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T h e

Newbery
a n d

Caldecott
A w a r d s
▲

A Guide

to the

Medal

a n d

Honor

Books

2004
Edition

Association for
Librar y Ser vice to Children

AMERICAN LIBRARY ASSOCIATION

Chicago 2004
The Newbery and Caldecott medals and Honor Book seals are property of the
American Library Association and cannot be used in any form or reproduced without
permission of the ALA, Office of Rights and Permissions.

Photo of Mordicai Gerstein courtesy of Stephen Petegorsky. Cover illustration of The

Man Who Walked between the Towers used with permission of the publisher.

Cover illustration of The Tale of Despereaux: Being the Story of a Mouse, a Princess,
Some Soup, and a Spool of Thread by Timothy Basil Ering used with permission of the
publisher.

The paper used in this publication meets the minimum requirements of American
National Standard for Information Sciences—Permanence of Paper for Printed Library
Materials, ANSI Z39.48-1992. ⬁

ISBN 0-8389-3542-7
ISSN 1070-4493

Copyright © 2004 by the American Library Association. All rights reserved except
those which may be granted by Sections 107 and 108 of the Copyright Revision
Act of 1976.

Printed in the United States of America.

08 07 06 05 04 5 4 3 2 1
CONTENTS

PREFACE v

Newbery and Caldecott Awards:

Authorization and Terms 1

Reading Pictures: Searching for Excellence

in Picture Books
Gratia J. Banta 9

The Newbery Awards, 2004–1922 19

The Caldecott Awards, 2004–1938 87

The Media Used in Caldecott Picture Books:

Notes toward a Definitive List 139

AUTHOR/ILLUSTRATOR INDEX 163

TITLE INDEX 170

iii
PREFACE

W elcome to the 2004 edition of the Newbery and Caldecott Awards guide. The
Newbery and Caldecott medal and honor books represent the best of the best in
children’s book publishing. This book offers librarians, teachers, educators, parents,
and children more than 80 years of exemplary literature to share and enjoy. Its rich
collection of award-winning titles provides librarians and educators with core lists for
library collection and curricula development, readers’ advisory, and quick reference.
In this year’s essay, “Reading Pictures: Searching for Excellence in Picture Books,”
Gratia J. Banta, an artist and former children’s librarian, discusses how we can teach
ourselves to recognize distinguished book illustrations. Banta outlines a host of nec-
essary elements, such as visual literacy and knowledge of art history, art terms, and
techniques, which can help prepare professionals to search for and identify excel-
lence in picture book illustration.
Bette J. Peltola’s essay “Newbery and Caldecott Awards: Authorization and Terms” dis-
cusses the terms and definitions that have evolved for both medals. She provides insight
into the significance of the awards and into the evaluation of children’s literature.
Descriptive annotations provide a brief summary of each medal and honor book
named since the inception of each award. “Media Used in Caldecott Picture Books”
reveals each illustrator’s choice of media for the medal and honor books
(1938–2004) and includes a helpful glossary of art terms. For the 2004 winners, we
have also included photos of the medalists and the remarks of the award committee
chairs, taken from the press announcements, to help capture some of the enthusiasm
and excitement that accompany the selection and presentation of the awards.
While we know you will find the 2004 guide useful, we also encourage your sug-
gestions for future editions.

MALORE I. BROWN
Executive Director
Association for Library Service to Children

v
Newbery and Caldecott Awards
Authorization and Terms
BETTE J. PELTOLA

E ach year the Newbery and Caldecott Medals are awarded by the American Library
Association for the most distinguished American children’s books published the pre-
vious year. On June 21, 1921, Frederic G. Melcher proposed to the American Library
Association meeting of the Children’s Librarians’ Section that a medal be given for
the most distinguished children’s book of the year. He suggested that it be named for
the eighteenth-century English bookseller John Newbery. The idea was enthusiasti-
cally accepted by the children’s librarians, and Melcher’s official proposal was
approved by the ALA Executive Board in 1922. In Melcher’s formal agreement with
the board, the purpose of the Newbery Medal was stated as follows: “To encourage
original and creative work in the field of books for children. To emphasize to the
public that contributions to the literature for children deserve similar recognition to
poetry, plays, or novels. To give those librarians, who make it their life work to serve
children’s reading interests, an opportunity to encourage good writing in this field.”
The Newbery Award thus became the first children’s book award in the world. Its
terms, as well as its long history, continue to make it the best known and most dis-
cussed children’s book award in this country.
The description of the award adopted in 1922 indicated that the Newbery Medal
“is to be awarded annually to the author of the ‘most distinguished contribution to
American literature for children,’ the award being made to cover books whose publi-
cation in book form falls in the calendar year last elapsed. The award is restricted to
authors who are citizens or residents of the United States. Reprints and compilations

BETTE J. PELTOLA is professor emerita, School of Education, University of Wisconsin–

Milwaukee.

1
2 Newbery and Caldecott Awards

are not eligible for consideration. There are no limitations as to the character of the
book considered except that it be original work. It need not be written solely for chil-
dren; the judgment of the librarians voting shall decide whether a book be a ‘contri-
bution to the literature for children.’ The award considers only the books of one cal-
endar year and does not pass judgment on the author’s previous work or other work
during that year outside the volume that may be named.” In 1932 the Section for
Library Work with Children, with Melcher’s approval, adopted the following: “To be
eligible for the Newbery Medal books must be original, or, if traditional in origin, the
result of individual research, the retelling and reinterpretation being the writer’s own.”
During the next several years, many persons became concerned that the artists
creating picture books for children were as deserving of honor and encouragement
as were the authors of children’s books. So, in 1937 Melcher suggested a second
annual medal, this to be given to the artist who had created the most distinguished
picture book of the year and to be called the Caldecott Medal in honor of Randolph
Caldecott, the nineteenth-century English illustrator. The idea for this medal was
also accepted enthusiastically by the Section for Library Work with Children of ALA
and was approved by the ALA Executive Board.
The Caldecott Medal “shall be awarded to the artist of the most distinguished
American Picture Book for Children published in the United States during the pre-
ceding year. The award shall go to the artist, who must be a citizen or resident of the
United States, whether or not he be the author of the text. Members of the Newbery
Medal Committee will serve as judges. If a book of the year is nominated for both
the Newbery and Caldecott Awards the committee shall decide under which heading
it shall be voted upon, so that the same title shall not be considered on both ballots.”
In 1977 the Board of Directors of the Association for Library Service to Children
rescinded the final part of the 1937 action and approved that “any book published
in the preceding year shall be eligible to be considered for either award or both
awards.” Separate committees to choose the Newbery and Caldecott Awards were
established in 1978 and began with the 1980 Selection Committees.

ADDITIONAL CHANGES IN TERMS FOR THE AWARDS

A resolution by the Section for Library Work with Children in 1932 that “the book
of a previous award winner shall receive the award only upon the unanimous vote”
of the committee was later rescinded by the Children’s Services Division Board of
Directors. “In view of the fact that a unanimous vote in the case of a previous win-
ner of the Newbery or Caldecott Awards was first instituted to encourage new
authors and illustrators at a period when such encouragement was needed and since
such need is no longer apparent, the restriction of a unanimous vote for winning
either award more than once [is] removed from terms for selection [of the awards]”
(1958). In 1963 it was voted by the Children’s Services Division that “joint authors
shall be eligible” for the awards.
 Newbery and Caldecott Awards 3

In 1978, the ALSC Board of Directors adopted new statements of terms, defini-
tions, and criteria for each award. The new statements were prepared and adopted to
provide further clarification of the basis on which the awards are to be given. They
were slightly modified for further clarification in 1985 and 1987.

NEWBERY AWARD
The terms, definitions, and criteria for the Newbery Award are as follows:

TERMS
1. The Medal shall be awarded annually to the author of the most distinguished
contribution to American literature for children published in the United States
during the preceding year. There are no limitations as to the character of the book
considered except that it be original work. Honor Books may be named. These
shall be books that are also truly distinguished.
2. The Award is restricted to authors who are citizens or residents of the United States.
3. The committee in its deliberations is to consider only the books eligible for the
Award as specified in the terms.

DEFINITIONS
1. “Contribution to American literature” indicates the text of a book. It also implies
that the committee shall consider all forms of writing—fiction, nonfiction, and
poetry. Reprints and compilations are not eligible.
2. A “Contribution to American literature for children” shall be a book for which
children are a potential audience. The book displays respect for children’s under-
standings, abilities, and appreciations. “Children” are defined as persons of ages up
to and including fourteen, and books for this entire age range are to be considered.
3. “Distinguished” is defined as:
• marked by eminence and distinction: noted for significant achievement
• marked by excellence in quality
• marked by conspicuous excellence or eminence
• individually distinct
4. “Author” may include coauthors. The author may be awarded the medal posthu-
mously.
5. In defining the term “original work,” the committee will consider books that are
traditional in origin if the book is the result of original research and the retelling
and interpretation are the writer’s own.
6. “American literature published in the United States” means that books originally
published in other countries are not eligible.
4 Newbery and Caldecott Awards

7. “Published . . . during the preceding year” means that the book has a publication
date in that year, was available for purchase in that year, and has a copyright date
no later than that year. A book might have a copyright date prior to the year
under consideration but, for various reasons, was not published until the year
under consideration.
8. “Resident” specifies that the author has established and maintained residence in
the United States as distinct from being a casual or occasional visitor.
9. The term “only the books eligible for the Award” specifies that the committee is
not to consider the entire body of the work of an author or whether the author
has previously won the award. The committee’s decision is to be made following
deliberations about the books of the specified calendar year.

CRITERIA
1. In identifying distinguished writing in a book for children:
a. Committee members need to consider:
Interpretation of the theme or concept.
Presentation of information including accuracy, clarity, and organization.
Development of plot.
Delineation of characters.
Delineation of setting.
Appropriateness of style.
Note: Because the literary qualities to be considered will vary depending on
content, the committee need not expect to find excellence in each of the named
elements. The book should, however, have distinguished qualities in all of the ele-
ments pertinent to it.
b. Committee members must consider excellence of presentation for a child
audience.
2. Each book is to be considered as a contribution to literature. The committee is to
make its decision primarily on the text. Other aspects of a book are to be consid-
ered only if they distract from the text. Such other aspects might include illustra-
tions, overall design of the book, etc.
Note: The committee should keep in mind that the award is for literary quality
and quality of presentation for children. The award is not for didactic intent or
for popularity.

CALDECOTT AWARD
The terms, definitions, and criteria for the Caldecott Award are as follows:
 Newbery and Caldecott Awards 5

TERMS
1. The Medal shall be awarded annually to the artist of the most distinguished
American picture book for children published in the United States during the
preceding year. There are no limitations as to the character of the picture book
except that the illustrations be original work. Honor Books may be named. These
shall be books that are also truly distinguished.
2. The Award is restricted to artists who are citizens or residents of the United States.
3. The committee in its deliberations is to consider only the books eligible for the
Award, as specified in the terms.

DEFINITIONS
1. A “picture book for children,” as distinguished from other books with illustra-
tions, is one that essentially provides the child with a visual experience. A picture
book has a collective unity of story-line, theme, or concept, developed through
the series of pictures of which the book is comprised.
2. A “picture book for children” is one for which children are a potential audience.
The book displays respect for children’s understandings, abilities, and apprecia-
tions. “Children” are defined as persons of ages up to and including fourteen, and
picture books for this entire age range are to be considered.
3. “Distinguished” is defined as:
• marked by eminence and distinction: noted for significant achievement
• marked by excellence in quality
• marked by conspicuous excellence or eminence
• individually distinct
4. The “artist” is the illustrator or co-illustrators. The artist may be awarded the
Medal posthumously.
5. “Original work” means that illustrations reprinted or compiled from other
sources are not eligible.
6. “American picture book published in the United States” specifies that books orig-
inally published in other countries are not eligible.
7. “Published . . . in the preceding year” means that the book has a publication date in
that year, was available for purchase in that year, and has a copyright date no later
than that year. A book might have a copyright date prior to the year under consider-
ation but, for various reasons, was not published until the year under consideration.
8. “Resident” specifies that the artist has established and maintained residence in the
United States as distinct from being a casual or occasional visitor.
9. The term “only the books eligible for the Award” specifies that the committee is
not to consider the entire body of the work by an artist or whether the artist has
previously won the award. The committee’s decision is to be made following
deliberation about the picture books of the specified calendar year.
6 Newbery and Caldecott Awards

CRITERIA
1. In identifying a distinguished picture book for children:
a. Committee members need to consider:
Excellence of execution in the artistic technique employed.
Excellence of pictorial interpretation of story, theme, or concept; of appro-
priateness of style of illustration to the story, theme, or concept; of
delineation of plot, theme, characters, setting, mood, or information
through the pictures.
b. Committee members must consider excellence of presentation in recognition
of a child audience.
2. The only limitation to graphic form is that the form must be one which may be
used in a picture book (e.g., motion-picture photography is not at present possi-
ble, though still photography is).
3. Each book is to be considered as a picture book. The committee is to make its
decision primarily on the illustrations, but other components of a book are to be
considered especially when they make a book less effective as a children’s picture
book. Such other components might include the written text, the overall design
of the book, etc.
Note: The committee should keep in mind that the award is for distinguished
illustrations in a picture book and for excellence of pictorial presentation for
children. The award is not for didactic intent or for popularity.

AWARD COMMITTEES
The committees that select the Newbery and the Caldecott Medal and Honor Books
each have fifteen members including the chair. The ALSC membership elects the
chair and seven members from a slate drawn up by the nominating committee; the
ALSC president-elect appoints the remaining seven members. All members of the
committees are members of ALSC.
During the year, each committee member reads as many of the eligible books as
possible, including all books suggested by other committee members and by other
members of ALSC. Twice in the autumn, committee members cast preliminary bal-
lots to begin to focus attention on the books likely to be of most interest in the selec-
tion discussions. No eligible book which has been suggested before the midwinter
selection meetings is excluded from consideration, however, even if it was not nom-
inated on a preliminary ballot. During the selection meetings, the committee dis-
cusses all nominated and suggested books before beginning balloting. Each com-
mittee member votes for three books, with four points assigned to first choice, three
to second, and two to third choice. To win, a book must receive at least eight first
place choices and at least eight points more than any other book. Once a winner is
chosen, the committee decides whether to name honor books and how many.
 Newbery and Caldecott Awards 7

DESCRIPTION OF THE MEDALS

In 1921 Melcher had the Newbery Medal designed by René Paul Chambellan. In
1937 Chambellan designed the Caldecott Medal. The bronze medals, shown on page 8,
have the winner’s name and the date engraved on the back. The ALA Executive
Board in 1922 delegated to the Children’s Librarians’ Section the responsibility for
selecting the book to receive the Newbery Medal. The inscription on the Newbery
Medal still reads “Children’s Librarians’ Section,” although the section has changed
its name four times and its membership now includes both school and public library
children’s librarians in contrast to the years 1922–58, when the section, under three
different names, included only public library children’s librarians. (The section
names: until 1929, Children’s Librarians’ Section; 1929–42, Section for Library Work
with Children; 1942–58, Children’s Library Association; 1958–77, Children’s Service
Division; and, Association for Library Service to Children (ALSC), 1977 to date.)
When the Caldecott Medal was accepted in 1937, the Section for Library Work
with Children invited the School Libraries Section (now American Association of
School Librarians) to name five of its members to the awards committee each year.
For this reason the Caldecott Medal inscription reads: “Awarded annually by the
Children’s and School Librarians Sections of the American Library Association.”
This is a combination and simplification of the actual names of the sections. The
wording continues even though several ALA reorganizations resulted in 1958 in the
present divisions, among them the Children’s Services Division (now the Association
for Library Service to Children), made up of public library children’s librarians,
school librarians, and others interested in children’s library services and good books
for children. In 1958 the Children’s Services Division Board of Directors recognized
that the wording on both medals was incorrect in terms of current ALA terminolo-
gy. It realized that confusion about the membership of the committee that chooses
the medal winners could result from the discrepancies. However, the CSD board
decided to request no change in the inscription on either medal, preferring to have
them continue in their original form and design. Responsibility for both awards
resides with ALSC, formerly the CSD.

HONOR BOOKS
From the beginning of the awarding of the medals, committees could, and usually
did, cite other books as worthy of attention. Such books were referred to as runners-
up. In 1971 the term “runners-up,” used to designate books cited with the annual
Newbery and Caldecott Medal winners, was changed to “honor books.” The new
terminology was made retroactive so that all runners-up are now referred to as
Newbery or Caldecott Honor Books.
At the same meeting, the Board of Directors of the Children’s Services Division
approved silver facsimile seals with the designation “Newbery Honor Book” and
“Caldecott Honor Book,” which may be placed on the honor books in similar fash-
8 Newbery and Caldecott Awards

ion to the use made of the gold facsimile seals of the medals placed on the award-
winning books. The gold and silver facsimile seals are sold by the Association for
Library Service to Children, with all profits going to support the division’s programs,
including the Frederic G. Melcher Scholarship Fund. Permission for photographic
reproduction of the medals is also controlled by the association; profits from com-
mercial reproduction also go to the Scholarship Fund.
In 1978 the ALSC board approved the presentation of certificates to the authors
of the Newbery Honor Books and the illustrators of the Caldecott Honor Books.
Certificates were presented for the first time in 1986.
Although some procedures have changed over the years the awards have been
given, and some rules or aspects of what the awards are for have been clarified or
modified, the basic purpose of honoring distinguished American children’s books has
not changed. Numerous committees have studied virtually every aspect of the award-
giving procedure, the rationale, and the impact of the awards over the years. Such
study is likely to continue and ensures a vital life to these awards that have had such
an impact on the quality of American literature for children.

JOHN NEWBERY MEDAL THE CALDECOTT MEDAL

Reading Pictures
Searching for Excellence in Picture Books
GRATIA J. BANTA

F irst there were cave drawings, then illuminated manuscripts and large paintings
telling religious stories. Indian pictographs gave directions. My grandmother told
me she used chalk to make drawings on the outside walls of her home to tell hoboes
she had extra milk for them. Throughout history, pictures have been used to tell sto-
ries that change people’s lives. All of these visual images were ways to communicate
to others without words.
Research shows that visual skills precede verbal skills. Very young children learn
to read pictures well before they learn to read text. It has always been easy for me to
read pictures. When my mother read to me, before I could read, I memorized each
subtle nuance of the pen-and-ink sketches by Ernest H. Shepard that illustrate A. A.
Milne’s When We Were Very Young and Now We Are Six. I know I did this because
when I look at those sketches today they are like old friends. They reassured me that
all of my feelings were valid. Elizabeth Ann in the poem “Explained” has a question
about God, and “she would run round the world till she found” the answer. Shepard
draws Elizabeth, her head held high, her hair flying, her body in a spirited run, and
her fists full of determination. The rabbits sitting by the side of the road and watch-
ing Elizabeth can see that she has a question and that it matters very much to her. I
read the sketch to mean that a young girl could go on an adventure. I have treasured
that image, and my young heart’s belief in it, for my entire life. Christopher Robin in
“Sneezles” sits patiently in bed with a cold, and I can see that drawing clearly when
I have to rest in bed, and it comforts me.

GRATIA J. BANTA is a former children’s librarian who now devotes herself to painting and
art cards. She served on the 1988 Caldecott Committee and has been an ALSC member
for eighteen years.

9
10 Reading Pictures

In the first grade, when I was taught to read using the Dick and Jane series, I was
encouraged again to read the pictures. I was not alone. By the 1950s, 80 percent of
the first graders in the United States were learning to read by the whole-word
method instead of by phonetically sounding out words letter by letter. We were asked
to think about the activities taking place in the pictures and to discuss them in class.
The colorful illustrations by Eleanor Campbell were based on photos of real children
doing real activities. Over time it is estimated that over eighty-five million children
learned to read that way. Whether they are called decorations, as they were in Now
We Are Six when it was first published in 1927, illustrations, or paintings, as they are
sometimes called in picture books today, they form the visual stories that continue
to challenge, enlighten, excite, and satisfy me.
From 1976 to 2001, as a professional children’s librarian, I had the opportunity to
share new picture books weekly with children. During that time children’s book
publishing enjoyed an explosion of creative changes in format and printing along
with huge increases in sales and number of titles. In 1969 Eric Carle’s The Very
Hungry Caterpillar offered a then-radical format with cutout holes representing
where the caterpillar had eaten. In the 1980s Paul Zelinsky’s spectacular pop-up
songbook The Wheels on the Bus was so well loved that my library could not buy
enough copies to keep one on the shelf.
Working in rural libraries, I quickly found that book illustration could be used
not only as an introduction to reading but also as an introduction to exploring the
larger world of the fine arts. While serving on the 1988 Caldecott Committee, I
learned that my lifelong love of reading the pictures would help steer other com-
mittee members and myself to identify excellence in picture books while selecting
“the most distinguished American picture book for children.”
By learning to read the pictures, we librarians, parents, and teachers can
Learn about cultures outside our communities
Excite our visual senses and challenge our visual literacy
Educate the eye and put illustration in the context of all arts
Increase our enjoyment of the world as a visual place
Share a book on a visual level and thus include reluctant readers and visual
learners
Enjoy a book with a preliterate child
Understand and respect the skills and career of an illustrator
Extend the role of the arts in our communities
Expand the meaning of the written word
Identify excellence in book design
The best, most rewarding reason is contained in the Indian word rasa, which is
the moment of heightened awareness achieved when we perceive the ultimate reali-
ty of a work of art. It happens to the viewer of the art. (A different delight occurs in
 Reading Pictures 11

the making of the art.) It is like the magical blooming of a flower, a flash of light, an
insight, the delight in learning, the sense of wonderment, the sense of the miracle of
ourselves. For those of us who love looking at art, rasa is the reason we keep coming
back for more. It is also the reason that we search for excellence in painting and illustra-
tion. Once viewers experience rasa, they will no longer settle for inferior work.Young and
old search for rasa in the visual world and know and cherish its feeling of joy.
By reading pictures with an educated eye, a sense of their intended audience, and
a heart open to the feelings they evoke, we can begin our search for excellence in pic-
ture books. We can then share our findings by acknowledging the most brilliantly
illustrated books in our reviews, our selections, and our awards. While serving on the
Caldecott Committee, I was asked to address adults about excellence in picture book
illustration, so I developed a workshop called “Reading the Pictures.”
We librarians can train ourselves, as adults, to think in pictures again. Such think-
ing is called visual literacy. Developing visual literacy is much the same as learning a
foreign language. I invite you to open a picture book as if you were a child not yet
able to read. Ignore the words and look only at the pictures. This is the first step that
needs to be taken to identify exceptional book illustration. Second, read the text but
continue to notice the illustrations. Third, read both text and illustrations together,
taking time to reflect and set aside any adult filters.
When we have learned to read the pictures, we can each find our own voice to
describe our personal reactions. The goal is to determine if the illustrations and the
book meet the high standard of being distinguished and exceptional. We owe it to
the book industry and especially to book illustrators to get beyond describing illus-
trations as “pretty” or “interesting” and to choose our words carefully. As Picasso
once said, “If you must insult me, at least get your terminology straight!”
How then can we best prepare to identify the most distinguished picture books?
I recommend the following:
Learn the elements of composition and design.
Understand cultural context and color.
Determine whether the text has been enhanced or extended by the illustrations.
Learn how to link book illustration with the other fine arts.
Recognize excellence in techniques used in a wide variety of materials.
Identify which materials work well with a text.
Identify excellence in bookmaking.
Develop a working knowledge of art terms.
Cultivate a basic knowledge of art history.
Know the history of book illustration.
Look at the original art of book illustrators.
Listen to book illustrators and read what they say about their own work.
Allow yourself time to do some of your own drawing or painting.
12 Reading Pictures

To illustrate the elements of composition and design, we will compare Patience, a

painting by Balthus (see http://home.uchicago.edu/~susannah/patience.jpg), to the
illustration in Bunny Cakes, by Rosemary Wells (Dial Books, 1997), above the text
“This time Max wrote ‘Red-Hot Marshmallow Squirters’ in the most beautiful writ-
ing he knew.” In the painting by Balthus we see a young woman bent forward to read
a book that is opened flat and lying on a table. In the Wells illustration we see Max,
a rabbit wearing a green striped jumpsuit with a purple T-shirt, leaning forward and
scribbling on a lined yellow sheet of paper. In the design of each of their bending
bodies, we feel a certain discomfort. In the painting by Balthus, it is about the sen-
sual strength of a pubescent teenager. In the illustration by Wells, because Max cannot
write, he is struggling to draw a picture to explain what he needs. There is no unused
space in either image; even the blank white space around Max’s frame and the dark
curtain near the girl matter. Both figures fill the frame, and they seem to be exploding
out of their boxes. The figures are full of passion and energy, and their compositions
suggest that they are on the verge of being changed forever. Both works are successful
because they clearly tell us about the emotional states of their characters, and we are
filled with the energy of those characters’ youth and a sense of their longing.
To better understand how color reflects a cultural context, see the contemporary
work of Xenobia Bailey at http://www.uwrf.edu/history/prints/afr-amer/xenobia-
bailey.html, and compare it to the illustrations in Tar Beach, by Faith Ringgold
(Crown, 1991). Textile artists like Bailey use the bright colors of Africa. Similar col-
ors are used in Tar Beach, a Caldecott Honor Book, representing a celebration of
African heritage. In the 1980s Faith Ringgold used acrylic on canvas to make paint-
ings of quilts that told about her life. The Purple Quilt (http://www.faithringgold
.com/ringgold/d02.htm) is an example. When Ringgold turned to illustration, her
sense of color became a cultural experience for all to enjoy. She asked us to take her
primitive, or naive, art seriously, as if to say, “This may not be familiar to you, but it’s
all about my culture, my family, my heritage, and my life as an artist,” and offering a
lesson in understanding cultural context.
Illustrators employ many strategies in their effort to extend text. Words are few in
Tuesday by David Wiesner (Clarion, 1991). The entire text, spread over thirty-two
pages, consists of “TUESDAY EVENING AROUND EIGHT,”“11:21 PM,”“4:38 AM”
and “NEXT TUESDAY, 7:58 PM.” Economy of words forces the reader not to depend
on the text for the story. This is first of all a visual story. The watercolor images are
realistic, but their actions are not. Life is not what it seems, and we are the aliens. The
ending picture features flying pigs. Is Wiesner referring to the phrase “when pigs fly,”
asking us to suspend disbelief? Such mysterious questions extend the text and add to
the excitement of the book. Years later, we can look back and say those flying pigs
foreshadowed Wiesner’s The Three Pigs (Clarion, 2001).
Perhaps illustrators who extend the text draw on the work of Randolph
Caldecott. In his illustrations for Hey Diddle Diddle (George Routledge and Sons,
1882), the pigs seem to be wearing suits and dancing to music, giving us more to
 Reading Pictures 13

enjoy about the pigs than the text provides. On another page, Caldecott draws the
moon so low on the horizon that a cow need not jump far for us to believe the
rhyme. “Look how the cow jumps over the moon! I wish I had such a clever mind!”
exclaimed another brilliant and successful British illustrator, Kate Greenaway, a con-
temporary and a good friend of Caldecott. The illustrator Maurice Sendak writes about
this illustration, noting the additional figure in the frame. “It’s Caldecott’s drawing of
the milkmaid dropping her bucket that makes this even more exceptional, as in her
reaction we learn that she sees what we see also.” Again, Caldecott extends and enhances
the text, in this case giving credibility to the rhyme. (For more, read Maurice Sendak,
Caldecott and Co.: Notes on Books and Pictures [Farrar, 1988], and Ina Taylor, The Art of
Kate Greenaway: A Nostalgic Portrait of Childhood [Pelican, 1991]).
Picture books can serve as a bridge to other arts. Film is a close cousin to picture
books. In film and picture books, the images and scenes are repeated to carry out a
story. A distinction between the media needs to be made. Films, like picture books,
are composed of a series of images that form a story by following the same charac-
ters through a variety of settings in which the story unfolds. For example, all of the
frogs that Wiesner paints remain the same kind of frogs, page after page. A painting
does not require this sequence. Except in some narrative paintings, a painting is not
about the development of characters over time. In Wiesner’s Tuesday, we sense we are
in a colorful science fiction film. Wiesner’s frogs are painted in a realistic style; they are
not painted from the imagination. But when he paints them flying on lily pads, it defies
our scientific knowledge, which gives us the sense of being in a science fiction film.
As we learn more about book illustration, we will find sometimes subtle, some-
times direct references to the great artists. Anthony Browne made references to
paintings in Willy the Dreamer (Candlewick Press, 1997). Browne informs audiences
that the painter Magritte is an influence and that he admires the writing of Lewis
Carroll, so it is no surprise that we can find connections to Magritte and Carroll
throughout Browne’s work. In the second edition of Willy’s Pictures (Candlewick
Press, 2000), the referenced paintings are reproduced at the end of the book.
Some books are about music. Mysterious Thelonious, written by Christopher
Raschka (Orchard Books, 1997) and dedicated to the editor Dick Jackson, is just
such a book. Its dust jacket, with grid pattern and musical scale, sets the stage, and I
can hear the instruments getting tuned up. The text is spread across several pages.
The words “Oh so mysterious Thelonious, mysterious Thelonious, mysterious
Thelonious, mysterious, oh so” can be found swimming through Raschka’s fluid,
floating musical scale. The placement of the text is a sensuous feast for the eye. We
are told on the end pages that Raschka “matched the twelve musical tones of the
chromatic scale, e.g., do, re, mi, to the twelve color values of the color wheel, then set
paint strokes for notes and color washes for harmonies.” It looks and feels like the
music of Monk translated into colorful watercolor. The book measures only 6½
inches by 7 ½ inches, inviting small children to hold it and enjoy the colors, and per-
haps to hear their own personal rendition of the music referenced and to know
about its message before ever listening to Monk’s “Mysterioso.”
14 Reading Pictures

Bridging from book illustration to poetry, Angela Johnson was inspired by Tar
Beach and wrote this poem.
When it is a warm time
in the evening
and my people are
laughing
and warm
beside me,
it almost feels like
I can fly.
Above the city and
everything
I know.
—And I am happy in
the coolness
as I am in the warmth,
because I can fly as
free as I feel
and watch my people
with love
from
above.
More examples of poems inspired by art appear in Jan Greenberg’s Heart to
Heart: New Poems Inspired by Twentieth-Century American Art (Abrams, 2001).
To further our understanding of visual literacy, museums offer the most excellent
examples of a wide variety of materials and techniques used by artists. Labels and
exhibit catalogs provide more information. To develop a critical and educated eye
takes some work over time. As you learn to recognize the variety of materials used,
you might work in reverse and imagine what stories they would complement. For
example, the quilts Faith Ringgold painted would work well in a story about an
African American girl growing up in Harlem. In this way you will be able to deter-
mine whether a certain medium works well with a text. Go to “images” at
http://www.google.com to search for paintings and illustrations.
To identify excellence in bookmaking, the binding, layout, design, and overall
look of a book must be considered. To learn the terms that describe the parts of a
book, read ABC for Book Collectors, 8th edition, by John Carter and Nicolas Barker
(Oak Knoll Press, 2003). View early printed books on display in rare book collec-
tions. Examine books made by artists. They help us see books as art objects and
demonstrate the creative use of experimental papers and bindings. Helpful websites
include Minnesota Center for Book Arts, http://www.mnbookarts.org; the Center
for Book Arts, http://www.centerforbookarts.org; and the San Francisco Center for
the Book, http://www.sfcb.org/index.php3.
 Reading Pictures 15

Once you have developed a working knowledge of art terms, you can more deeply
appreciate picture books and more enthusiastically share them with children. If you
can write book reviews that include knowledgeable comments about illustration,
you will help publishers, authors, and illustrators. Illustrators and art directors read
children’s book reviews and can quickly spot a charlatan. And they know that starred
reviews and awards result in stronger sales. There is, therefore, a great need for
responsibility in writing reviews.
Unfortunately, many good books about illustration are out of print, but you can
find them at the library. Sources for information about illustration are: Art and
Design in Children’s Picture Books: An Analysis of Caldecott Award-Winning
Illustrations, by Lyn Ellen Lacy (American Library Association, 1986); Looking at
Picture Books, by John Warren Stewig (Highsmith, 1995); Lotus Seeds: Children,
Pictures, and Books, by Marcia Brown (Atheneum, 1986); Potential of Picture Books:
From Visual Literacy to Aesthetic Understanding, by Barbara Z. Kiefer
(Merrill/Prentice Hall, 1995); Writing with Pictures: How to Write and Illustrate
Children’s Books, by Uri Shulevitz (Watson-Guptill, 1997); Picture This: How Pictures
Work, by Molly Garrett Bang (Seastar, 2000); and Ways of Telling: Conversations on
the Art of the Picture Book, by Leonard S. Marcus (Dutton, 2002).
Information about art materials and techniques can be found in the Artist’s
Handbook of Materials and Techniques, by Ralph Mayer (Viking, 1991), The Painters
Handbook, by David Gottsegen (Watson-Guptill, 1993), The Oxford Dictionary of
Art, edited by Ian Chilvers and Harold Osborne (Oxford University Press, 1988),
and, for more serious study, Secret Knowledge: Rediscovering the Lost Techniques of the
Old Masters by David Hockney (Viking, 2001). It is also helpful to read journals that
focus on the communication arts, such as Print: America’s Graphic Design Magazine
and the basic art journals.
To cultivate a basic knowledge of art history, read H. W. Janson and Anthony F.
Janson, History of Art for Young People, sixth edition (Abrams, 2003). Enjoy Sister
Wendy Beckett’s The Story of Painting (DK Publishing, 1994) in book form or on
video. Study American Visions: The Epic History of Art in America, by Robert Hughes
(Knopf, 1997). View videos about individual artists such as Jackson Pollock and
Frida Kahlo. Attend lectures on art history. Read children’s biographies, such as Ann
Kay Beneduce’s A Weekend with Winslow Homer (Rizzoli, 1996), John Duggleby’s
Story Painter: The Life of Jacob Lawrence (Chronicle Books, 1998), Russell
Freedman’s Martha Graham: A Dancer’s Life (Clarion, 1998), Paolo Guarnieri’s A
Boy Named Giotto (Farrar, 1999), Sandra Jordan and Jan Greenberg’s Frank O.
Gehry: Outside In (DK Publishing, 2000), Bijon LeTord’s A Bird or Two: A Story about
Henri Matisse (Eerdmans, 1999), Elizabeth Partridge’s Restless Spirit: The Life and
Work of Dorothea Lange (Viking,1998), Deborah Kogan Ray’s Hokusai: The Man
Who Painted a Mountain (Farrar, 2001), and Diane Stanley’s Michelangelo (Harper
Collins, 2000). Three children’s fiction titles that feature artists are Janet Taylor
16 Reading Pictures

Lisle’s The Art of Keeping Cool (Simon and Schuster, 2000), Linda Sue Park’s A Single
Shard (Clarion, 2001), and Gloria Whelan’s Homeless Bird (HarperCollins, 2000).
Book illustration has a rich and global history, from illuminated manuscripts to
lift-the-flap books to laser printing. As your knowledge expands, you’ll want to learn
about other awards for illustration, such as the Hans Christian Andersen Award, the
Kate Greenaway Medal, and the various Bologna international book awards. Each of
us is connected with some piece of that history. For me it is the teacher’s guides for
my first readers, the Dick and Jane series, which encouraged students to talk about
the pictures in class. Reading experts Zerna Sharp and William Gray and an editori-
al team including May Hill Arbuthnot created a curriculum of reading books that
reflected a six-year-old’s activities and language. The characters of Dick and Jane
represented Everyboy and Everygirl and first appeared in a 1930s Elson Basic Reader
pre-primer. Because I was a visual learner, I was an active participant in my first-
grade class’s book discussions. As I read the pictures, I learned that Jane wore dress-
es and Dick did things! I learned that Mom was usually in the kitchen wearing an
apron and holding the family together. The Dick and Jane books were retired when
our concept of the family changed, but, interestingly, baby boomers who learned by
that method grew up incorporating pictures into everything they did. For more
information, read Carole and Marvin Heiferman’s Growing Up with Dick and Jane:
Learning and Living the American Dream (HarperCollins, 1996).
There are now many opportunities to view original book illustration. I saw a trav-
eling exhibit of original art for the illustrations in the Dick and Jane series at the Norton
Museum of Art in West Palm Beach, Florida, and then again at the Osborne Collection
in Toronto, Canada. Special collections, such as the Eric Carle Museum of Picture Book
Art, are dedicated to educating the public about book illustration. The following web-
sites provide more information on illustrators and their art:
Society of Illustrators Museum of American Illustration, http://www.
societyillustrators.org
National Center for Children’s Illustrated Literature, http://www.nccil.org
Eric Carle Museum of Picture Book Art, http://www.picturebookart.org
Children’s Literature, reviews and interviews with illustrators,
http://www.childrenslit.com
Every Picture Tells a Story, online gallery of original illustrations,
http://www.everypicture.com
International Board on Books for Young People, http://www.ibby.org
Picture Book, information about the book industry, http://www
.picture-book.com
Bologna Children’s Book Fair, http://www.publishers.asn.au/book_
fairs.cfm?doc_id=82
 Reading Pictures 17

Also visit the individual web pages of children’s book publishers.

In addition to exhibits, lectures by book illustrators offer insight into their work.
They help us understand the collaborative process of making the book. We see a
book in a new way when we hear about the process of creating it and learn about the
materials and techniques used. What is more, visits and lectures by illustrators can
build the self-esteem of children who crave encouragement in the arts.
Recently, in a program at the Portland Museum of Art, I heard David Macaulay
tell about his process of working as an illustrator. He was able to show how drawings
and ideas that do not quite work are as much a part of the creative process as those
that do. Macaulay’s presentation reminded me that children’s librarians need to be
doubly responsible to the public when selecting award books. If our choices do not
meet the highest standards of excellence, our profession and the awards run the risk
of becoming trivial. Macaulay also reminded the audience that although a book for
children might be playful, there is very serious work behind it. To learn more from
illustrators speaking on their own work, read Julie Cummins’s Wings of an Artist:
Children’s Book Illustrators Talk about Their Art (Abrams, 1999) and Leonard
Marcus’s Ways of Telling: Conversations on the Art of the Picture Book (Dutton, 2002).
To enhance your visual literacy, do some of your own drawing or painting.
Working with something as simple as a few crayons and a blank sheet of paper will
break down your inhibitions. If we ask our children to do it, we can too. Use the
workbook format of Marilyn J. S. Goodman and Natalie K. Lieberman’s Learning
through Art: The Guggenheim Museum Collection (Abrams, 2001) to break the ice
and get you started. An exercise I suggest in my workshop is to look at Cassie in Tar
Beach, by Faith Ringgold. Ringgold is concerned about expressing how Cassie feels,
not about following rules of perspective. As you view the illustrations, make a self-
portrait depicting how you feel. Forget about any “right” way to draw. Show yourself
flying over your favorite places. Put in enough details to make your rendering of you
and your special places distinctive. Ask a friend to read your picture. Based on your
drawing, can your friend describe what you like and what makes you unique? Then
ask yourself, “How can I improve my drawing to say what I mean?” Then you will
begin to understand the challenge that illustrators face. For more inspiration, read
Mila Boutan’s Monet: Art Activity Pack (Chronicle Books, 1996). Art packs are also
available for Cezanne, Degas, Gauguin, Matisse, Picasso, Renoir, and Van Gogh. Also
take a look at A Book of Artrageous Projects, by Klutz Press and the Metropolitan
Museum of Art (Klutz, 2000).
Modern painters such as Rothko, Motherwell, and Warhol deserve our attention
because they have forged new territories and introduced us to new and sometimes
uncomfortable feelings. Museums have retrospective shows to honor their work.
Similarly, an illustrator award for a body of work acknowledges a lifetime of creative
book illustration. Sometimes one of the books features a breakthrough design that
can lead to even more exceptional work in the next book. An award for the body of
an illustrator’s work is the way to reward illustrations that are experimental. In con-
trast, when selecting a single book for an award for illustration, the collaborative
nature of the book, the text, and the audience need to be considered. Therefore, the
Caldecott Medal, in my opinion, is not exclusively for cutting-edge illustration.
18 Reading Pictures

When we take the time to really look at the pictures in books, know the elements
of design, understand cultural context, and develop our visual literacy, we become
well prepared to undertake our search for excellence. We can then celebrate picture
book illustration with our hearts and our heads.
The Newbery Awards
2004–1922
2004 NEWBERY AWARD
THE TALE OF DESPEREAUX: BEING THE
STORY OF A MOUSE, A PRINCESS,
SOME SOUP, AND A SPOOL OF THREAD
Kate DiCamillo
Candlewick

The Tale of Despereaux draws the reader into an

enchanting account of a smaller-than-usual
mouse in love with music, stories, and a princess
named Pea. This tiny hero faints at loud noises
but gathers the courage to fulfill his dreams.
With character and plot far more complex
than the traditional fairy tale, separate stories
introduce Despereaux, condemned for talking
to the princess; the evil rat, Roscuro, who loves
light and soup; and Miggery Sow, a farm girl
with royal aspirations. Their fates are threaded
together as Despereaux undertakes a hero’s
quest that culminates in mice, rats, and humans
living almost happily ever after. The lyrical lan-
guage of this distinctive tale is as savory as the
palace soup.
“With finesse, DiCamillo masterfully weaves
drama, mystery, and intrigue with high humor
and fun into a cohesive, captivating, and distin-
guished tale,” said Newbery Award Chair Eliza T.
Dresang. “Time-honored themes of good ver-
sus evil, light versus dark, unrequited love, loy-
alty, and search for identity have roots in many
mythic and literary classics familiar to children.
This story is sure to entice, challenge, and
delight readers of all ages.”
KATE DICAMILLO

20
2004 HONOR BOOKS
Olive’s Ocean Kevin Henkes Greenwillow
Twelve-year-old Martha receives a page from the journal of a classmate, Olive, who
has died in an accident. Olive’s entry about a desire to be Martha’s friend, to see the
ocean, and to become a writer propels Martha into a journey from childhood to the
brink of adolescence. Beautiful and powerful imagery drawn from the sun, sand, and
sea of Martha’s summer with her family and friends at Cape Cod skillfully reflects
the pain and joy of Martha’s coming-of-age and awareness of her own mortality.
Kevin Henkes’s precision with language and elegant pacing allow him to juggle
several layers of story with immediacy and subtlety that make the reader live the
story. Henkes effectively captures the ebb and flow of early adolescence. This novel
transforms a universal slice of life into an experience as enigmatic and compelling as
the ocean itself.

An American Plague: The True and Terrifying Story of the Yellow

Fever Epidemic of 1793 Jim Murphy Clarion
An American Plague: The True and Terrifying Story of the Yellow Fever Epidemic of
1793 dramatically recounts the story of the yellow fever epidemic that nearly deci-
mated the population of Philadelphia at the end of the eighteenth century. Details of
the rapid, unstoppable spread of this dread disease make clear its far-reaching con-
sequences for the political and social stability of the young republic and on the lives
of the people involved. Integrating newspapers, diaries, personal testimonies, and
period illustrations, the narrative delivers a social and medical history of the times
and raises chilling questions about the disease today.
With superb verbal craftsmanship, Murphy conveys the tension of the mystery
and impending doom of this epidemic, ending with the frightening fact of its con-
temporary relevance. The compelling narrative of investigation and unsolved mys-
tery turns facts into a spell-binding story in an outstanding nonfiction presentation
for a child audience.

21
22 The Newbery Awards

2003 AWARD
Crispin: The Cross of Lead Avi Hyperion
Crispin: The Cross of Lead is an action-filled page-turner set in fourteenth-century
England. “Asta’s son” is the only name the thirteen-year-old title character has ever
known when he is suddenly orphaned and stripped of home and possessions.
Accused of murder and wanted dead or alive, Crispin flees his village and falls in
with a juggler, Bear, who becomes his protector and teacher. Relentlessly pursued by
Crispin’s enemies, the pair flees to solve the mystery of his identity and fight the
injustices of feudalism.

HONORS
The House of the Scorpion Nancy Farmer Atheneum
Farmer tackles the provocative topics of cloning, the value of life, illegal immi-
gration, and the drug trade in a coming-of-age novel set in a desolate, futuristic
desert.

Pictures of Hollis Woods Patricia Reilly Giff Random House

Twelve-year-old Hollis Woods unfolds her story of foster care and a search for
family in images from her sketchbook, which reveal both her memories and her
artistic soul. Strong visual imagery, multi-layered structure, and memorable char-
acters create an emotionally satisfying story.

Hoot Carl Hiaasen Knopf

Hiaasen’s wildly funny satire features the new kid, Roy, joining forces with tough
Beatrice and the elusive Mullet Fingers to defeat a bully, thwart an avaricious cor-
poration, and save a colony of burrowing owls. Hiaasen’s work is both a rollick-
ing adventure and a serious examination of values that threaten our environ-
ment.

A Corner of the Universe Ann M. Martin Scholastic

With the surprising arrival of a mentally disabled uncle, twelve-year-old Hattie
Owen’s world is turned upside down. Ann Martin used her own childhood mem-
ories to create a 1960s small-town setting, perfectly suited to this poignant story.

Surviving the Applewhites Stephanie S. Tolan HarperCollins

Tolan features pierced and spike-haired Jake, who has been expelled from every
possible public school before his unwilling arrival at Wit’s End, N.C., and the
homeschool run by the chaotic and outrageous Applewhite family. The eccentric
characters and fast pace culminate in a hilarious musical production that forces
Jake to grow.
 The Newbery Awards 23

2002 AWARD
A Single Shard Linda Sue Park Houghton/Clarion
Park takes readers to twelfth-century Korea to tell a timeless story of dedication to
one’s dreams and art in A Single Shard. Tree-ear, an orphan, becomes fascinated with
a nearby community of potters. Drawn by their exquisite craftsmanship, the adoles-
cent boy begins to assist the master potter Min. Tree-ear’s determination and brav-
ery in pursuing his dream of becoming a potter take readers on a literary journey
that demonstrates how courage, honor, and perseverance can overcome great odds
and bring great happiness.

HONORS
Everything on a Waffle Polly Horvath Farrar Straus Giroux
When eleven-year-old Primrose Squarp’s parents disappear at sea, her faith in
their return defies all adult logic. Set in British Columbia, Everything on a Waffle
combines quirky characters, recipes, and amazing twists of plot in a striking com-
bination of the barely credible and profoundly true.

Carver: A Life in Poems Marilyn Nelson Front Street

Nelson challenges readers with a truly new biography of George Washington
Carver. Told from multiple perspectives, this collection of fifty-nine poems
reveals little-known facets of the remarkable scientist, who it too often dismissed
as “the peanut man.” With simple sophistication and beauty, Nelson transcends
Carver’s brilliance and scientific achievements to present the essence of this pro-
foundly humble man.

2001 AWARD
A Year Down Yonder Richard Peck Dial Books for Young
Readers/Penguin Putnam
A linked series of vignettes set in rural Illinois during the Depression. A Year Down
Yonder tells the story of fifteen-year-old Mary Alice who leaves Chicago to spend a
year with Grandma Dowdel. Her initial apprehension about life in a small town with
a scheming old woman gradually gives way to admiration and love as she recognizes
the warm heart behind Grandma’s shenanigans.

HONORS
Hope Was Here Joan Bauer Putnam
Hope Was Here relates how sixteen-year-old Hope and her aunt move to a small
town in Wisconsin to join the “short order dance” of life at the Welcome
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