Tag Archive for Matthew McElligott

A Conversation with Marisabina Russo: Celebrating Her Graphic Novel Memoir, “Why Is Everybody Yelling?”

“I think you have to continuously challenge yourself
as an artist.
Learn a new vocabulary. Solve a puzzle.
Go down some dead ends.
Make discoveries.
Otherwise it gets boring.”
— Marisabina Russo

I admire the survivors in this business. The people who have carved out long careers in children’s books. Sometimes the light shines down brightly, other times they stand alone. And yet the survivors persist. They keep creating, keep making. Hey, it’s not like there’s a choice. Fun fact: Marisabina and I both published our debut books in 1986 — 36 years ago! — and exactly one of those books is still in print. (Clue: It’s not mine.) I first met Marisabina at the Hudson Children’s Book Festival some years back. We were wolfing down free food. I hope you give this interview some time. Marisabina is wise, perceptive, modest, kind, experienced. All the good things. Btw, does anyone have a better first name? Marisabina! It’s a joy to say out loud. Look! Here she comes now. 

 

Congratulations on a truly remarkable achievement. This new book feels like the summation of everything you’ve learned as a person and an artist — and yet, also, it shows that you are still growing, still learning new things. After a long and successful career, is this your most deeply personal work?

First of all, thank you! This book took me seven long years to complete and it only covers ten years of my life. I’m still recovering! It was the most challenging project of my career for several reasons. First, I had to dig deep to explore some pretty painful memories. Then I decided to tell my story in a graphic format, something I had never tried before. Next thing I knew, I was writing a script and teaching myself Photoshop! But I think you have to continuously challenge yourself as an artist. Learn a new vocabulary. Solve a puzzle. Go down some dead ends. Make discoveries. Otherwise it gets boring.

I love that. I think of it as: go to the thing that scares you. The project you aren’t sure you can handle. The challenges bring the best out of you. 

Absolutely. It’s a leap of faith. The hard part is taking the first step and then trusting yourself to figure it out.

My pal, illustrator/author Matthew McElligott, has a great expression for that. “You know how to land the plane.” It’s a reassuring thought when you are circling rough terrain, low on fuel. A benefit of long experience. It might be scary, but you are pretty sure that you’ll survive without too many civilian casualties. I was wondering: When did you start thinking about writing a memoir? That your story could become the story?

This madness all began back in 2008 when I was emerging from a harrowing year of cancer treatment. I did what I’ve always done in times of darkness — kept a journal/sketchbook. I took it with me every day; on the train, to the hospital for radiation, to the clinic for chemo, to my couch where I crashed every afternoon. I’d been reading a lot graphic books and it occurred to me that if I wrote about my cancer in a comic form, it would put this buffer of humor and art between my ceaseless anxiety and the deep unknown of my illness. I was doing it only for myself as a means of survival but then I happened to meet Mark Siegel of First/Second Books and he told me to be “brave” and send it to him. Obviously, the whole thing morphed from a cancer memoir into a coming-of-age memoir, but that’s another story. It was Mark who encouraged me to keep going. Then he offered to show it to Margaret Ferguson at FSG and to my great surprise, she took it.

You’ve said that if you realized at the time how much work it would be, you might not have done it. But now that it is done, you must feel immensely gratified.

Drawing a page or two of a comic is fun. Drawing over 200 pages is terrifying! I remember moments of despair as I looked at stacks of paper awaiting inking and painting. Would I ever finish? I felt as if I were running as hard as I could but staying in one place. Some panels took days to complete! But, yes, now that I can hold my book in my hands, I am thrilled. And in some ways, I really miss working on it. I still have a twinge of postpartum depression.

Well, if you really miss that feeling, I suppose you could hit yourself in the head with a hammer. 

Or maybe just start another graphic novel? Less violent.

As the youngest of seven children, I could really identify with the sense, especially early in the book, of listening in on conversations you didn’t fully understand. You are constantly trying to figure out what’s actually happening. 

In my family, I was always the only child in the room. Nothing revolved around me. I was expected to be polite and quiet. So I listened. My mother sometimes spoke to me in Italian when I was young but never in German. That was the language of secrets in my family. Of course, I wanted to know what was going on especially when the conversations grew heated! So I listened like a little mouse with big ears. I watched their faces and body language and one day I discovered that I understood German! It was like that feeling you get when you’re a child and you realize you can read. Everything shifted. 

So . . . all that artwork. Did you ever count the number of images you had to produce? I asked a similar question to Matt Phelan, and he was like, “Oh no, you can never count!”

Ha ha! I agree with Matt. Sometimes my husband would try to estimate how many drawings I was doing and I would make him stop! 

Oh, wait, you’re married? Now this is awkward. I thought this was date?

So many years! We met in college. My husband is my rock. He helped me enormously on this book by scanning all the artwork. If that doesn’t sound like much, try scanning 200 pages just for fun.

I sometimes work with high school students on their college application essay. I tell them how much I love that essay, the opportunity to pause and reflect and find meaning in their lives. A memoir is much the same exercise. Did anything surprise you along the way?

When I was in high school, I often wrote about the things that were going on in my family. I don’t think I was reflecting on any of it. I was just trying to record the craziness and kind of tame it. I remember my favorite English teacher suggesting there was no way these stories were true, that I had a big imagination! I assured him I was not making it up but I’m not sure he ever believed me. 

Writing about some of these same events now, so many years later, I did find myself reflecting on my relationships with different family members. I think I was lucky to grow up in an era of letter writing. It was especially moving for me to reread my brother Piero’s letters. Each envelope is a work of art. The words are poetic. His love for me is so obvious. As the years went by, his mental illness took a toll on all of us. It was hard for me to shake the memory of seeing him homeless on the streets of New York. But as I reread his earlier letters, I was swept back to happier days when he made me believe in magical things and the possibilities that were awaiting me in life.

That’s beautiful and heart-wrenching. Did you have a full script and then illustrate? Or do the two elements — word & image — come simultaneously?

At first I wrote and drew pictures all at once. But when I started working with my editor, Margaret Ferguson, she asked me to write the complete script before doing any more drawings. It felt like I was writing a film script and I enjoyed it. Of course, later, as I started to lay out the drawings, I would ask myself, “Really? You had to set all these scenes in the Louvre?” 

Ha!

There was a lot of research I had to do for the pictures to be sure they were accurate, everything from the paintings and interiors of museums and churches to the advertising in the subway stations. 

Bernard Waber — something of a forgotten genius, IMO — once told me that the writer in him tries to please the illustrator. And vice versa.

I knew Bernard Waber from an annual author dinner we both attended for several years. (They were organized by a school librarian in Putnam Valley.) He always had a twinkle in his eye. I truly hope he’s not forgotten! 

I have a sweet story about him, an unexpected act of kindness. A good man. I interviewed him at a time when my oldest son, Nick, was very sick. He popped a Lyle plush toy in the mail along with a sweet card. I will forever love him for that.

My writer and illustrator selves sometimes have to duke it out. When you’re making your own picture book, you have the freedom to move between words and images, rearranging, cutting, and editing as you go. But your two selves may not always agree! If anything, I think my writing self is the bigger diva, never wanting to cut a word or phrase.

Besides the art — and we’ll get to that in a minute — what was the hardest part about it? I’d think that it requires a heaping amount of courage. 

It felt, at times, like I was putting myself through therapy. I relived some difficult scenes from my life like my mother yelling at me, yelling at my stepfather, and the general unpredictability of her moods. I didn’t want to overdo it and turn my mother into a monster so it was a delicate balance. I also found myself writing at length about my brother, Piero, and ignoring my own story. I was very lucky to have Margaret as my editor because she would reel me back in and remind me this was my story, not my brother’s. She consistently pushed me to be more introspective. It could be painful but I knew she was right!

It’s easier to write about someone else than to turn that same tough gaze inward.

Amen.

Is there a particular sequence, or page, or passage, where you think, Oh, that part there, I’m proud of that.

Well, about halfway through, Margaret left FSG and I got a new editor, Wes Adams. The first thing he did was ask me to expand the book. More writing! More pictures! He encouraged me add more full page illustrations and so I did. One of these was the last page of Chapter 10, the aerial view of my friend, Karen, and me on the corner next to my apartment building. It was a lot of work to get the perspective right and draw all those bricks, but I’m very happy with it.

It’s a wonderful illustration, especially effective after five consecutive six-panel pages. A refreshing change of pace. It also brings home your youth, your smallness — and, of my, that is a lot of bricks! Why don’t they make these buildings out of stucco?

Ha ha. We’re talking Queens in the 1950s. 

 

That’s a lot of bricks to color. Could you take us through one brief section in more detail. One image, or one page, or one sequence of images. Why do you think it works?

The image at the bottom of page three where I picture myself as a little nun walking with other nuns felt like such a funny scene sitting as it does below the picture of my family arguing in a mixture of Yiddish and English. I think the pages of my visit to the mental hospital (30 – 32) are successful especially where the text with the first mention of Auschwitz is boxed alone next to a close up of me looking at the numbers tattooed on my Tante Anny’s arm. It stops the chatter of everyone arguing for a moment and reveals how deeply confusing and scary the adult world can be for a child. 

Amazing work. This is a book that rewards scrutiny. The more a reader puts into it, the more depths that are revealed. 

Thank you. I’ve heard from several readers that they rushed through the book the first time because the words and story were compelling them to finish. Later they decided to read the book a second time so they could absorb the pictures.

Lastly, as a writer, I’m envious of illustrators who can listen to podcasts while they work. I need either silence or instrumental music for (rare!) times of Deep Thinking. What did you listen to while doing all that artwork? 

While writing, sketching, and even sometimes even inking, I prefer silence. When I start painting I need music. I especially like listening to jazz. Some days I prefer old school R&B. Of course, that can be risky if I have a deadline because I might find myself dancing around the studio instead of painting! When I got to the teen years in my memoir, I played a lot of the songs I used to listen to on my record player, stuff by the Supremes, the Temptations, the Beatles, the Mamas and the Papas. It’s amazing how music can transport you to a long ago time. There I was, back in my room in that small apartment in Queens, listening to music and starting to imagine my future.

One of my favorite ideas in Harry Potter — are we still allowed to talk about J.K. Rowling? — is the portkey. The object that transports you to another time and place. Those exist in our muggle world, too. And for me, albums, songs, have that same ability. 

That’s why my husband and I will never get rid of our albums or our turntable! We used to have a jukebox to play our big collection of 45s. It finally broke but we still play 45s. 

Marisabina, I want to thank you for this book, this long career of yours, and the time you gave us today. I enjoyed every second of getting to know you better.

Same here, Jimmy. And thanks for letting me blab on about my book! 

   

TO LEARN MORE ABOUT THE FABULOUS WORK OF MARISABINA RUSSO, THERE’S THIS THING CALLED “GOOGLE” . . .

Frank Hodge, Remembered

When I learned that Frank Hodge had died, I immediately thought of all the people whose lives he had touched. Frank had that indelible knack. We quickly became entangled in his fiendish web of book people. Writers, teachers, readers, librarians: Hodge-Podgers, all. Somehow we were all mixed up in this beautiful community together. And it was fun. Full of laughter. Impromptu read-alouds. Mischievous zingers. Kindness. Frank made us feel not only validated, but gloriously celebrated, as if our work really, really mattered. You don’t see that much these days. But for Frank, it was like air. It was breathing. He represented something that feels nearly lost today, the way we hear stories about editor Ursula Nordstrom and think, oh gosh, that must have been something. 

I decided to reach out to different folks who knew Frank, to see if they would like to share a few words, a memory, a photo, something. The response was overwhelming but not surprising. Please forgive me if I failed to connect with you. Feel free to leave a comment. 

 

Cynthia DeFelice

When I was a young, aspiring author who didn’t believe in herself (that could still describe me, except for the “young” part), I came home to see my answering machine blinking. It was a long, effusive, incredibly affirming message from Frank Hodge — Frank Hodge! — telling me how much he loved my third book Weasel. I listened to it over and over again, and couldn’t bring myself to erase it. Eventually I had to replace that machine. But Frank’s words made all the difference in my brain and in my career. Those were heady days; Frank’s conferences were so full of joy and enthusiasm and positivity about ideas and books and the power of literature. I miss that, and I will miss him.

 

Mem Fox

Frank changed my American life and brought me to the attention of thousands of readers who would never have otherwise known me. I’ve been feeling lost and miserable since he died. I’m all by myself, as it were, down here in Australia, with a massive lump in my throat and no one to hug, i.e. no one who knew Frank.

I adored Frank. He was one of the world’s extraordinary people: outrageous, brilliant, and incredibly generous, occasionally difficult, with a wicked sense of humour and a love of salacious gossip—and a distaste for vegetables of any colour, much to my endless horror. Our conversations went far into the night but I never had to take my make-up off afterwards because I’d already cried it off, with laughter.

 

Bruce Coville

Reader’s Digest used to run a regular feature called “My Most Unforgettable Character.” For me, that would be Frank Hodge, who was a great force for good and joy in the world of children’s books. As anyone who ever attended one can testify, Frank’s conferences were one-of-a-kind events. An image that I still carry with me –- something I saw on numerous occasions –- is that of coming into the book area after Frank had done one of his presentations and not being able to see the sales tables at all because the throng of teachers and librarians trying to get at them was four deep. That was how good he was at getting people excited about books.

His conferences were always themed, and there is one that will always remain my favorite. I had been hanging around with him in the store on Lark Street, chatting about one thing and another, when we got to talking about how much kids loved scary stories. Frank promptly decided that he should focus a conference around that, and thus was “BOO!” born. An entire conference devoted to scary stories. How delicious! Without informing him of what I had in mind, prior to my presentation I dressed up as my “half mad twin brother, Igor.” When he introduced me this shambling, long-bearded, fur-coated hunchback came down the center aisle. He reacted perfectly, and I was never sure whether I had actually fooled him or he was going along with the fun. When I got up beside him I pulled aside my fake beard and said, “It’s me, Bruce!” We were still laughing about it years later.

Frank showed me innumerable kindnesses when I was just getting started, as I know he did to countless other writers and illustrators. His conferences were one of a kind –- and so was he. We will not see his like again.

 

Matthew McElligott

The field of children’s literature is filled with brilliant, generous people, none more so than Frank Hodge. He helped countless readers to find the perfect book, and countless authors (including me) to find their way in the world of publishing. He was warm, witty, and a raconteur of the highest order.

Frank had a big heart, although his love didn’t extend to technology. For years I was his tech support guy, and he always seemed to need an awful lot of support. It took me years to finally understand why; Frank preferred it when his computer was broken.

It was easy to drop by the store. I worked nearby, and told Frank to call whenever he had an issue, but he stubbornly refused to pick up the phone. Whenever something would go wrong—say, he forgot the icon to get back into his email inbox—he would sit down and write me a letter, then shut down his computer. Days would pass.

To make sure I couldn’t reply too quickly, Frank made the letters difficult to read. One letter was typed on the back of a paper napkin from Price Chopper. Another was typed in random chunks, scattered at odd angles across the page. His masterpiece was a long strip of paper tape with sentences that started and ended halfway through. It took the better part of an afternoon to figure that one out.

There was nothing quite like a Frank Hodge letter, just as there was nothing like a Frank Hodge bookstore, conference, or conversation. I’m blessed I could experience them all.

 

Joe Bruchac

Frank was such a wonderful, unquenchable spirit. It’s hard to think of him without a smile coming to my face. All those decades that he ran Hodge-Podge
Books, his teaching, the festivals he put together. For so many years it seemed as if his energy was everywhere in the world of children’s literature.

One story that I remember about Frank is an incident he told me about when he had to have surgery some years back.

Shortly after his surgery a nurse came into his room and said “It’s time for you to get up.”

“No,” Frank replied, “it is most definitely NOT time for me to get up. If I try to get out of bed now I will fall flat on my face.”

But the nurse was insistent, not realizing she was reading the wrong chart.

“All right,” Frank said he told the nurse. “If you insist!”

At that point in the story, Frank started laughing.

“What happened next?” I asked him.

“Well, what do you think happened?” he replied. “I got out of bed and fell flat on my face.”

And then he laughed even harder!

 

 

Loren C. Green

I first met Frank when I was waiting tables at his favorite spot. When Frank learned I was studying to be an English teacher, he invited me to Hodge-Podge to enjoy some of the new books. I was so intimidated that it took me almost two years to gather the gumption to take him up on his offer. I was terrified that Frank might wonder what I thought of a book and I had no confidence in my ability to recognize or articulate my thoughts.

On that first visit, Frank offered me a pile of books and ordered us lunch. We sat in his backyard sanctuary and by the time I left six hours later, I had a second stack of books to read and a new job helping to ship books all over creation.

Almost thirty years later, my friendship with Frank remains one of the singular defining ingredients of my life. Visits with Frank always morphed into adventures and his endless trove of stories was, reliably, equal parts mirth and tutorial. Like the books and the authors Frank championed, he was a master at imparting insight and emoting compassion while disarming with humor. He never did overcome his fear that his own writing might not measure up, but I was blessed with countless chapters of his story and their lessons have helped shape me.

These last two years, I struggled to visit Frank as often as I should have but when I could muster the courage, Frank would do his best to ask after the goings on in my world and he never missed an opportunity to tease me mercilessly, somehow stealing a narrow path through the closing fog to reprise his role, for another moment, as the perennial rascal prince.

 

Gail Denisoff

One quick story — Frank came to speak at my school (I was a school librarian in Schenectady and teaching at Woodlawn school at the time) and of course that required picking him up at the bookstore in Albany since he didn’t drive. We were talking in the car on the way to school and he was surprisingly unsure about how effective he would be working with the kids, especially at the middle school level. I assured him that they would love him.

He spent the day sharing books with classes and had the kids, grades K-8, enthralled as only he could do. A few weeks later, a mother stopped by the library to tell me that she had never been able to get her 7th grade son to read but after that day with Frank, he wanted her to get him several of the books Frank shared. She did and said he hadn’t stopped reading ever since — she even caught him reading with a flashlight under the covers when he should have been sleeping! She was almost in tears telling me this and Frank was so pleased when I shared that story with him.

 

Karen Hesse

Frank had the chutzpah to dig up my home phone number back in 1992 and call me after reading my second book, Letters from Rifka. I remember sitting on the stairs in my tiny old house listening to this complete stranger lavishly praise my writing while my children clamored in the background, longing for dinner. He flattered me for over an hour during that first phone call! When he was not complimenting my work we were discussing literature and writing and favorite books and authors. How could I help but fall in love with Frank. He championed not only my work, but the work of so many. He was funny and wry and sly and ironic and sensitive and bright and brave and a beloved friend to writers and artists everywhere. I will always be grateful to Frank and his early support of my work. But also his support of so many others struggling to find an audience for their unique and compelling voices. Frank made a difference in the world. He will be missed.

 

Daniel J. Mahoney

Frank was a wonderful guy. He heard of me when I published my first book. He said that he “wanted to meet a local boy who made it in the children’s book business.” He invited to his store, and to his famous “Let the Reading Begin” conference, where I met a lot of great people. I’m sad to hear of his passing.

 

 

Jerry & Eileen Spinelli

Eileen and I have long been happy and proud to count ourselves among the first of Frank’s anointed “Hodge-Podgers.” We have little pins to prove it. Personally, Frank was there at the birth of my first novel. I remember getting a call at work (somehow he’d  tracked me down) and hearing him say nice things and wondering, Who is this guy? Next thing I knew we were having dinner in Albany and Lark St. had already begun to sound magical.

Frank’s “Newbery Corner,” a photo taken at one of his conferences: Kate DiCamillo, Linda Sue Park, Karen Hesse, and Jerry Spinelli.

 

Linda Sue Park

Frank Hodge’s conference was the very first one I was ever invited to. It must have been 2001; I had two books published with a third coming out…. That ‘third book’ was A Single Shard, which won the Newbery Medal in 2002. Frank invited me back again that year, which is when the photo was taken.

I don’t seem to have a photo of Frank and me together, which I sorely regret. It meant so much to me to be invited to speak at that conference so early in my career, and I will always be grateful to Frank for that boost.
Patricia Reilly Giff

So many memories…

One night, at the beginning of our friendship, Frank introduces himself and asks me to speak to his class. Frank, a legend; I a new writer, unsure of myself.

How does he know this? Somehow he does, somehow I speak in his class, not once, but whenever he asks me.

We sit in his backyard one lovely summer afternoon talking about books and writers, and rarely, but sometimes, we disagree. I close my eyes, thinking. Is he ever wrong? I learn so much from him. I bask in our friendship.

Our family opens a bookstore in Connecticut. On opening day, a bus pulls up in front of the door. Frank has come all the way from Albany bringing friends, bringing readers, to cheer us on.

Even now as I write, I think of him. I wonder if he’d think my idea is worthwhile, if the characters come to life.

How grateful I am for Frank, lover of books, of story, of friendship.

Eric Luper

Of the 28 books I’ve written, two of them are dedicated to Frank Hodge. The first time we met, I was an aspiring writer. A friend suggested I introduce myself to a local kidlit luminary she described as a mix between Garrick Ollivander and Winnie the Pooh.

I printed my manuscript and headed to Hodge Podge Books, his tiny shop huddled beneath a brownstone on Lark Street.

Frank seemed delighted to meet me until he asked his first question: “What are your favorite children’s books?”

I knew this question carried weight. After all, this man literally ensconced himself with books. Unfortunately, the only characters that popped to mind were Garrick Ollivander and Winnie the Pooh.

“Right now, I’m reading Harry Potter.”

He flipped through my manuscript. “And you’d like me to read this?”

“If you have time.”

Frank tossed my pages into the trash. “Talk to me after you’ve read some good books and revised.”

Then, this curious, little man shuffled around his store gathering books from the shelves–books by Coville, Sachar, Anderson, DeFelice, Lubar, Gardiner, DiCamillo and Spinelli. “Talk to me after you’ve read these.”

The weeks that followed were the greatest writing lessons of my life, and the beginning of a great relationship with a brilliant mentor and friend.

 

Franki Sibberson

It is always a treat to visit independent bookstores when I visit new cities. I was fortunate enough to visit Hodge-Podge Books when I visited Albany many years ago.  I quickly understood that Hodge-Podge Books was a special place because of Frank Hodge.  He not only knew books but he came to know people and make him part of his book community quickly. He was committed to everyone in the book world. His love of books brought people together and those of us who visited his bookstore that day felt lucky to be a small part of all that he created at Hodge-Podge Books.

 

 

 

Suzanne Bloom

If only I could find it. That single-spaced two sided letter from Frank; densely woven with appreciation and well-considered comments. Something I could wear like a warm winter scarf.

Let’s get the guilt out of the way. I didn’t call or drop a line. I thought there would always be next week. A quick visit to Frank’s store might only last 2 hours. And I made too few trips. But each one was a master class in the art of picture book making, plus some gossipy asides. Don’t ask me what the gossipy asides were; long forgotten now. The book-lined walls brought the space in closer with just enough room to open a large volume or two. You could explore or, better yet, let Frank find a work, just for you; then Frank-splain the beauty of it. He gathered, curated and matched books to readers. It was like a book/dating site.

He built bridges between writers and readers, and grew a community of devotees. I daresay we all made new friends because of Frank.

I’ll find it. It made me feel like I might be a real writer and exhorted, encouraged and expected me to carry on. Perhaps you too, earned his approbation. Even if you didn’t get a letter, in the spirit of Frank and his love of the world of children’s literature, carry on!

 

Simon James 

Making books can be a lonesome experience, locked away in a room somewhere, wrestling with projects for months on end, but Frank always knew how to let the sunshine in. A phone call or a letter from Frank was a moment when the pressure lifted off and the very reason why you were struggling with those projects immediately came into sharp focus. His love for what you created always broke through your own moments of despondency or doubt. Often, we talked for several hours on transatlantic calls, joking at each other’s expense. We both enjoyed a deprecating humour that led us to insult each other with as much good nature as humanly possible.

Despite his gift for reaching out to others through books, Frank was a very private man. Perhaps there was a price to pay for his selfless enthusiasm and running the bookshop below his home. I stayed with him many times on my visits to schools around Albany. His personal living quarters above the shop were modest and unpretentious. His bedroom back door led outside to a wooden stairway above the backyard. Frank kept a long piece of string tied to that door, it ran to a safety pin attached to his pillow. This was for Crisis, his beloved cat, to be able to go outside in the night. When sufficiently cold, Frank would wake up and pull the string to swing the door back to be almost shut, until Crisis wandered back in again. This went on all through the year whatever the weather. I can remember trying to sleep in his spare room in the loft wondering why it was so utterly freezing at night. One Winter, I ended up with bronchitis. I could hardly speak. Naturally, I wanted to cancel some school visits, but Frank would hear nothing of it!

Frank was a superb presenter of books. He knew how to bring out the best from a text he loved. His warm, inquisitive voice and exquisite timing instantly held audiences spellbound. He held the book in one hand whilst gesturing with the other, like some high priest. He was a master at this, yet completely self-effacing at the same time. He was also openly opinionated; as vocal about the books he didn’t like, as he was about the books he loved. He made every book he read aloud urgent and desirable, one that you simply had to add to your collection.

Yet another talent of Frank’s was his gift for the lost art of letter writing. I am very glad I still have the many letters he wrote to me. When I read them they make me laugh, principally because of the way we mercilessly took the mickey out of each other. Nothing was too serious, except our friendship. I will miss him.

 

Cheryl Harness

Boy oh boy, how I hope that, in the blue beyond, somewhere off in the Afterlife, that ultimate hodgepodge, the joyful souls of book lovers and writers are gathered ’round their newly-arrived soul mate, their oh-so-kindred spirit, that of Francis Hodge.
At least, I’m trying hard to envision the scene, as well as the time way back in the early 1990s when I first visited Albany, New York’s swellegant little bookstore on Lark Street and met Frank Hodge, its greathearted proprietor. How did I, a shy, newbie author-illustrator from Colorado, come to be there? Because Frank had taken an interest in my first historical picture book, Three Young Pilgrims — talk about Thanksgiving! Little did I know then that the charming, soft-spoken gent with whom I’d shaken hands was one of the truly great champions of books for young readers. What did you want to know and/or need to learn? He could tell you. What lies beyond that ultimate veil? Now, if he could, he’d tell us that too. So we mortals are left to speculate. And read, thank goodness. And imagine — trying to envision, for instance, all of those word lovers who’ve gone on ahead, saved a place for Frank, now taking him by the hand.

 

 

A page from Jigsaw Jones: The Case of the Ghostwriter, featuring Hedgehog Books and an owner named Frank. It even includes his cat, Crisis. I dedicated the @ 2000 book to Frank — but then again, it seems like we all eventually got around to dedicating something to him. Just that kind of guy, I guess. — JP.

 

A Few Frank Facts . . .

Frank’s famous store may have been only 240 square feet –- yet it’s impact was enormous. The business hummed along, built around Frank’s close connection with hundreds of teachers and librarians. He enjoyed a lively and jocular relationship with the UPS drivers that daily sprinted in and out the door, burdened with boxes of books. The first “Let the Reading Begin” conference began in 1985 and ran for 17 years. These were always insanely elaborate and over-the-top events. Frank believed authors and illustrators were royalty, and treated them lavishly. Expenses be hanged! After a pause for double-bypass surgery, Frank briefly revived a downsized version of the old conference, but it became too much, even for indefatigable Frank Hodge. The store logo was created by Mark Teague.

 


 

One Question, Five Authors #3: “What influence have comic books had on your work?”

Welcome to the third installment of “One Question” — the world’s laziest interview series. Today the focus is on comic books, one of the great wellsprings of inspiration for so many talented writers and illustrators of children’s books.

Much thanks to our five guests below: Eric Velasquez, Bruce Coville, Matt McElligott, Charise Harper, and Alan Silberberg. Click on the “One Question” icon on the right sidebar, under “Categories,” to journey through time and space to visit past editions.

 

Eric Velasquez

As you know comic books played a huge part in life. Comic books basically taught me how to read. I found an interest in the characters and stories that I could not find in the reading material in elementary school. I was also fortunate to have a very smart mother that would direct me to the dictionary if I did not understand a particular word in any of the comics, this would later prove to be a key factor in my development. Today,  I am so happy that schools are  embracing comic books as legitimate reading material for students. This makes a big difference in the lives of reluctant readers.

Now, in terms of my work, as a result of my love of comics I wanted to become a cartoonist. I went to the High School of Art and Design to study cartooning. However, in my senior year I was introduced to painting and the rest is history. Because I still love comics there are many aspects of comic book art in my work today, mostly my use of panels and dramatic angles.

 

Bruce Coville

I was 11, and already an avid reader of comics, when Stan Lee unleashed the first issue of The Fantastic Four and launched what became a revolution in comics. That comic, and the cascade of newly created characters that soon followed, provided a real time example of how an art form (though calling comics an “art form” at that time would have generated howls of derisive laughter) could be reinvented and re-invigorated.

By the time I was in my mid-teens I was a devoted Marvel geek. In fact, my first published words were in Marvel letter columns. And, oh, how I wanted to write for them (much to my mother’s alarm).

Oddly, despite my devotion to Marvel, the very first money I made for something I wrote was the princely sum of ten dollars for a story concept I sold to DC’s The House of Mystery. Small change, yes . . . but as a first sale it helped give me confidence that I could be a writer.

Eventually I found my place writing prose for kids. But there is no doubt that comic books were a significant part of what put me on the path!

 

Matthew McElligott

I can remember trading an action figure for my first stack of comics in second grade, then the excitement of bringing them home and spreading them out on the living room floor. They were a mix of titles, tattered and worn, and out of sequence. Some issues began in the middle of a larger story, and others ended with thrilling cliffhangers. The door was opened to a living, breathing world that was not quite fantasy, not quite reality, and I moved in and never really left.

Now, decades later, I understand that there are specific, formal reasons why that world was so enticing. Reading the works of Will Eisner and Understanding Comics by Scott McCloud really blew my mind, and I began to appreciate the formal structures that allow comics to do things no other medium can. Here’s an example I love to show my class:

 

 

At first glance, this panel by Jack Kirby may not seem particularly noteworthy. In fact, it might seem kind of juvenile. But dig a little deeper and you’ll notice something really remarkable: this panel is showing us the past (the dialog), the present (WHAK), and the future (the recoil from the punch) all at the same time, and our brains don’t explode. How does that work?

I’m still trying to figure this stuff out, and it informs everything I do as an illustrator. Good thing I made that trade in second grade.

 

Charise Harper

Words and pictures together makes sense to my brain.  My father is French, and when I was eight years old, my French grandmother started to live with us for six months of the year.  My brother and I could understand French and speak a little, but this was a big change for us.  Our house was instantly one hundred percent French speaking only.  Not only that, but our parents wanted us to read and write in French too.  So what did they do?  They bought us French comic books — lots of them.  This was huge!  At that point, I personally owned maybe six books.  My family did not have a lot of extra money, and now suddenly, we had stacks of Tintin and Asterix comic books.  My brother and I struggled through the books, looking at the pictures, deciphering the words and understanding more and more on each subsequent read.  These comic books changed my life.  They gave me an understanding of French humor, enabled me to interact with my grandmother and imbued me with a love of comics.  Using words and pictures together is my literary comfort food — my happy place.

 

Alan Silberberg

Confession: I was an Archies comic book fan. When the whole Marvel vs DC argument comes up at polite dinner parties  (I know geeky people!) I shrink back into the world of redheads and jugheads. I think reading stories about (unrealistic) high school where bullies and blondes and friendships were the norm gave me an idealized vision of life — that I liked to skewer in my writing. When the underground comics scene became (sort of) mainstream I was drawn to Ralph Bakshi and R.Crumb and other far out cartoonists and their styles. Jules Feifer’s early work and later Lynda Barry’s personal comics gave me a sense that telling my own stories visually was acceptable. In the Publishers Weekly review of Meet the Latkes, my cartooning style is described as “if I drew the book hopped up on chocolate gelt.”  And to me . . . that says it all!

McElligott & Preller Join Forces for a Super “Team Up” at The Open Door Bookstore: 12/2 @ 1:00 – 2:30

It’s two for the price of none! Matt McElligott and I are teaming up for a unique book signing at Schenectady’s Open Door Bookstore on 12/2 at 1:00 – 2:30. Come say hello and take care of that holiday shopping with signed books!

Matt is the big brain behind the ground-breaking “Mad Scientist Academy” series, which brings scientific fact to young readers in a fresh, graphic, fun-filled format. The latest title is The Space Disaster.

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“McElligott has concocted a winning formula for learning as entertainment.”Kirkus Reviews.

I’ll be there to celebrate the publication of my own space-themed Jigsaw Jones book, The Case from Outer Space, along with the return-to-print of eight “classroom classics.” In addition, I’ll be signing my hot-off-the-presses release, Better Off Undead, for slightly older readers (grades 4-8).

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“The latest early chapter book in Preller’s long-running Jigsaw Jones Mystery series has plenty of appeal for young independent readers.”Booklist.

“This uproarious middle grade call to action [Better Of Undead] has considerable kid appeal and a timely message. A strong addition to school and public library collections.” — School Library Journal.

 

 

 

5 QUESTIONS with MATTHEW McELLIGOTT, author/illustrator of “MAD SCIENTIST ACADEMY: THE WEATHER DISASTER”

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Here we are, oh sunny day, the latest installment of my “5 Questions” interview series with luminaries of the children’s book world. Here comes my friend, Matt McElligott!

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Matt, I’m looking at the second book in your “Mad Scientist Academy” series, The Weather Disaster. And all I can think is, Boy that looks like a lot of work! Seriously, I’m exhausted. So I’m just going to take a brief nap and, yawn, we’ll pick this up later. Zzzzzzzzzz.

You’re not the first person to tell me my books put them to sleep! 

Okay, I’m up! For readers who might be unfamiliar with this science series, you are essentially taking a nonfiction topic and giving it a fresh, contemporary spin. All told in an appealing format that’s a hybrid between the graphic novel and traditional picture book. As someone who has admired your work for many years, it strikes me that this series –- which is spectacular in every way — represents a culmination for you, a distillation of your many and varied talents. I don’t think you could have done this ten years ago. All of your past work informs this one book: your intellectual curiosity, your love of comic books and old Hollywood movies, your silliness, your experience with book design and storytelling, plus the signature McElligott sense of what kids genuinely like. How did this series begin?

The sentiment is much, much appreciated. And I agree completely -– I don’t think I could have done this ten years ago, and I’m not sure I could even do it now without the tremendous help of my wife Christy. It really is a lot of work. Not only does the story have to be compelling, but it also has to deliver a lot of real science along the way, hopefully while still captivating the reader. Finding that balance has been, by far, the trickiest part of putting these together, but I can honestly say I enjoy every part of it.

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The idea began with a suggestion from my longtime editor, Emily Easton, who felt that there was a real opportunity for a new series that could make science accessible for kids. We spent about a year and a half trying out various ideas and approaches until it finally started to gel. The graphic novel format came from both my love of classic comics and a practical need to fit all the information into thirty-two pages.

There must have been a point, early on, when you thought to yourself, “Uh-oh.” Just that pure terror of, What have I gotten myself into? Can I actually do it?

Boy, you nailed it with that question. The feeling of terror hit me a couple weeks into the first book and has lingered ever since. There are roughly a hundred illustrations in each book, and the thought of how long it will take to draw the next book keeps me up at night. I’ll spend about a year, maybe a little more, researching, plotting, sketching, and illustrating pretty intensely until it’s finished. But the good thing is that I’m not in it alone. I happen to be married to a very talented woman who’s a whiz at both researching and drawing (we met thirty years ago in art school) and we can divide up many of the tasks to keep everything manageable. Three books in, and we’re still married!

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Now correct me if I’m wrong, but your cruel editors don’t allow you to just make up stuff for this book? Is that true? So you’ve actually got to know what you are talking about? What’s the research process like? In this book you thank an actual weatherman, Jason Gough. Otherwise known as a, cough-cough, “stratospheric meteorologist.”

Oh, no. I make most of it up. (That part about how rain forms? That totally came to me in a dream.) Seriously, there’s a ton of research for each book, and meeting real scientists has been one of my favorite parts. For The Weather Disaster I worked with Jason Gough, and for the Dinosaur Disaster I worked with a man named Carl Mehling, a paleontologist who’s in charge of all 32,000 fossils at the American Museum of Natural History. For the upcoming Space Disaster, I worked with the astronomer Bob Berman, who you may know from his work on the radio station WAMC.

All of these scientists were so helpful, patient, and fully willing to engage my strange questions. (“Say, Jason, if you needed to create a tornado from scratch, how would you do it?”) Best of all, they embodied a perfect combination of science and imagination, and I was really lucky to find them. I’ve posted interviews with Carl and Jason on my website, and will be posting more soon.

Matt, you and I are both active with school visits. And I always recommend you to media specialists. The funny thing is, they usually say, “Yeah, he was already here.” At which point I figure out that I’ve been invited because they are working their way down, down, down the list. Not that I mind playing second fiddle –- I’m happy to be in the orchestra! But talk to me a little about your experience in schools. I mean, there you are at home, slaving away on these impossible books. Then you get out of the house! What do you hope to achieve when you visit a school? And also, if you don’t mind me cobbling questions together, what do you think that you get out of your school visits?

Don’t sell yourself short –- you have quite a reputation in the schools! I suspect you’re there because the teachers are actually working their way up the list. (Preller? Why not? Anyone’s got to be better than McElligott.)

I get paid in Ramen Noodles and old Lotto tickets. I think that’s a big part of my appeal.

I love your questions about author visits. The first is pretty straightforward: I hope the kids see that authors are real people, that making books is a thing that real grownups do, and that the writing and illustrating process can be hard, but is totally worth it. (Authors, after all, get to control the world.)

On school visits, Matt always shows readers the joy of . . . the thrill of . . . nevermind!

On school visits, Matt always shows readers the joy of . . . the thrill of . . . nevermind!

As for what I get out of the visits, I’m not sure anyone’s ever asked me that. I know I get to share my love of books –- that’s a big part –- and get to meet future authors and illustrators, as well as terrific librarians and teachers. But I also get to represent something bigger than myself, a duty I take very seriously. When a school hosts an author, and when they present the author/illustrator as someone of importance, the school is sending a message about the value of the arts that kids are almost certainly not getting anywhere else. I’m honored to be that representative, if even for just a day.

I like that, we are ambassadors from a distant land. I’ve never been comfortable with the “rock star” aspect of being a visiting author. Sometimes we get put on a pedestal. But when you view it as beyond the self, that we are representing something bigger than “Jimmy” or “Matt,” then it makes more sense.

Ambassadors is such a great word for it. We may be the only authors some of those kids will ever meet. If we’re funny, if we’re engaging, if it shows that we love our jobs, they’ll assume that all authors are that way. Those kids will come away with the idea that reading and making books is something they want to do too.

I recall Tedd Arnold telling me in an interview that he enjoyed checking in with their “squirmy reality.” That phrase always stuck with me. You get to look at those faces, and interact, and reconnect with the fact that, hey, a second grader in October is still really, really young. The visits land us in their world. You know what? It’s like going on a safari! You drive the jeep, Matt. I’ll grab the pith helmets!

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Exactly! It’s field research, and we can learn so much from studying the indigenous population of the elementary school.

You’ve tackled dinosaurs, you’ve wrestled with weather. What’s your next topic?

I can tell you that next up is The Solar System Disaster, out next summer. After that, maybe the ocean? Or maybe the science of belly-button lint. It’s probably between those two.

Well, I think we’ve all learned something today. Every book in this series is a disaster.

In more ways than one!

 

MATT McELLIGOTT keeps a terrific website which you can visit by clicking, madly, here

 

AND IF YOU’D LIKE TO READ PREVIOUS “5 Questions” interviews, thank you — just click on the names below. Coming next week: Jessica Olien and her blobfish! And after that: London Ladd, Matthew Cordell, Lizzy Rockwell, Nancy Castaldo, Matthew Phelan, and more (but not necessarily in that order).

* Hudson Talbott

* Hazel Mitchell

* Ann Hood