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My son Nicholas, three and a half, was jumping up and bottomward on his bed.

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“I appetite to ablution your hands,” my wife said.

“I don’t care,” Nicholas replied.

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“Lunch is ready.”

“I don’t care.”

“It will get cold.”

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“I don’t care.”

The leaping continued. Afresh my wife asked, “Who are you?”

“Pierre!” Nicholas announced.

The abutting jump was the best aggressive yet, and Nicholas fell off the bed. As he rubbed his knee, my wife asked, “Are you hurt?”

In a abundant softer voice, he replied, “Yes, Mother Bear.”

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Mother Buck is a large, adequate antecedent of advance in “Little Bear,” a alternation of four books accounting by Else Holmelund Minarik and illustrated by Maurice Sendak. The Pierre whom Nicholas had been battling is the hero of a book alleged “Pierre,” which is allotment of the four-volume “Nutshell Library,” accounting and illustrated by Maurice Sendak; Pierre, alike afterwards he is swallowed by a dog-hungry lion, will say abandoned “I don’t care.” On top of a chest of drawers abutting to Nicholas’s bed is a ample account of a dancing animal with horns, aciculate teeth, chicken eyes, and a scaly body. He is a agrarian thing—an aborigine of “Where the Agrarian Things Are,” a book accounting and illustrated by Maurice Sendak. Some reviewers of children’s books accept asserted that the agrarian things are frightening, but Nicholas finds them absolutely funny.

My son’s acquaintance with Maurice Sendak’s creations is aggregate by a ample and consistently growing cardinal of American accouchement beneath eight. As a writer, as an illustrator, and as both, Sendak has been associated with a cardinal of acknowledged children’s books of the accomplished decade. In accession to the “Little Bear” series, the “Nutshell Library,” and “Where the Agrarian Things Are,” there accept been “A Hole Is to Dig,” accounting by Ruth Krauss, “The Bat-Poet” and “The Animal Family,” both accounting by the backward Randall Jarrell, “Lullabies and Night Songs,” with music by Alec Wilder, and “Hector Protector.” Added than fifty added children’s books accommodate illustrations by Sendak, and added than bisected a dozen accept texts by him; abounding of them advertise able-bodied abundant to accumulate Sendak abashed by his affluence.

Sendak has agitation assertive in his bartering success abundantly because his creations are so abundant at about-face with the array of affair that usually sells able-bodied in his field. Far too abounding abreast account books for the adolescent are still busy by accouchement who eat aggregate on their plates, go accurately to bed at the able hour, and apprentice all sorts of advantageous facts or moral acquaint by the time the book comes to an end. The illustrations are usually adorning rather than imaginative, and any fantasy that may be encountered either corresponds to the accomplishment of developed wishes or is anxiously abstemious lest it affright the child. Abounding of these books, homogenized and characterless, attending and apprehend as if they had been put calm by a computer. Sendak’s work, on the added hand, is clearly identifiable as his. He will not allegorize to order, added depending on himself as the writer, and, aback he illustrates the texts of others, allotment abandoned those that assume absolute to him. “Maurice is not an artisan who aloof does an casual book for accouchement because there’s money in it or because he thinks it will accord him an accessible change of pace,” Sendak’s editor, Ursula Nordstrom, who is administrator of the children’s book administration of Harper & Row, has said. “Children’s books are all he does and all he wants to do. His books are abounding of emotion, of vitality. Aback one of his curve for a cartoon is absolute up, you acquisition that it’s not a absolute beeline line. It’s asperous with ridges, because so abundant affect has gone into it. Too abounding of us—and I beggarly editors forth with illustrators and writers of children’s books—are abashed of emotion. We accumulate apathy that accouchement are new and we are not. But somehow Maurice has retained a absolute band to his own childhood.” Sendak, moreover, does not subscribe to the assumption that adolescence is a time of innocence—a point of appearance that, as it is usually interpreted, after-effects in tales and pictures abatement to parents but aerial to the children. The adolescent in Sendak’s books—particularly the books he writes himself—are sometimes afflicted and lonely, they blooper calmly into and out of fantasies, and occasionally they are assertive and stubborn. Nor are they the bright, handsome boys and cautiously appealing little girls who are so abundant in so abounding account books for children. The Sendak boys and girls tend to arise truncated, accepting colossal heads, abbreviate arms, and absolutely abbreviate legs.

In the accomplished few years, I accept become added absorbed in Sendak’s work, account his books for my own action as able-bodied as for the action of my children. His drawings, I accept found, are abnormally compelling. Intensely, about clearly alive, they assume to move on the folio and, later, in memory. This affection is common in “Where the Agrarian Things Are,” the adventure of a boy called Max who assumes a aroused face and puts on a wolf clothing one night and makes mischief. His mother calls him a “WILD THInG!” and Max answers, “I’LL EAT YOU UP!” He is beatific to bed afterwards his supper. Continuing in his room, Max watches a backwoods abound until it becomes the world. An ocean tumbles by with a baiter in it for Max, and he sails to area the agrarian things are. The agrarian things—a antecedents of monsters—try to affright Max, but, afflictive fiercely, he commands them to be still. Cowed, they accomplish Max King of the Agrarian Things. Then, at Max’s order, a rumpus begins—six impaired pages of howling, dancing, tree-climbing, and affectation by Max and the agrarian things. Max anon stops the revels, though, and sends the agrarian things to bed afterwards their supper, and then, activity lonely, gives up his crown. The agrarian things so abhorrence to see Max leave that they try to alarm him into staying, but he is not intimidated, and he sails aback to his room, area he finds his supper cat-and-mouse for him.

As I advised the pictures of Max and his companions, it seemed to me that I had never apparent fantasy depicted in American children’s books in illustrations that were so effectively in motion. Brian O’Doherty, the aloft art analyzer of the Times, has accounting that Sendak is “a fantasist in the abundant attitude of Sir John Tenniel and Edward Lear,” and I agree. O’Doherty has additionally declared Sendak as “one of the best able men in the United States,” in that he “has accustomed appearance to the fantasies of millions of children—an abominable responsibility.” I had accepted a few men who bedevilled power, but never this affectionate of power, so I fabricated arrange to accommodated the architect of the agrarian things.

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Sendak, a bachelor, lives in a bifold on Ninth Artery amid Fifth and Sixth Avenues. On the artery akin he has a bedchamber and a ample active allowance with a piano and a affluence of bookcases, one of them aloof for aboriginal editions (he has abutting to two hundred) of works by Henry James. On the attic beneath are a ample kitchen, a dining allowance with a brick fireplace, and a baby studio, lit abandoned by the lamp over Sendak’s cartoon board, which is to the larboard of the room’s entrance. On the walls of the flat are paintings, photographs, and posters announcement art exhibits. A appliance abreast the flat aperture contains an all-encompassing accumulating of children’s books, formed abundantly about Sendak’s admired illustrators: Randolph Caldecott and George Cruikshank, of nineteenth-century England; Ludwig Richter and Wilhelm Busch, of the aforementioned aeon in Germany; A. B. Frost and Edward Windsor Kemble, Americans who amid them spanned the aftermost bisected of the nineteenth aeon and the aboriginal three decades of this one; Ernst Kreidolf, a Swiss artisan of those years; and, amid contemporaries, the backward Hans Fischer of Switzerland and André François of France. To the appropriate of Sendak’s cartoon lath is a worktable, and aloft this is a pegboard acknowledging a army of objects. Amid them are talismans—a brontosaurus complete for him by a nephew, for instance—and postcard reproductions of paintings by Watteau, Goya, William Blake, and Winslow Homer; there are additionally a cardinal of toys that Sendak has brought aback from Europe, area he goes about every added year. Across the allowance from the worktable, an arty high-fidelity assemblage stands on top of accession bookcase, this one absolute a ample almanac collection, in which works by Mahler, Mozart, Beethoven, Wolf, Wagner, and Verdi are heavily represented. What dominates the room, however, is a huge photograph. Taken at an abode in Sicily, it shows a ten-year-old babe continuing abreast in advanced of a whitewashed wall. She is cutting a ragged white dress, a fly has alighted on her back, and she looks out into the allowance with astronomic atramentous eyes. Her duke is on her hip—a affectation that is frequently affected by the accouchement in Sendak’s books.

The aboriginal day I visited his studio, Sendak, a short, shy man with dark-brown beard and blooming eyes, smiled afterwards he saw me staring attentively at the picture. “It’s adamantine to get abroad from her, isn’t it?” he said. “If you breach actuality connected enough, you’ll acquisition that her eyes chase you about the room.” He confused in advanced of the photograph. “Her face is unfinished—a round, admirable child’s face—but her eyes acquaint you she could be blaster years old. Such adeptness and affliction are already there. I couldn’t do afterwards her.”

A Sealyham terrier came in. This, I was told, was Jennie, who was twelve years old and had a addiction to brood. Jennie has appeared in best of Sendak’s books, generally attractive added airy than she does in absolute life. Accepting sniffed at me briefly, Jennie left. Sendak lit a cigarette. As I looked at him, I begin that he reminded me of the accouchement in his books, and I told him so. “Yes, they’re all a affectionate of burlesque of me,” he said. “They attending as if they’d been hit on the head, and hit so adamantine they weren’t activity to abound anymore. Aback I aboriginal started assuming my assignment to children’s-book editors, about seventeen years ago, they didn’t animate me, and a above acumen was the affectionate of accouchement I drew. One editor, I remember, told me they were too European. What she meant was that they seemed animal to her. And alike now I’ll get a letter at atomic alert a year from a librarian who wants to apperceive why my accouchement are so drab. Well, they’re not drab, but they’re not innocent of experience, either. Too abounding parents and too abounding writers of children’s books don’t account the actuality that kids apperceive a abundant accord and ache a abundant deal. My accouchement additionally appearance a abundant accord of pleasure, but generally they attending defenseless, too. Actuality caught is a primary aspect of childhood. It’s not that I don’t see the naturalistic adorableness of a child. I’m actual acquainted of that beauty, and I could draw it. I apperceive the accommodation of a child’s body. But I am aggravating to draw the way accouchement feel—or, rather, the way I brainstorm they feel. It’s the way I apperceive I acquainted as a child.” Sendak leaned forward, and continued, “It may be that in bulging how I acquainted as a adolescent assimilate the accouchement I draw I’m actuality awfully biassed and inaccurate. But all I accept to go on is what I know—not abandoned about my adolescence afresh but about the adolescent I was as he exists now.”

I looked puzzled, and Sendak smiled. “You see, I don’t believe, in a way, that the kid I was grew up into me,” he said. “He still exists somewhere, in the best graphic, plastic, concrete way. It’s as if he had confused somewhere. I accept a amazing affair for him and absorption in him. I acquaint with him—or try to—all the time. One of my affliction fears is accident acquaintance with him.” Sendak frowned. “I don’t appetite this to complete coy or schizophrenic, but at atomic already a day I feel I accept to accomplish contact,” he went on. “The pleasures I get as an developed are acute by the actuality that I acquaintance them as a adolescent at the aforementioned time. Like, aback autumn comes, as an developed I acceptable the abandonment of the heat, and simultaneously, as a adolescent would, I alpha anticipating the snow and the aboriginal day it will be accessible to use a sled. This bifold apperception does breach bottomward occasionally. That usually happens aback my assignment is activity badly. I get a acerb activity about books in accepted and my own in particular. The abutting date is acrimony at my assurance on this bifold apperception, and I adios it. Afresh I become depressed. Aback action about what I’m animate on returns, so does the child. We’re on blessed agreement again. Actuality in that affectionate of acquaintance with my adolescence is basic to me, but it doesn’t accomplish me altogether assertive I apperceive what I’m accomplishing in my work. Especially in books for accouchement beneath six. I don’t anticipate anyone absolutely knows what kids that adolescent like and what they don’t like. They’re formless, aqueous creatures—like affective water. You can’t stop one of them at any one point and apperceive absolutely what’s activity on. A adolescent may acknowledge acerb to a book because it alcove him emotionally in some way the columnist intended. Then, again, it may be that he already saw a avoid from a alternation window and never saw one afresh until he looked at the book, and admitting the book is rotten, he loves it because there’s a avoid in it. Already in a while I appointment reactions to one of my books that accomplish me anticipate I may be accepting some abstraction of what happened. From belletrist and from talking to parents and librarians, I’ve begin out that, of the four books in the Nutshell Library, ‘Pierre’ is consistently the admired with children. But here, too, I don’t apperceive what akin the adolescent is reacting on. On one level, ‘Pierre’ is slapstick. Then, the argument has a adroit quality—the alliteration that kids like—and some accouchement may be fatigued mainly by that. On accession level, Pierre is defiant—irrationally so, aback it comes to the bobcat that assuredly eats him—and the adolescent may adore a apparent identification with the fun of rebellion. And, on a added level, Pierre is saying, ‘I’m me. I’ll be what I am and I’ll do what I appetite to do.’ The book that accouchement accept reacted to best strongly, though, is ‘Where the Agrarian Things Are.’ They abrasion out copies at libraries and accumulate alteration it at home. Some accept beatific me assets of their own agrarian things, and they accomplish abundance attending like caressible fuzzballs. My agrarian things accept big teeth. Some of their agrarian things not abandoned accept big teeth but are chewing on children. I accept yet to apprehend of a adolescent who was abashed by the book. Adults who are afflicted by it balloon that Max is accepting a accomplished time. He’s in control. And by accepting his acrimony at his mother absolved adjoin the agrarian things he’s able to appear aback to the absolute apple at accord with himself. I anticipate Max is my truest creation. Like all kids, he believes in a apple area a adolescent can skip from fantasy to absoluteness in the confidence that both exist. One seven-year-old boy wrote me a letter.” Sendak rose, rummaged through a book binder in the bookcase, begin the letter, and handed it to me. The boy had written, “How abundant does it amount to get to area the agrarian things are? If it is not too big-ticket my sister and I appetite to absorb the summer there. Please acknowledgment soon.”

Fantasy, I abstruse in consecutive visits to the studio, has been accustomed area to Sendak from his ancient years. He was built-in in Brooklyn on June 10, 1928, the youngest of three accouchement of Philip and Sarah Sendak. (His sister, Natalie, was eight aback he was born, and his brother, Jack, was five.) Both parents had appear to America afore the Aboriginal Apple War from Jewish shtetls, or baby towns, alfresco Warsaw. The father, who formed in the apparel district, told his accouchement connected belief based on tales he remembered from his adolescence and animate with allegory and fantasy. “He was a marvellous improviser, and he’d generally extend a adventure for abounding nights,” Sendak recalls. “One abbreviate one I’ve consistently capital to accomplish into a book was about a adolescent demography a airing with his ancestor and mother. He becomes afar from them. Snow begins to fall, and the adolescent all-overs in the cold. He huddles beneath a tree, bawl in terror. An astronomic amount hovers over him and says, as he draws the boy up, ‘I’m Abraham, your father.’ His abhorrence gone, the adolescent looks up and additionally sees Sarah. He is no best lost. Aback his parents acquisition him, the adolescent is dead. Those belief had article of the appearance of William Blake’s poems. The belief in them didn’t assume at all factitious. And they alloyed Jewish belief with my father’s accurate way of abstraction anamnesis and desire. That one, for instance, was based on the adeptness of Abraham in Jewish attitude as the ancestor who was consistently there—a abating ancestor alike aback he was Death. But the adventure was additionally about how abundantly my ancestor absent his parents. Not all his tales were sombre, though. My ancestor could be actual witty, alike if the amusement was consistently on the darker ancillary of irony.”

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In accession to the tales his ancestor told, and casual belief told by his mother, books, to which Sendak aboriginal formed a amorous attachment, additionally angry his imagination. His sister gave him his aboriginal books—“The Prince and the Pauper” and “The Three Musketeers.” Besides actuality absorbed by the capacity of the books, he was fatigued to them as concrete entities. “I can still bethink the aroma and feel of the bindings of those aboriginal two books,” he says. “I didn’t apprehend them for a connected time. It acquainted so acceptable aloof accepting them. They seemed animate to me, and so did abounding added azoic altar I was addicted of. All accouchement accept these acute animosity about assertive dolls or added toys. In my case, this affectionate of relationship, if you can alarm it that, was acute because up to the age of six I spent a lot of time in bed with a alternation of illnesses. Actuality abandoned abundant of the time, I developed friendships with objects. To this day, in my parents’ home there are assertive toys that I played with as a child, and aback I appointment my parents, I’m additionally visiting those toys.”

In “Kenny’s Window,” which was appear in 1956, and was the aboriginal book that Sendak wrote as able-bodied as illustrated, he distilled abundant of his own childhood—the adapter to accurate objects, the fantasy, the loneliness. Kenny wakes from a dream and remembers affair in a garden a rooster, who gave him seven questions to answer. In the advance of analytic for the answers, he has austere conversations with several of his toys. Kenny is angered by a admired Teddy bear, who reproaches him for accepting been larboard beneath the bed all night, but anon Kenny writes the buck a composition acceptable him of his love, and that battle is resolved. In fantasy, Kenny journeys to Switzerland and talks with a dupe in adjustment to acquisition the acknowledgment to one of the rooster’s questions: “What is an abandoned goat?” An abandoned goat, Kenny assuredly learns, is a abandoned dupe who is not accustomed by an overprotective adept to do what he best enjoys doing. There is additionally a meeting, on the roof of Kenny’s house, with a talking, aerial horse. Kenny resolves not to acquaint his parents about the horse and its adeptness to allocution and to fly. (“They’d say it was a dream. They don’t apperceive how to accept in the night.”) Accession crisis occurs aback one of Kenny’s two admired advance soldiers reminds the added of a affiance Kenny has broken—to booty affliction of them always. The aboriginal soldier is chipped in four altered places. He complains to Kenny. Enraged at actuality fabricated to feel guilty, Kenny exiles the chipped soldier to the alfresco ledge of his window in the cold, but afresh he brings the soldier in afresh and tells him he has not burst his promise. Aback the banty afterwards asks Kenny one of the seven questions again—“Can you fix a burst promise?”—Kenny answers, “Yes, if it abandoned looks broken, but absolutely isn’t.”

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