Tag Archive for Seven Impossible Things Before Breakfast

Geoffrey Hayes: An Appreciation Upon His Passing

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A week ago, last Monday, I received this note from author/illustrator Geoffrey Hayes:

Dear James, I just came across your wonderful review of my book PATRICK AND TED while going through my files. So nice to read your kind words again. I think it may be time to bring this one back!

I replied:

It’s such a great book. I’m glad my appreciation gave you some pleasure.

Five days later, I learned that Geoffrey Hayes had suddenly passed away on June 2, 2017 He was 69 years old.

I never met the man. And only recently did we connect via Facebook. Now he’s gone; may his fine work and gentle spirit remain in our hearts for years to come.

Geoffrey Hayes was given the Theodor Seuss Geisel Award some years back. Today it seems only fitting to share again the tribute I wrote in late 2009 about the small, quiet, tender book I so deeply admire.

 

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I’ve been dwelling lately on the concept of “books for boys.” It’s a huge topic, one that I can’t possibly address in a single blog entry. I mean, yes, we’re all aware of the gender gap in reading, that many teachers and parents struggle to inspire in their boys a love for reading. There’s been progress made, an awareness that boys are different from girls, and that their tastes in books often reflect those differences. Enlightened teachers are allowing boys to self-select more of their own reading material; graphic novels are gaining popularity and respect; and so on.

Bu when I encounter lists of “books for boys,” I’m often left deeply dissatisfied — even troubled. Because these well-intentioned lists are often guided by limited stereotypes: boys like action, boys like trucks, bodily humor, adventure, violence, etc. Okay, true enough. But these lists led us to an extremely narrow view of what a boy is, and what a boy could be. What about friendship stories? What about sensitivity to others? Gentleness? Don’t boys love their mothers, don’t they struggle with relationships, don’t they ever feel lonely or afraid?

I’ve been thinking about an old favorite book, Patrick and Ted by Geoffrey Hayes. It is out of print. I first encountered this quiet little picture book back in the 80’s, when I wrote copy for the SeeSaw Book Club, edited by Craig Walker. Yet it has lingered in my memory ever since. I think it’s a perfect story, one of the few books I wish I’d written. So I finally got around to purchasing a used copy. Let’s take a look at it:

Whoops. Because the image is not available on the internet for screen capture, we’ll have to go to my cheap scanner. My apologies to Mr. Hayes — and to you, Dear Reader — for the darkness, the low resolution. The actual book looks a lot better.

It is the story of two boys, best friends. They did everything together, even quarrel sometimes. But those brief spats did not matter . . . “because Ted was Patrick’s best friend, and Patrick was Ted’s.”

Then, one summer things changed . . .

A quick aside: This is such a classic story format, and a great model for new (and veteran!) writers. So many stories begin by establishing a timeless permanence. The well-ordered past, where time is frozen and things are always true. We meet the character, or the place, find out what he or she or it is like. And somewhere along the line we turn the page to find a phrase like this: “And then one day . . .” The story leaps into the present moment (if not literally the present tense). Now the real story begins. I think of these as “and then one day” stories. You’ll find that  structure everywhere.

Back to those best friends, Patrick and Ted. One summer, Ted goes to stay with his aunt and uncle at their farm. He even advises Patrick, “Don’t let anyone else use our hideout.

Patrick is sad and lonely.

But as the days pass, he makes new friends, has new experiences. He joins in with others, he goes to the movies with Mama Bear, he plays alone.

A hideout of his own. Patrick is learning something valuable here, something vitally important.

Then, happy day, Ted returns — with two pet geese!

I love that sentence: “They were loud and quick, and Patrick did not like them.”

The boys argue, get angry with each other — Patrick pushes Ted against their hideout! — but they resolve the conflict to play happily together once again.

And yet there’s been a fundamental shift. Their world has changed . . . inside and out.

“. . . because Ted was still Patrick’s best friend, and Patrick was Ted’s.”

End of story. And by the way, isn’t that great, when you look back at the book, those two illustrations of the swing? First we see Patrick in solitude, seated on the swing, motionless. On the last page of the book we see the swing again: Patrick is smiling, swinging high, pushed by his friend. Again: just right.

Is this not a book for boys? My guess is you won’t find it on many lists. So when we try to serve boy readers, let’s not be so quick to put them in a box labeled, “What Boys Like.” Let’s remember that they have feelings, and struggle with friendships — that they experience confusing emotions — just like everybody else.

One of my favorite comments about my book, Along Came Spider, came in a blog review by Karen at Literate Lives. It was the first time anyone had reviewed the book:

I’ve read a lot of books recently about girls trying to make sense of friendships and themselves, so it was a delightful surprise to find and read an advance review copy of a book that deals with boys trying to find where they belong in Along Came Spider, by James Preller (due out September 2008).

Interesting, isn’t it? It came as a surprise to the reviewer, a fifth-grade teacher, to find a book that dealt with content typically found in a book for girls. Things like friendship, discovery of self, fitting in. Does that mean Spider, like Patrick and Ted, is destined for obscurity, the furnace where “out-of-print” books go to die? Perhaps so. Perhaps it’s not a book that most boys will naturally pick up. I mean: I realize that it isn’t. Just as I know that a book titled “Patrick and Ted” isn’t going to bring boys clamoring. But I can’t believe that when they read it, they won’t see themselves reflected in those pages.

It is, after all, a book for children.

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To learn more about Geoffrey Hayes, click here to read an interview.

He is also featured at everyone’s favorite blog, the always great Seven Impossible Things Before Breakfast, just click like crazy right here.

And thank you, Geoffrey Hayes, for writing and illustrating that wonderful book.

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POSTSCRIPT: The above piece first posted in October 26, 2009. In February of 2010 Geoffrey Hayes found it and wrote this to me.

Dear James,

I just happened upon your site and was surprised to find my book “PATRICK AND TED” mentioned so warmly. It seems like I wrote this story so long ago, but you reminded me that I’ve always written from feelings and emotions first. I never thought of this as specifically a “Boys Book”, maybe because it doesn’t focus on those things that one traditionally finds in books for boys. In my opinion there is a narrow view in today’s publishing world about just what boys will and won’t read — stories with a female protagonist for one. For every generality you can apply to boys (and girls) we tend to forget that each child is an individual and therefore multifaceted. Thanks again for your kind words and fond memories.

Sincerely,
Geoffrey Hayes

5 QUESTIONS with AARON BECKER, creator of “JOURNEY”

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Greetings, Aaron. Let’s talk about your book, Journey. You do a masterful job in that opening spread, making full use of the copyright page, establishing the core elements of the story to come. Journey begins with a bored girl on her front stoop. Inside her home, through a cutaway device, we see her father looking at the computer, her mother talking on the phone, her sister staring at an electronic device. The world is dull and monochromatic –- except for one red scooter and, off to the side, almost unnoticed, a boy with a purple piece of chalk. Is that how this story started for you? As a reaction against our hyper-involvement with technology?

Yes, to the extent that much of my childhood was spent hoping my Dad would get off the home computer. I never saw the computer as an answer to life’s biggest questions; to me it was clear that there was more value in my imaginary play than anything I could gain on a machine’s screen.

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Next comes what I consider the essential illustration to the story. And my favorite. The girl is alone in her room: bored, bored, bored. I love that critical moment, because I’m a huge believer in the positive value of boredom. Most people have an aversion to empty space –- on the radio, silence is called “dead air.” Thanks to technological progress, we can now pick up a phone and scroll through Instagram at the first momentary lull. Crisis averted. Many of us seem to have lost our ability to work our way through (and beyond) that boredom.

This is the crux of it. It’s interesting too, because during the lead up to the election, I depended a lot on the internet as a source of comfort to ease my concerns for the outcome that I feared. I was aware of this, and even went so far as to go on a writing retreat away from the news cycle the week before the vote. Now that we’re on the other side, I can see so clearly that these tools were a false comfort to begin with. It’s been much easier for me to stay off social media and news websites this past week, and not just because I don’t want to see evidence that we have a new President. It’s more that I realize there’s no use in building one’s sense of reality on something that is so removed from our actual physical existence on Earth. In a sense, I felt betrayed by technology once again. It’s a lesson I hope to remember.

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I’m sorry, what, were you talking? I was just checking my . . . [puts away phone]. It occurs to me that if you gave your central character an iPhone, she would have never gone on that journey. You would have lost an entire trilogy.

I do think there’s a loss. When I was a kid, I watched way too much junky TV after school (which, I would like to add was brought on by actual policy from Reagan’s FCC that allowed toy makers to create half hour commercials as entertainment for children) and I often think this hampered my brain’s ability to function as an adult. But I’m also not entirely convinced that we were that much better off before. People have a lot more access to different types of storytelling (and stories) than they ever have. It’s a busy landscape to navigate and I’d like to think that the children out there today that can manage the overload will come out with some pretty amazing stories to tell. That said, I’m not sure I could survive it. When my friends were all moving onto advanced gaming consoles, Pac Man was about all I could handle. One joystick and no buttons.

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I think when people are bored, they ultimately have two choices: 1) Stay bored (and become boring themselves), or 2) Get creative, do stuff, make things happen. Quick story: I witnessed this dynamic when we took our kids on vacations in the Adirondacks. We often rented a cabin on a lake with no Wi-Fi, no TV, no town, no stores. For the first half hour, every year, they were lost. What now? Then, you know, they got busy. They built forts, went fishing, swam out to the pier, played cards, explored the grounds, looked for frogs, read, drew. All thanks to that wonderful boredom!

I was bored for most of my childhood. School was excruciatingly boring. At home, my family was of the serious academic variety and I was the only one interested in play. So I had to figure it out on my own. I didn’t need the Adirondacks; it was like that for me 24/7. I was industrious. I used the Styrofoam from my Dad’s computer boxes to build stuff. And in 5th grade, I moved down into the basement to decorate my own universe. I should also add that three of my close friends from elementary school in Baltimore, who suffered the same boredom as I did on all fronts, have gone on to distinguished careers as writers including a Pulitzer Prize finalist, a New York Times staff writer, and a children’s book author. Go Baltimore City Public Schools!

Stuck in a room, another famous children's book character had to imagine his escape from boredom. Illustration by Maurice Sendak from WHERE THE WILD THINGS ARE -- but everybody knows that.

Stuck in a room, another famous children’s book character had to imagine his escape from boredom. Illustration by Maurice Sendak from WHERE THE WILD THINGS ARE — but everybody knows that.

In the girl’s bedroom, you scatter little clues about her character. The air balloon hanging from her ceiling, the drawings of the pyramids, the map of the world on her wall –- and even, very small, a plane flying outside her window. That’s important to you, isn’t it? The sense that we’re living in a great big world.

I think I’ve always been looking for a way out, and so to that end the world offered possibilities. It’s not that my home life was terrible. I just wasn’t getting what I needed so I looked beyond it for an answer. I’d imagine most of us can relate to that!

Obviously, your book owes a debt to Crockett Johnson’s Harold and the Purple Crayon. The device, the crayon, is the same, but the execution could not be more different. Also, the basic plot is timeless: using the imagination as escape, as a way to explore new worlds. Were those books important to you as a child?

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Actually, I was never a big fan of that book! I think the drawings bugged me somehow. But I do remember that when I finished Journey someone mentioned the similarity and so I looked at it as an adult. I was amazed at the similarities in the story! I probably would never have made Journey if I was aware that there was something so similar already out there!

Yes, I hear that. I was talking about this issue with Jessica Olien recently. There’s a freedom in not-knowing. I mean, I’m aware of authors who avidly read Publishers Weekly and stay up-to-the-moment about what’s being published. But I’m the opposite, because my tendency is the same as yours: “Oh, rats, it’s already been done.” Creatively, I feel better off not knowing too much. A little bit goes a long way. I’m not a librarian or a publisher; I’m a maker. Our work has different requirements.

I’m a big fan of picture books and illustration in general, so I’ll often go to stores that do a nice job of curating their shelves (like the one at the Eric Carle Museum here in Amherst) and pick out a few books to take home that I like. But I’ve never been interested in following trends or trying to interpret the market of what sells or is popular with critics. I feel like I have this chance with the books I make to create something akin to actual fine art, in that I feel like I’m making something entirely fueled by my own curiosity and interests. The minute I start to create books that I think will sell well is the minute I might as well go back to working as a hired gun for advertising or film. 

Amen, brother! During her journey, our female protagonist experiences great beauty in the natural world. But there are also dark forces at work. The soldiers and guards who seek to capture and control. Are you saying, in effect, that there are forces that conspire against our imagination?

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I’ve always thought that the emperor and his soldiers are interested in capturing the purple bird because it represents something they can’t understand or access. They’re aware that the bird has some sort of magical quality to it and it frightens them. But the girl just wants to set it free. She doesn’t hesitate. The emperor represents that force inside of us that might more against that spontaneity of creation. Self-doubt, jealousy, envy, fear. We all have it.

We hate what we do not understand. Except for your art! I have no idea how you do it, Aaron, but I love your work. What materials do you use to create these illustrations? Smoke and mirrors and what else? Forgive me, I’m no Julie Danielson; I’m a little lost when it comes to talking about artwork.

Pencil sketch, opening spread.

Pencil sketch, opening spread.

I start with pencils until the story is working. Then I build some 3D models in the computer to aid in the perspective of the architecture; these models get printed lightly out onto paper and I do another, more detailed pencil drawing for each spread. Then I scan that pencil in the computer so that I can print it out very lightly onto watercolor paper as the basis for my ink drawing. From there, it’s just like a traditional water color painting. Journey took me about a year and a half to produce. It’s laborious but it’s the only way I know!

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This is a wordless book, and your very first. Congratulations on such a jaw-dropping accomplishment, for it is a debut book that announced the arrival of an exciting new voice. I enjoyed thinking about your story long after I first encountered it in the wild. Did it have words in early iterations? The wordlessness seems to open up the potentialities of story in ways that wouldn’t be possible if it included text.

Thanks. I do feel like I made the book I wanted to make and the success that has followed has been just one giant blessing. I didn’t plan on it being wordless. But my when I fished my first draft, which was literally a series of small thumbnail sketches on one big sheet of paper, I realized that adding words would only be redundant. The story was already there.

 

There are currently three books in Aaron Becker’s “Journey” Trilogy: Journey, Quest, and Return. If readers are feeling bored, you can find Aaron’s website by searching high and low on the interwebs. It might inspire your imagination.

 

ABOUT THE “5 Questions” INTERVIEW SERIES: It’s a little project I’ve assigned myself, hoping to reach 52 authors & illustrators in the course of a year, always focusing on one book. I almost called it “Author to Author” but I didn’t want to push myself to the front of it, though that is part of what makes these interviews unique. We’re in the same leaky boat.

Coming next week, my great pal Matthew Cordell (Wish) You can hit the “SUBSCRIBE” icon and, hopefully, it will work. Scheduled for future dates, in no particular order: London Ladd, Lizzy Rockwell, Matthew Phelan, Bruce Coville, Jeff Mack, Jeff Newman, and more. To find past interviews, click on the “5 Questions” link on the right sidebar, under CATEGORIES, and scroll till your heart’s content. Or use the handy SEARCH option. 

Guest so far:

1) Hudson Talbott, “From Wolf to Woof”

2) Hazel Mitchell, “Toby”

3) Susan Hood, “Ada’s Violin

4) Matthew McElligott, “Mad Scientist Academy: The Weather Disaster”

5) Jessica Olien, “The Blobfish Book”

6) Nancy Castaldo, “The Story of Seeds”

 

What the Hey?! Some Guy Named “James Preller” Is Featured in an Interview at Kirkus — and It’s Pretty Good!

Tomorrow is Halloween, and author James Preller wants to scare your children—the safe, exhilarating type of scare, that is, which comes from a well-constructed set of spooky stories just for the younger set. He’s been doing this not just on Halloween but all during the year with Scary Tales, his chapter book series of ghost stories, launched last year and illustrated by Iacopo Bruno.Chilling and thrilling and very often spine-tingling, the series offers up serious page-turners for students who enjoy reading frightening tales while on the edge of their seats. It’s a far cry from Preller’s Jigsaw Jones series of chapter books, which debuted in 1998, the beloved fictional detective stories for children that are still circulating in libraries. The latest and fifth book in the Scary Tales series, The One-Eyed Doll, was just released. It brings readers hidden treasures, deserted houses, and a creepy one-eyed doll, who moves and tells stories. Needless to say, it’s a good fit for Halloween—or, really, any time of year.Next year, Preller will also see the release of a middle-grade novel, one that follows 2009’s Bystander, which the Kirkusreview called “eminently discussable as a middle-school read-aloud.” The Fall, as you’ll read below, addresses bullying, but not for the sake of jumping on the bullying bandwagon. That’s to say that as soon as many schools kicked off anti-bullying crusades in recent years, we suddenly saw a flock of books about bullying in the realm of children’s literature. But Preller isn’t one for the “bully” label.Let’s find out why.
The Scary Tales series started in 2013, yes? How much fun has it been to scare the pants off of readers?
 
OneEyedDoll_cvr_lorezWriting “scary” has been liberating. A blast. In the past, I’ve mostly written realistic fiction. But for these stories I’ve tapped into a different sort of imagination, what I think of as the unpossible. The trick is that once you accept that one impossible element—a zombie or a ghost in the mirror—then the story plays out in a straightforward manner.All storytelling has its backbone in realistic fiction.
So many kids, even at a surprisingly young age, are eager to read scary stories. I tried to fill that gap. “Scary” thrills them. It makes their hearts beat faster. Yet I say to students, “I’m sorry, but nobody gets murdered in these books. There are no heads chopped off. No gore.” To me, the great sentence is: The door knob slowly, slowly turned. That delicious moment of anticipation, of danger climbing the stairs. I’ve tried to provide those chills, while still resolving each book in a safe way.
You do a lot of school visits, as I understand it. What do you see the very best teachers and librarians doing (best practices, if you will) that really get children fired up about reading? 
In its essence, teaching is enthusiasm transferred. The best educators seem to do that naturally—the excitement, the love of discovery. It leaks into everything they do. I think it’s about a teacher’s prevailing attitude, more than any specific activity.
Speaking of school visits, I assume you still visit schools to discuss Bystander, especially given the subject matter. How have middle-schoolers responded to that book in school visits? 
DOLL_Interiors_07The response to Bystander has been incredible—and humbling. Many middle schools have used it as their “One School, One Book” community reads, which is such an honor.I attempted to write a lively, unsentimental, informed, fast-paced story. I hope that I’ve given readers something to think about, while leaving them to draw their own conclusions. I didn’t write a pamphlet, 10 steps to bully-proof your school. Robert McKee, in his book Story, says that stories are “equipment for living.” I believe in the power of literature to help us experience empathy.
What’s next for you? Am I right that there’s a new Scary Tales coming out in 2015, as well as a new novel? Working on anything else you’re allowed to discuss now? 
I have an ambitious hardcover coming out next year, titled The Fall (Macmillan, Fall 2015), in which I return to some of the themes first explored in Bystander. We’ve seen “the bully” become this vilified subcreature, and in most cases I don’t think that’s fair or accurate. Bullying is a verb, a behavior, not a label we can stick on people to define them—especially when we are talking about children. Walt Whitman wrote, “I am large, I contain multitudes.”The book is told in a journal format from the perspective of a boy who has participated in bullying—with tragic results—and now he’s got to own it. A good kid, I think, who failed to be his best self. To my surprise, the book ended up as almost a meditation on forgiveness, that most difficult of things. The opening sentence reads:

“Two weeks before Morgan Mallen threw herself off the water tower, I might have sent a message to her social media page that read, ‘Just die! die! die! No one cares about you anyway! (I’m just saying: It could have been me.)”

I was guided throughout my writing by a powerful quote from the great lawyer and activist Bryan Stevenson: “I’ve come to understand and to believe that each of us is more than the worst thing we’ve ever done.”

THE ONE-EYED DOLL. Copyright © 2014 by James Preller. Illustrations copyright © 2014 by Iacopo Bruno and used by permission of the publisher, Feiwel & Friends, New York. 

Julie Danielson (Jules) conducts interviews and features of authors and illustrators at Seven Impossible Things Before Breakfast, a children’s literature blog primarily focused on illustration and picture books.

First Review for “Home Sweet Horror,” Book #1 of SCARY TALES Series

Question #1: If your friend writes a review of your book, does that negate it as an objective critical assessment?

Question #2: What is friendship, anyway?

I first “met” Franki Sibberson through her blog, A Year of Reading, co-written with Mary Lee Hahn. (You can read about them here, from a nice piece at possibly the world’s greatest children’s literature blog, Seven Impossible Things Before Breakfast.)  If I recall correctly, Franki suggested that a character in one of my books, Miss Lobel in Along Came Spider, might be included in her ever-evolving list of 100 Cool Teachers in Children’s Literature.

In response to that, I believe that I bought Franki a car. Or maybe commented favorably on her blog. Something like that. Time passed, as time does, and last year I was given the opportunity of attending the fabulous 2012 Dublin Literacy Conference. You know, the one that’s not in Ireland. On that happy sojourn, I arrived at Franki’s school as a visiting author and we had a great day.

I always say that authors don’t do school visits — schools do author visits. So if that day was indeed a success, I owe 90% of that to Franki, the teachers, administrators, and students who put so much effort into the visit before I even arrived with my loud demands for more fluffy pillows, oscillating fans, belly dancers and blue M & M’s (and only blue M & M’s)

So, yes, I confess: We became friends. But not the hugging kind, mind you, since . . . Franki Don’t Hug. Got it? Okay. So just back it up, fella. One more step, good. Our friendship is on a firm handshake basis. Anyway, we are friends. That sometimes happens when librarians and authors meet and get a chance to hang out. Today, of course, I deeply wish that I wasn‘t friends with Franki. Wouldn’t her kind review of my new series be more valuable if, say, we hated each other? If only we were mortal enemies somehow — a long enmity passed down through generations! — and Franki Sibberson despised everything about me! — and yet still, even so, felt compelled (reluctantly, bitterly) to write a nice review of my book?

That, my friends and neighbors, would be a review worth chirping out!

Anyway, I’m rambling & my stomach is rumbling & I’m afraid I’m not making sense.

So, there’s this: Thank you, Franki, for your kindness.

Here: a fist-bump across cyberspace.

To read the review in full glory, click like a maniac on this link. If not, here’s the intro:

I felt like I won the lottery when I was handed an ARC of James Preller’s new book (the first in a new series–HOME SWEET HORROR (SCARY TALES SERIES).  I had heard about this series as I am a huge James Preller fan  (because he is one of the best author visits ever). But I didn’t know the arcs were available yet.  So I was thrilled to get one when I had asked for books appropriate for 4th grade at his publisher’s booth at NCTE.  This was the first on my stack that I read when returning from NCTE.  I actually took it out of a child’s hands so that I could read it over Thanksgiving break.  And I loved it.

Come back next week for another impartial review . . . from my mom!

What Is a Book for Boys? One Suggestion: “Patrick and Ted” by Geoffrey Hayes

I’ve been dwelling lately on the concept of “books for boys.” It’s a huge topic, one that I can’t possibly address in a single blog entry. I mean, yes, we’re all aware of the gender gap in reading, that many teachers and parents struggle to inspire in their boys a love for reading. There’s been progress made, an awareness that boys are different from girls, and that their tastes in books often reflect those differences. Enlightened teachers are allowing boys to self-select more of their own reading material; graphic novels are gaining popularity and respect; and so on.

Bu when I encounter lists of “books for boys,” I’m often left deeply dissatisfied — even troubled. Because these well-intentioned lists are often guided by limited stereotypes: boys like action, boys like trucks, bodily humor, adventure, violence, etc. Okay, true enough. But these lists led us to an extremely narrow view of what a boy is, and what a boy could be. What about friendship stories? What about sensitivity to others? Gentleness? Don’t boys love their mothers, don’t they struggle with relationships, don’t they ever feel lonely or afraid?

I’ve been thinking about an old favorite book, Patrick and Ted by Geoffrey Hayes. It is out of print. I first encountered this quiet little picture book back in the 80’s, when I wrote copy for the SeeSaw Book Club, edited by Craig Walker. Yet it has lingered in my memory ever since. I think it’s a perfect story, one of the few books I wish I’d written. So I finally got around to purchasing a used copy. Let’s take a look at it:

Whoops. Because the image is not available on the internet for screen capture, we’ll have to go to my cheap scanner. My apologies to Mr. Hayes — and to you, Dear Reader — for the darkness, the low resolution. The actual book looks a lot better.

It is the story of two boys, best friends. They did everything together, even quarrel sometimes. But those brief spats did not matter . . . “because Ted was Patrick’s best friend, and Patrick was Ted’s.”

Then, one summer things changed . . .

A quick aside: This is such a classic story format, and a great model for new (and veteran!) writers. So many stories begin by establishing a timeless permanence. The well-ordered past, where time is frozen and things are always true. We meet the character, or the place, find out what he or she or it is like. And somewhere along the line we turn the page to find a phrase like this: “And then one day . . .” The story leaps into the present moment (if not literally the present tense). Now the real story begins. I think of these as “and then one day” stories. You’ll find that  structure everywhere.

Back to those best friends, Patrick and Ted. One summer, Ted goes to stay with his aunt and uncle at their farm. He even advises Patrick, “Don’t let anyone else use our hideout.

Patrick is sad and lonely.

But as the days pass, he makes new friends, has new experiences. He joins in with others, he goes to the movies with Mama Bear, he plays alone.

A hideout of his own. Patrick is learning something valuable here, something vitally important.

Then, happy day, Ted returns — with two pet geese!

I love that sentence: “They were loud and quick, and Patrick did not like them.”

The boys argue, get angry with each other — Patrick pushes Ted against their hideout! — but they resolve the conflict to play happily together once again.

And yet there’s been a fundamental shift. Their world has changed . . . inside and out.

“. . . because Ted was still Patrick’s best friend, and Patrick was Ted’s.”

End of story. And by the way, isn’t that great, when you look back at the book, those two illustrations of the swing? First we see Patrick in solitude, seated on the swing, motionless. On the last page of the book we see the swing again: Patrick is smiling, swinging high, pushed by his friend. Again: just right.

Is this not a book for boys? My guess is you won’t find it on many lists. So when we try to serve boy readers, let’s not be so quick to put them in a box labeled, “What Boys Like.” Let’s remember that they have feelings, and struggle with friendships — that they experience confusing emotions — just like everybody else.

One of my favorite comments about my book, Along Came Spider, came in a blog review by Karen at Literate Lives. It was the first time anyone had reviewed the book:

I’ve read a lot of books recently about girls trying to make sense of friendships and themselves, so it was a delightful surprise to find and read an advance review copy of a book that deals with boys trying to find where they belong in Along Came Spider, by James Preller (due out September 2008).

Interesting, isn’t it? It came as a surprise to the reviewer, a fifth-grade teacher, to find a book that dealt with content typically found in a book for girls. Things like friendship, discovery of self, fitting in. Does that mean Spider, like Patrick and Ted, is destined for obscurity, the furnace where “out-of-print” books go to die? Perhaps so. Perhaps it’s not a book that most boys will naturally pick up. I mean: I realize that it isn’t. Just as I know that a book titled “Patrick and Ted” isn’t going to bring boys clamoring. But I can’t believe that when they read it, they won’t see themselves reflected in those pages.

It is, after all, a book for children.

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To learn more about Geoffrey Hayes, click here to read an interview.

He is also featured at everyone’s favorite blog, the always great Seven Impossible Things Before Breakfast, just click like crazy right here.

And thank you, Geoffrey Hayes, for writing and illustrating that wonderful book.