's Authors - Ingri and Edgar Parin d'Aulaire - Ola ---------- ---------- 20thCCA_d'Alaire_01 ---------- August 12th Solve, Alvjal, Norway Dear Miss Montgomery Thank you very much for sending us the co
Transcript text preview (might not show all results): 20th Century Children's Authors - d'Alaire ---------- 20th Century Children's Authors - Ingri and Edgar Parin d'Aulaire - Ola ---------- ---------- 20thCCA_d'Alaire_01 -------
Show more20th Century Children's Authors - d'Alaire ---------- 20th Century Children's Authors - Ingri and Edgar Parin d'Aulaire - Ola ---------- ---------- 20thCCA_d'Alaire_01 ---------- August 12th Solve, Alvjal, Norway Dear Miss Montgomery Thank you very much for sending us the copy of your manuscript which followed us up here and caught up with us at last. It was very kind of you to include us in your book which we are sure will be valuable and interesting. All our best wishes of good luck with it! We are enjoying a cool August after a hot July above the Artic Circle swimming and fishing in the rays of the midnight sun ---------- 20thCCA_d'Alaire_02 ---------- Soon these happy days full of inspiration will be over now when we fly back home on Labour Day. With our best wishes Yours Edgar Parin d'Aulaire Ingri Parin d'Aulaire ---------- 20thCCA_d'Alaire_03 ---------- "Ola" Published by: Doubleday Doran Year: 1932 Real name: E. P. d'A Pen name: Edgar Parin d'Aulaire What do your family and friends call you?: Edgar A. YOUR BACKGROUND Date of birth: Sept 30th 98 Place of birth: Campo Blenio, Switzerland Father's occupation: Artist Number of Brothers: X and sisters: 1 Father's nationality: Swiss Mother's nationality: American Kind of home during childhood (farm, small town, city apt. etc.): Cities Munich, Paris Where: Florence Amount of schooling (high school, college, etc.): College - Artschool Economic Status during childhood (poor, middle class, wealthy): Bohemian Special interests as a child (sports, books, games, etc.): books paintings Childhood ambitions: Art When did you begin to write?: wrote and drew form early childhood Why?: Surroundings Who encouraged you?: Surroundings How and when was your first success or recognition?: 1922 - illustrated books for German publisher How did you happen to write for children?: Collaboration with Ingri Anything else about your background which has a bearing on your writing. ---------- 20thCCA_d'Alaire_04 ---------- B. THE WRITING OF THIS BOOK Where did you get the idea for the book?: Through Norwegian scenery and children When? (Season as well as year): spring, summer 1931 Were the characters real people, or based on real people?: no Where were you living at the time?: New yorkΓÇôParis-Norway What was your major occupation?: Art Names (also nicknames) and identities of members of your household at the time. (If children, give ages.): Ingri Did you talk the book idea over with any of them?: yes Did you discuss it with an editor?: yes Where and When did you get the material? (library research, travel, personal experiences, etc.): All 3 When did you begin to write the book?: summer 31 Where?: Norway How much had you published when you began it? (Give names of books): Several adult abroad, several ill. in NY, Magic Ring (picture book) in coll with Ingri What was you purpose in writing this book?: To present Norway to American Children How do you write? (typewriter, long-hand, dictate): longhand or dictate Where? (study, office, etc.): study Do you keep regular office hours? If so, what are they?: whole day half night or nothing Do you revise much?: lots Write easily of laboriously?: laboriously Do you let your family or friends read your work, or try it out on children?: yes ---------- 20thCCA_d'Alaire_05 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): Ingri Did you make an outline before writing this book?: many Did you decide on the title first or last?: early How long did it take you to write the book?: 9 months Did you work on it steadily?: very Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.) Many rough spots Was your book accepted immediately by a publisher?: yes Was it immediately popular on publication?: yes C. ILLUSTRATIONS How much do illustrations have to do with your book?: 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?: Hazel Wore glasses?: no Color of hair?: Medium Kind of hair ΓÇô long or short?: Medium Curly or straight: Medium How did you wear it?: parted on one side Are you quiet or talkative?: Quiet Friendly or reserved?: reserved Do you laugh a great deal or are you usually grave?: grave Are you quick tempered or calm and placid?: seemingly placid but quick tempered What sort of clothes do you wear when writing? (sports, suits, slacks, etc.): any old things Favorite occupations and hobbies?: farming - music What is your normal speech like? (Meticulously correct, colloquial, slangy, Abrupt, rambling, etc.): slight accent in every language What are some of your pet expressions and exclamations? If strongly religious, give denomination. Any other detail about yourself, no matter how trivial, which might help me to picture you in my own mind.: see folder Can you direct me to any articles or books which have been written about you? If you have a photograph or snapshot of yourself of about the vintage of your book, I would appreciate it. Of course I would return it promptly. ---------- 20thCCA_d'Alaire_07 ---------- "Ola" Published by: Doubleday, Doran Year: 1932 Real name: Ingrid Mortenson Pen name: Ingri d'Aulaire What do your family and friends call you?: Ingri or Inga A. YOUR BACKGROUND Date of birth: Dec 27thΓÇô04 Place of birth: Kongsberg, Norway Father's occupation: Director of Royal Norwegian Silvermines Number of Brothers: 1 and sisters: 3 Father's nationality: Norwegian Mother's nationality: Norwegian Kind of home during childhood (farm, small town, city apt. etc.): House in different Norwegian towns (partly government owned) Amount of schooling (high school, college, etc.): Junior college 5 years art schools Economic Status during childhood (poor, middle class, wealthy): wealthy after Norwegian standards Special interests as a child (sports, books, games, etc.) skiing, hiking, walking, art, music, books Childhood ambitions: Art When did you begin to write?: 1929 Why?: For him Who encouraged you?: Edgar How and when was your first success or recognition?: Children's portraits from 1927 ΓÇô Ola as writing How did you happen to write for children?: Niece, general interest in children's psychology as a painter Anything else about your background which has a bearing on your writing. ---------- 20thCCA_d'Alaire_08 ---------- B. THE WRITING OF THIS BOOK Where did you get the idea for the book?: Through Norwegian scenery and children When? (Season as well as year) Spring ΓÇô summer 1931 Were the characters real people, or based on real people?: no Where were you living at the time?: New York, Paris, Norway What was your major occupation?: Painting Names (also nicknames) and identities of members of your household at the time. (If children, give ages.): Edgar Did you talk the book idea over with any of them?: Yes Did you discuss it with an editor?: Yes Where and When did you get the material? (library research, travel, personal experiences, etc.): all three When did you begin to write the book?: Summer 31 Where?: Norway How much had you published when you began it? (Give names of books) Magic Rug What was you purpose in writing this book?: To present Norway to American children How do you write? (typewriter, long-hand, dictate) Where? (study, office, etc.): studio Do you keep regular office hours? If so, what are they?: whole day half night or nothing Do you revise much?: yes Write easily of laboriously?: labo. Do you let your family or friends read your work, or try it out on children?: yes ---------- 20thCCA_d'Alaire_09 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): I. Did you make an outline before writing this book?: yes Did you decide on the title first or last?: early How long did it take you to write the book?: 9 months Did you work on it steadily?: very Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.): Many rough Was your book accepted immediately by a publisher?: yes Was it immediately popular on publication?: yes C. ILLUSTRATIONS How much do illustrations have to do with your book?: 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?: little ---------- 20thCCA_d'Alaire_10 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or fair?: fair Tall or short?: tall Thin or plump?: slim Color of eyes?: bluegrey Wore glasses?: no Color of hair?: blond Kind of hairΓÇôlong or short?: short Curly or straight: permanent How did you wear it?: as everybody else Are you quiet or talkative?: talkative Friendly or reserved?: friendly Do you laugh a great deal or are you usually grave?: laugh Are you quick tempered or calm and placid?: quick temp. What sort of clothes do you wear when writing? (sports, suits, slacks, etc.): Anything Favorite occupations and hobbies?: bringing up children, skiing, reading What is your normal speech like? (Meticulously correct, colloquial, slangy, Abrupt, rambling, etc.) very rapid, accent in English What are some of your pet expressions and exclamations? in the next future Can you direct me to any articles or books which have been written about you? folder enclosed If you have a photograph or snapshot of yourselft of about the vintage of your book, I would appreciate it. Of course I would return it promptly.
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Identifier: wwu:24110
Title: Thurber - Many Moons
Date: 1947-11-17/1948-03-13, 1947-11-17-1948-03-13
Description: Three letters from James Thurber to Elizabeth Rider Montgomery; Four page questionnaire completed by James Thurber. Many Moons was published in 1942 by Harcourt-Brace. Artist Louis Slobodkin received the 1943 Caldecott Award for his illustrations.
Digital Collection: info:fedora/wwu:24050
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_thurber
Text preview (might not show all results): 20th Century Children's Authors - Thurber ---------- 20th Century Children's Authors - James Thurber - Many Moons ---------- ---------- 20thCCA_Thurber_01 ---------- November 17, 1947 Dear Miss Montgomery "Many Moons" was the first thing I took up after a series of five eye opera
Transcript text preview (might not show all results): 20th Century Children's Authors - Thurber ---------- 20th Century Children's Authors - James Thurber - Many Moons ---------- ---------- 20thCCA_Thurber_01 ---------- November 17, 1947 Dear M
Show more20th Century Children's Authors - Thurber ---------- 20th Century Children's Authors - James Thurber - Many Moons ---------- ---------- 20thCCA_Thurber_01 ---------- November 17, 1947 Dear Miss Montgomery "Many Moons" was the first thing I took up after a series of five eye operations which lasted from October, 1940 to April, 1941. I had one of the worse cataracts in history and also one of the most mysterious eyes. i was shot by an arrow when I was six in Falls Church, Virginia, and the sight of my right eye was given up as los also. Doctors regard it as a miracle that I did not go stone blind when I was six. Of the 30,000 recorded cases in medical history only three of us did not go stone blind. One great doctor said that I saw until the cataract set in in 1940, although I did not have any apparatus of vision. He said I could call it E.S.P. or God. Another man said it was like playing a piano with both hands cut off at the wrist. The terrible strains of the operations resulted in a severe nervous breakdown which struck me one Sunday night in june, 1941, after I had written the first 300 words of "Many Moons". I began to shake all over but I continued to write. I managed to finish the story that night, which is something of a miracle for me who has often taken eight weeks to write 4,000 words. I used to write on the typewriter and I often did stories over from beginning to end from five to ten times. I had to take up a new system of writing with the loss of 8/10ths of my vision, and starting with "Many Moons" I used a soft black pencil and yellow paper, since black on yellow is the most visible of all color combinations. This is why it is used on all American highways for traffic signs. Since I could not see what I was writing, I used to run my thumb down the page to keep track of where I was, but I often wrote over lines. Now through practice and strong glasses I write over only when I get tired. I write on both sides of the paper and get only 20 words on a side. I use 200 sharpened pencils. ---------- 20thCCA_Thurber_02 ---------- The original draft of "Many Moons" was accidentally left on the kitchen table in the summer house of a friend of mine on Martha's Vineyard, and I did not get it until the following spring. The breakdown had made it impossible for me to write during that summer and winter anyway. When I had the story copied it ended without the three attempts to conceal the moon. E.B. White, whose criticism has always meant a great deal to me, in both writing and drawing, suggested that the story seemed incomplete the way i had it. The little Princess just went to sleep with the golden moon, and without any problems. I thought up the solution myself, but I gratefully acknowledge the nudge from Mr. White. The story was condensed in Reader's Digest without my consent, since the publisher had all reprint rights at that time. I retain them myself now. It was also done on Radio Reader's Digest. I regard The Great Quillow", my second fairy tale, as being better than "Many Moons" and it was seven times as hard to write. My final expression in this field, "The White Deer", took me a year and is better than the other two. It was brought out as an adult book. I have no doubt whatever that because of my nervous condition i entered the world of fairy tales partly as an escape. It helped a lot. I am nearly 6'2", and I weigh only 155 lbs. I have a thick thatch of hair that is now nearly white My complexion has been described as "a cranberry in candlelight". i am extremely nervous as a result of not only five eye operations, but of two pneumonias and a ruptured appendix, all within sixteen months. I was given up for lost because of peritonitis, but I had to finish "The White Deer" so I did not have time to die. For further information about my personality write to Mr. White or Joel Sayre at The New Yorker, or Miss Ann Honeycutt, an old voice teacher of mine, 22 East 66th Street, New York City. I sing only late at night. Sincerely yours, James Thurber ---------- 20thCCA_Thurber_03 ---------- West Cornwall, Conn. January 14, 1948 Dear Mrs. Montgomery: The objections to your piece consist mainly of loud and indignant protest from both my wife and daughter who feel that the dialogue, since it was made up, definitely gives the idea of being unreal. In other words, you have romanticized the situation, since my daughter was not present at the time and Mrs. Thurber resents dialogue which is so unlike her, and also feels that the use of "Jamie," etc., has the effect of presenting her a little soft and silly. Of course the dialogue method helps you to pad out the story, but it seems to all of us that it would be improved by casting it into straight third-person prose. This would eliminate the feeling of artificiality that the dialogue is bound to give. Maybe i could send you some further material but I don't know what it would be. I have always felt that straight journalistic accounts are better than fancied situations. Maybe you can see your way to rearranging the material. Sincerely yours, James Thurber ---------- 20thCCA_Thurber_04 ---------- West Cornwall, Conn. March 13, 1948 Dear Mrs. Montgomery: Your new version is all right with me and, as I said, the original one was opposed by my wife and daughter who do not object to dialogue but felt that your version of how they talk did not do them justice. The question of children liking dialogue better than solid prose has interested me for years. You are quite right that they like dialogue better but the trouble is that many children grow to be eighteen or twenty before they can throw off their awful addiction to conversation. Most girls in their teens prefer some- thing like "Centennial Summer" to "My Antonia" simply because there is more talk in the cheaper novel. When they do get around to solid prose they find it better and just as interesting. I do not believe they should be catered to or surrendered to by adult writers and teachers. Indulgence should be tempered with discipline. Mrs. Thurber and I were living in a house of our own that summer on the Vineyard and had left the manuscript at the house of some friends who live nearby, but this is a minor point. My father was once with the Underwood Typewriter Company and I began typing when I was eight. I never learned the touch system but for nearly forty years I wrote extremely fast. You have to if your are a newspaper reporter, as i was. Not many reporters used the touch system but they all wrote swiftly. My father was some- thing of a speed demon but he was not a touch man either. After six months a typist should be able to type with his eyes closed by memory of the keyboard, and most of us operate that way. The only hunt and peck people I ever knew were girls in their teens and young wives who got typewriters for Christmas. Those who still hunt and peck after six months or a year should give up and go in for basket weaving. I could still type but I would not be able to see the type, and a pencil gives you contact with your words. A great many writers use pencil and paper and then type it out later. I'm sorry you have been put to so much trouble. All my best wishes for the success of your book. Sincerely yours, James Thurber James Thurber JH Mrs. Elizabeth R. Montgomery 3209 Alki Avenue Seattle 6, Washington jt:jh ---------- 20thCCA_Thurber_05 ---------- "Many Moons" Published by: Harcourt Brace Year: 1942 Real Name: James Grover Thurber Pen Name: James Thurber What do you family and friends call you?: My family and my intimate friends call me Jamie. I am Jim to most people. A. YOUR BACKGROUND Date of birth: December 8, 1894 Place of birth: Columbus, Ohio Father's occupation: An honest politician Number of Brothers: 2 and sisters: none Father's nationality: American Mother's nationality: American Kind of home during childhood (farm, small town, city apt. etc): A series of two-story houses Where: In Columbus Amount of schooling (high school, college, etc.): Grammar and High School in Columbus and 4 years at Ohio State University. (Not graduated) Economic status during childhood (poor, middle class, wealthy): poor, middle class Special interests as a child (sports, books, games, etc.): I read more than anything else, but I liked games and could play them well;-In spite of the loss of my left eye at the age of six. Childhood ambitions: To become a newspaper man, artist and writer. I managed all of these. When did you begin to write?: at the age of six. Why?: You are a writer yourself and you know why. Who encouraged you?: Several friends and teachers in grammer grades, high school and college. My chief influence was the late Professor Joseph Russell Taylor. How did you happen to write for children?: I do not write for children as children. I regard them as more intelligent and aware then adults. I never use big words on adults. ---------- 20thCCA_Thurber_06 ---------- B. THE WRITING OF THE BOOK Where did you get the idea for the book?: Don't know - had it in mind for many years. When? (Season as well as year): I started writing it in June, 1941. Were the characters real people, or based on real people?: I believe that all good characters are a combination of the imaginary and the real. Where were you living at the time?: On Martha's Vineyard What was your major occupation?: Writer Names (also nicknames) and identities of members of your household at the time. (If children, give ages.) My daughter, Rosemary, was 10. I have no other children. She and I have a thousand nicknames for each other, all of which we regard as strictly private. Did you talk the book over with any of them?: I talk all my writing over with my wife, Helen, who was a professional editor, and with my daughter, Rosemary. Did you discuss it with an editor?: I gather you mean publisher. I discussed only the artist, who was the publisher's selection and a good one. Where and how did you get the material? (library research, travel, personal experience, etc.) Out of my little mind. When did you begin to write the book?: See above Where?: See above How much had you had published when you began it? (Give names of books): About 12 books - no space here to list them What was your purpose in writing this book?: The tremendous pleasure I knew I would get out of it. How do you write? (typewriter, long-hand, dictate): See covering letter. Where? (study, office, etc.): On a card table in the guest room. Do you keep regular office hours? If so, what are they?: No Do you revise much?: Yes Write easily or laboriously?: Combination of both. Do you let your family or friends read your work, or try it out on children?: My wife and daughter are my best critics. ---------- 20thCCA_Thurber_07 ---------- Who makes your final copies? (yourself, private secretary, public typist, etc.): Private Secretary Did you make an outline before writing the book?: I never make outlines. Did you decide on the title first or last?: I don't know. It was title of musical comedy Ohio State Scarlet Mask. 1923 which I wrote How long did it take you to write the book?: See letter. Did you work on it steadily?: See letter. Did it go fairly smoothly or did you hit rough spots? (Details of any particular difficulty and its solution would be appreciated.) See letter Was your book accepted immediately by a publisher?: Yes Was it immediately popular on publication?: Yes C. ILLUSTRATIONS How much did you have to do with the illustrations of your book?: Nothing. ---------- 20thCCA_Thurber_08 ---------- D. WHAT SORT OF PERSON YOU ARE What did you look like when you wrote this book? Dark or Fair?: Tall or short?: Tall Thin or plump?: Thin Color of eyes?: Blue Wore glasses?: Yes Color of hair?: Gray Kind of hair--long or short?: Medium Curly or straight?: Curly Any special features of your appearance (square jaw, dimples, stoop, etc.): Pointed jaw, mustache, high forehead Are you quiet or talkative?: Talkative Friendly or reserved?: Friendly Do you laugh a great deal or are you usually grave?: Laugh Are you quick-tempered ir calm and placid?: Quick-tempered What sort of clothes do you wear most when writing? (sports, suits, slacks, etc.): Slacks, sport shirts, sport jackets, moccasins Favorite occupations and hobbies?: Owning dogs, Used to bowl, play ping pong. If strongly religious, give denomination.: Non-practicing Methodist Any other details about yourself, no matter how trivial, which might help me to picture you in my own mind. See letter Can you direct me to any articles or books which have been written about you?: Thurber, Inc., Saturday Review by Robert Coates; The Legendary Thurber, The Ladies Home Journal, July, 1946; Thurber, The Comic Prufrock by Peter DeVries in poetry about 1943.
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