Children's Literature in Education, Vol. 21, No. 3, 1990

Darwin Henderson teaches children's literature at the University o f Cincinnati. His research interests lie in 20th c e n t u r y African-American literature for y o u t h . A n t h o n y L. M a n n a has c o - a u t h o r e d

Darwin Henderson and Anthony L. Manna

An Interview With Jerry P i n k n e y

Children's Literature f o r Health Awareness (forthcoming from Scarecrow Press) a n d has w r i t t e n articles o n children's plays. He teaches children's literature a n d creative d r a m a at Kent State University.

Barbara Bader,

American Picturebooks f r o m Noah's Ark to the Beast Within, p. 42

Valerie Flournoy,

The Patchwork Quilt

For over twenty years now, Jerry Pinkney has been creating illustrations which infuse dignity and a vigorous spirit into the human dramas depicted in children's picture books. Whether he uses rough-hewn or softly rendered pencil sketches to capture significant moments of action and insight in folktales from Africa, India, or the rural American South or animates an unfolding story line with exuberant, richly textured watercolors which serve as a running commentary on thought, feeling, and sequence, Pinkney brings to the art of picturebook illustration a meticulous attention to authentic detail and a well-tuned sense of the rhythm, pace, and arrangement of illustrations which, as Barbara Bader maintains, have a "narrative obligation" to fulfill. Pinkney pursues a text the way an actor explores a play script. He searches for clues which signal the texture, shape, and movement of character in action in order to give these elements visual life and to endow them with a distinctive style. And, in the manner of an actor, he frequently discovers the subtext of a manuscript--its underlying tone, mood, and focus--by actually posing as some of the human and animal characters, dressing in role, and improvising key situations. Through dramatizations of this sort, some of which involve children, Pinkney plans the content of particular scenes and fleshes out character placement, gesture, and relationships. Jerry Pinkney has received numerous awards and honors for his art. He is the only illustrator to have w on the Coretta Scott King Award three times, in 1986 for The P a t c h w o r k Q u i l t by Valerie Flournoy, in 1987 for H a l f a M o o n a n d One Whole Star by Crescent Dra135 0045-6713/90/0900-0135506.00/0 © 1990 Human SciencesPress, Inc.

136 Patricia McKissack, Mirandy and Brother Wind Marilyn Singer, Turtle in July Robert D. San Souci, The TalkingEggs

Children's Literature in Education gonwagon, and most recently for Mirandy a n d Brother Wind by Patricia McKissack, w h i c h was also selected as a Caldecott H o n o r b o o k in 1989. Turtle in July, by Marilyn Singer, was n a m e d one of the best illustrated books of 1989 by the New York Times Book Review, and The Talking Eggs, by Robert D. San Souci, was a 1990 Caldecott H o n o r book. His other h o n o r s include gold, silver, and bronze medals in exhibitions sponsored by the Art Directors Clubs in New York and Boston and citations from the Society o f Illustrators. His art has been exhibited at the American Institute o f Graphic Arts Book Show, and in 1986 selections of his w o r k were s h o w n at the Illustration Exhibition of the Bologna Book Fair. In addition to illustrating, Pinkney has b e e n involved in advertising, design, and p r o m o t i o n a l projects for several major industries and for the U.S. government. His stamps for the Black Commemorative Series o f the U.S. Postal Service include such figures as Martin Luther King, Jr., Harriet Tubman, and Benjamin Banneker. He has also d o n e p r o m o t i o n a l materials for the U.S. Information Agency and the U.S. D e p a r t m e n t o f Interior and has served as resident illustrator for NASA. We interviewed Jerry Pinkney by t e l e p h o n e in his studio in Crotonon-Hudson, New York. H/M: As an artist w h o illustrates books, what are you trying to achieve?

Cruz Martel, Yagua Days

JP: It's communication. The main thing is that my books reach people. People put books o n a shelf and then later pull t h e m off w h e n they need them. That kind o f longevity is an element of publishing that is the most exciting thing for me as an illustrator. Yagua Days, for example, was out of print for ten years, but recently it was brought back to life by Reading Rainbow, and n o w it's being made available to an even larger audience than w h e n it was first published. There are some selfish reasons working here, too, since the books I've d o n e give me something I can look back on. I can see my growth, and I k n o w I have used my art to contribute something to others as well as to myself. I want the reader to feel that the guy behind the drawings and the guy b e h i n d the pencil is not only enjoying what he is doing but also has an interest in the subject matter. HIM: H o w do you w o r k with a manuscript once you have decided to accept an assignment? JP: That varies from publisher to publisher. Initially, I do some drawings o n a yellow legal pad. This frees me up quite a bit in the beginning w h e n I'm doing a fresh reading o f the manuscript in

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o r d e r to get a sense o f the pacing o f the story. Sometimes I have to sacrifice situations in the manuscript that I really want to illustrate to situations that are going to make the b o o k a better package. There's always a lot o f notetaking about m y c o n c e p t i o n of the book. At the same time, I do a lot o f sketching, and I sometimes cut the manuscript up in order to get a sense o f w h i c h pieces o f the text will w o r k o n a given page with the illustrations. It's interesting h o w I'm usually not that m u c h off target from the actual spacing in w h a t will eventually be the final c o p y o f the book. I also like to make a rough d u m m y o f the b o o k in the size that it will be published, and t h e n I do a lot o f scribbling around what the visual situation of the text is going to be. What's always very, very crucial to the way I design is to see at some point if my early renderings can tell the story w i t h o u t the words. The visuals n e e d to tell a story independently o f the text, but I feel that I also have an obligation to couple the words and the illustrations. H/M: Does the publisher have m u c h control over y o u r m e t h o d o f working? J P : That depends. With some publishers you can explain exactly what you want to do and that's acceptable. Others ask for a tighter rough d u m m y right from the very beginning, but even t h e n I still have a lot o f freedom. It doesn't take long before the words force me to get started, to take photographs or do other kinds of research for the book. With Mirandy andBrother Wind I started the b o o k as a m u c h smaller book, but o n c e I got into working o n the manuscript, I k n e w I n e e d e d m u c h m o r e space to tell the story visually. Fortunately, the editor agreed. Mirandy is the kind o f story w h e r e the landscape is important because I saw the w i n d as a d o m i n a n t character. To give Brother Wind his p r o p e r place in the book, I n e e d e d a larger format. There's a lot o f m o v e m e n t in this story; I wanted the reader to feel that the page goes o n and on, that the tale just keeps going. HIM: Do you ever reject a manuscript? JP: Certainly there is always the question o f time. There have b e e n instances w h e n I really liked a manuscript, but the publisher might have wanted a quicker t u r n a r o u n d than I could provide and still do justice to the book. That's the unfortunate kind o f rejection. There are o t h e r manuscripts that are just not right for me. That's the easy kind to deal with because there's just no gut feeling about it at all. Then, certainly, there are instances w h e n an editor considers me for a manuscript w h i c h might conflict w i t h something I'm currently working on. The subject matter is just too similar to o t h e r things I'm doing. H/M: W h e n you illustrate a b o o k do you have a particular audience in mind?

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Nancy W. Carlstrom, Wild, Wild Sunflower Child A n n a

J P : No, not really. I think the text defines the audience. I should p r o b a b l y qualify that, however, b y saying that w h e n I ' m illustrating a b o o k like Wild, Wild Sunflower Child Anna, w h e r e the b o o k is a p p r o p r i a t e for y o u n g e r children, I feel obligated to p a y attention to the audience. Usually w h e n I ' m illustrating a b o o k for older children, I d o n ' t really c o n c e r n m y s e l f that m u c h w i t h the audience. It's similar to w h e n I ' m invited to speak to children in the schools. W h e n I s p e a k to older students I talk to t h e m the w a y I w o u l d talk to anyone, and it always seems to m e that they are able to understand. If I give the same talk to y o u n g e r children, I have to w o r k a little harder to give t h e m s o m e t h i n g concrete to r e s p o n d to and to think about. It's the same k i n d o f thing w i t h the b o o k s I illustrate. So, yes, in s o m e ways I do have to consider the audience. H/M. We were w o n d e r i n g w h e r e y o u get y o u r sense o f the child and o f childhood. J P : I can't say that m y sense o f the child c o m e s f r o m m y m e m o r i e s o f h o w I r e s p o n d e d to things as a child myself, or even the w a y I grew up. T h e longer I w o r k at this business of making b o o k s , the m o r e I ' m beginning to realize that m y feelings a b o u t children have s o m e t h i n g to d o w i t h the w a y I a p p r o a c h m y w o r k . W h e n I ' m w o r k i n g I ' m e x t r e m e l y serious, and t h e n there c o m e s a time w h e n I find that I n e e d a special kind o f magic to h a p p e n - - t o allow a sense o f playfulness to take over m y w o r k in the same w a y that playfulness is often a p a r t o f childhood. To be able to capture those qualities o f c h i l d h o o d has an awful lot to do w i t h the sense o f child that I ' m after as an illustrator.

Helga Tilton, "'Uncle Remus' Revisited"

Julia Fields, The Green

Street

Lion of Zion

H I M : In the How magazine article a b o u t y o u r collaboration w i t h Julius Lester o n the Uncle Remus stories, y o u describe h o w y o u frequently use h u m a n m o d e l s to help m a k e y o u r characters authentic. Has this process h e l p e d y o u to picture the playfulness and magic o f childhood? J P : Yes, I often rely o n h u m a n m o d e l s to give m e images o f the characters I ' m looking for. And I ' v e b e e n fortunate because this has w o r k e d real well for me. For example, the little girl w h o was the m o d e l for Anna in Wild, Wild Sunflower Child A n n a was o n l y three-and-one-half years old at the time. W h a t ' s really incredible to m e is that she did such a g o o d job of being Anna even t h o u g h she's not a professional model. Most o f m y m o d e l s are children o f friends o f mine. My o w n granddaughter and her school friends are the m o d e l s for a b o o k I ' m w o r k i n g o n now. I ' m going to p r e s e n t this b o o k to her and her classmates as a project m u c h as I did w i t h The Green Lion of Zion Street. With Green Lion I gave the d r a m a c o m mittee of o n e o f the local churches the m a n u s c r i p t and asked t h e m to read it and act it out. I c a m e b a c k t w o w e e k s later and photog r a p h e d t h e m acting out the story. I'll do the same thing w i t h m y

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g r a n d d a u g h t e r and her classmates. I'll ask t h e m to p r e t e n d they are the characters in the b o o k - - g e t t i n g t h e m to paint their faces, to dress up in costume, and to act out the a n i m a l s - - a n d I'll p h o t o graph them. My wife and I even serve as m o d e l s for a b o o k ' s characters.

H/M: Can y o u give us an example? J P : T h e m o s t recent example is Mirandy and Brother Wind. My wife Gloria was the m o d e l for Miss Poinsettia, a n d I ' m Brother Wind. Gloria has a p p e a r e d in a lot o f m y books. It's hard to recognize her, though, because she's so g o o d at taking o n all sorts o f characters. S o m e t i m e s I'll give her m y interpretation as to h o w a character she's playing might look. I ask m y m o d e l s to read the m a n u s c r i p t and interpret it, and t o g e t h e r w e find the right m o o d and expressions.

H/M: Perhaps that's w h y there is such a sense o f h o n e s t y and integrity in the characters y o u illustrate.

JP.- I think there's certainly an intimacy a b o u t the characters because I k n o w w h o they are quite well. W h e n I first started doing the sketches for the Uncle Remus tales, it was v e r y difficult for m e to find the right a p p r o a c h to the characters. Were w e talking a b o u t people, or w e r e w e talking a b o u t animals? W h e r e I was going w i t h the s k e t c h e s - - w h i c h was m o r e a n t h r o p o m o r p h i c t h a n h u m a n - w a s n ' t w o r k i n g too well for me. At one p o i n t I realized that w h a t I was trying to d o was to take animals and give t h e m h u m a n qualities. That was the w r o n g a p p r o a c h , but I d i d n ' t realize it until I b a c k e d o f f f r o m the stories and saw that they w e r e dealing w i t h animals w h o r e p r e s e n t e d people. That was the spark. From that p o i n t on, I started to use m y family and m y s e l f as m o d e l s for m o s t o f the animals in the b o o k . We k e e p a huge locker o f old clothing for costumes, and w e w o u l d dress up in t h e m the w a y w e t h o u g h t the different characters might. This s o m e h o w m a d e it easier for us to assume the postures o f the different animals. First w e pulled d o w n all the shades and h o p e d no deliveries c a m e to the d o o r w h e n w e started taking the p h o t o g r a p h s ! W h a t h a p p e n e d was quite interesting. For s o m e reason the c o s t u m e s allowed us to get into the h e a d and b o d y o f the animals. That was the a n s w e r to solving the problem. Perhaps that's why, as y o u say, there's a feeling o f integrity in the characters and a respect for t h e m as individuals.

H/M: Is y o u r i n v o l v e m e n t w i t h the text always this intimate? Julius Lester, The Tales o f Uncle Remus

J P : Yes, because it's a constant interaction. I have a g o o d e x a m p l e f r o m w h e n I was doing the p r e l i m i n a r y illustrations for The Tales o f Uncle Remus. I was w o r k i n g o n the frontispiece that s h o w s the old m a n talking to B r ' e r Rabbit. I was trying to get a feeling o f h o w B r ' e r Rabbit should be sitting and h o w his h e a d should be t u r n e d

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Children's Literature in Education while m y wife was taking shots of m e as b o t h of the characters. I think I said s o m e t h i n g to Gloria like, " H o w expressive should the hands b e ? " I caught m y s e l f as s o o n as I said that because ! had f o r g o t t e n that they w e r e n ' t hands, they w e r e paws. So I t u r n e d m y hands o v e r and m i m i c k e d w h a t I t h o u g h t was the gesture o f a paw. So, y o u see, little things like that m a d e m e change w h a t I was originally seeing in the stories. And this also influenced m e w h e n I was doing the research for this b o o k . HIM: Can y o u describe s o m e of these changes? J P : I m e a n in doing The Tales o f Uncle Remus, for example, I w e n t t h r o u g h m y library, w h i c h is quite extensive, and f o u n d that a number o f black folks w o r e hats during the time the Uncle Remus stories w e r e told. So, I p u t hats o n s o m e of the figures. Now, s o m e s o u t h e r n e r s w o u l d say that black folks wearing hats is a stereotype, but f r o m m y p o i n t o f v i e w as a n o r t h e r n black I d i d n ' t see it that way. Julius Lester and I often disagreed a b o u t things like this because o f o u r perspectives and the w a y w e grew u p - - m e a n o r t h e r n black, he a s o u t h e r n black. And I think there's no w a y y o u can get a r o u n d these p r o b l e m s o f interpretation w i t h stories like these because, after all, the Uncle Remus tales deal w i t h s o m e e x t r e m e l y sensitive issues. H o w c o u l d I take stories, w h i c h h a d - - a s far as I ' m c o n c e r n e d - - v e r y negative c o n n o t a t i o n s s u r r o u n d i n g the image o f Uncle Remus and w h y he told the stories, and do s o m e t h i n g authentic w i t h them. I think it was dealing w i t h the original tales and w h a t I t h o u g h t a b o u t t h e m , w h a t they really m e a n t to me, w h y they w e r e written, the p u r p o s e for t h e m , w h i c h was the m a i n agent for m y change of attitude. Yet, at the same time I h a d to see t h r o u g h these things to the value in the tales themselves. It was o b v i o u s that the tales n e e d e d to be told f r o m a black perspective. I-I/M: Do y o u usually collaborate w i t h the authors o f the b o o k s y o u illustrate?

Rosebud Yellow Robe, Tonweya a n d the Eagles a n d Other L a k o t a I n d i a n Tales

Adjai Robinson, F e m i a n d Old Grandaddie

Adjai Robinson, K a s h o a n d the Twin Flutes

J P : In m o s t cases, no. One e x c e p t i o n is Tonweya a n d the Eagles a n d Other Lakota I n d i a n Tales. With that b o o k it was i m p o r t a n t for m e to s h o w Rosebud Yellow Robe's father, w h o was the narrator o f the tales, as a real person. So, I got p e r m i s s i o n f r o m the art director at Dial to contact Rosebud because I k n e w I w a n t e d to include a portrait o f her father in the b o o k . She also h e l p e d a great deal by reviewing the sketches and suggesting ideas for authentic clothing and artifacts. I w o r k e d w i t h Adjai Robinson in the same w a y for the same reasons w h e n I was illustrating Femi a n d Old Grandaddie and Kasho a n d the Twin Flutes. I relied o n Adjai's help a lot because I d i d n ' t k n o w e n o u g h a b o u t Sierra Leone, w h e r e the stories originated. I also s p o k e w i t h Patricia McKissack before I started the illustrations for Mirandy a n d Brother Wind, not a b o u t specific details, but a b o u t h o w the story originated. S o m e t i m e s it's

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very helpful to k n o w the source of a story, but I have to be careful that I d o n ' t begin to talk about m y c o n c e p t o f the b o o k w i t h the author. I want to be sure to tell the story from my o w n perspective. H/M: Are accuracy and authenticity important to you w h e n you illustrate?

Verna Aardema, fi-Nongo-Nongo Means Riddle

J P . In all o f my books, but especially in the recent ones, mostly everything is authentic in terms o f the visual details. I already ment i o n e d h o w I w o r k e d with Rosebud Yellow Robe o n Tonweya and the Eagle and Other Lakota Indian Tales because I n e e d e d authentic references. InJi-Nongo-Nongo I got most o f the designs for the friezes o n the pages from a w o n d e r f u l b o o k o n African arts and crafts. In Yagua Days I really tried to give a feeling o f family and o f Puerto Rico. I r e m e m b e r going to the east side o f New York City to a Spanish n e i g h b o r h o o d to p h o t o g r a p h p e o p l e and buildings. There was a sense of family and w a r m t h there. You might recall the scene in Yagua Days w h e r e they're all eating t o g e t h e r - - t h a t kind o f sharing b e c a m e important to me as I w o r k e d with the manuscript and started seeing the sense o f family that I wanted to capture. W h e n I do drawings it's important for me to share my curiosity about the subject matter with my audience. H/M: Have you ever thought about illustrating y o u r o w n stories, ones that w o u l d c o m e from Jerry Pinkney? J P : I'm just beginning to sneak m y way into it. I have been thinking about retelling some stories that I've heard from my wife. She has a very interesting b a c k g r o u n d and she traveled a lot as a youngster. W h e n she talks about these experiences they're interesting little vignettes o f her childhood, w h i c h are really fascinating to m e from a visual perspective. It's really funny that you should ask about my o w n writing because I think I chose the visual arts to try to get around reading and writing. I w o u l d say I was a fair student as a youngster; my grades were always very g o o d and I graduated as one o f the top students in my elementary school. But I felt u n c o m f o r t able or insecure in certain areas like English. What I really felt comfortable doing was drawing because it was something that always felt g o o d to me. So, I pursued it. W h e n I talk with children I always tell t h e m that I figured if I could draw I didn't have to read or write. As an illustrator, though, I have to read many manuscripts, and o f course w h e n y o u ' r e illustrating b o o k jackets there's a lot o f reading. I think I still have a deadly fear o f words, but I'm beginning to lose this fear because I'm n o w working o n some visual concepts that eventually will n e e d words. What's giving me c o n f i d e n c e is that I n o w have an audience, and publishers are expecting me to write. I think it's a matter o f finding the time to sit d o w n and fail and fail and succeed and fail, or h o w e v e r it works, but I haven't d o n e that yet and I n e e d to.

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Children's Literature in Education H / M : W h a t are the pleasures o f illustrating for you? J P : There's a t r e m e n d o u s a m o u n t o f satisfaction and there's also a t r e m e n d o u s sense o f joy in doing s o m e t h i n g that n o one else can do in the same way, s o m e t h i n g that can c o m e o n l y f r o m me. Give the same p r o b l e m to other illustrators, a n d n o o n e w o u l d c o m e up w i t h the same solution or the same w a y o f executing the solution as I would. There's a real n e e d for m e to illustrate because that's the w a y I express myself. Illustrating allows m e to reach a lot o f p e o p l e w i t h a product. If y o u can have a history o f d o i n g successful things, it b e c o m e s very, v e r y satisfying.

HIM: H o w did y o u get started as an illustrator? J P : Teachers in e l e m e n t a r y school b e c a m e aware o f m y interest in drawing. I can r e m e m b e r in first and s e c o n d grade being asked to do class projects w h e r e I w o u l d draw in front of the class or draw o n the chalkboard. I k n e w I was doing s o m e t h i n g that o t h e r students w e r e n ' t doing. T h e r e was a kind of reward a n d satisfaction I got f r o m s o m e o n e saying that I ' d d o n e s o m e t h i n g well and p e o p l e being pleased b y w h a t I ' d d o n e and curious a b o u t it. This certainly e n c o u r a g e d m e to think a b o u t drawing as s o m e t h i n g I w a n t e d to k e e p o n doing. Also, m y m o t h e r felt that I should be allowed to p u r s u e m y o w n interests. O f course, I didn't realize that p e o p l e m a d e a living doing this kind o f w o r k . My father was encouraging in a r o u n d a b o u t way. He was an electrician a n d a h o u s e painter, a n d although he w o u l d talk a b o u t m y art to his clients, he was a little suspect, and rightfully so, a b o u t w h e t h e r I c o u l d m a k e a living f r o m art. It w a s n ' t until I w e n t to Dobbins Vocational School in Philadelp h i a to study c o m m e r c i a l art that I b e c a m e aware o f the potential o f earning a living doing drawings and paintings. Then, after I left the Philadelphia M u s e u m College of Art, w h e r e I was a design student, I did s o m e freelance w o r k in caligraphy and all sorts of t h i n g s h greeting cards, advertising, and even textbooks. My early w o r k w i t h t e x t b o o k s p r o b a b l y has a lot to do w i t h the w a y I read a text and decide h o w I should illustrate it and w h a t the design of a b o o k should be. HIM: We noticed that y o u have c o n t i n u e d to be involved in c o m mercial art. J P : The c o m m e r c i a l art w o r k has ~ lot to do w i t h the w a y I feel a b o u t h o w m y art should relate to w h a t I call the A m e r i c a n experience. I ' v e always w a n t e d to share w h a t I do w i t h as m a n y p e o p l e as possible, and c o m m e r c i a l art is o n e w a y to do that. For example, w h e n I w e n t out west several years ago to do s o m e drawings of the folklore o f the Nez Perc6 Indians for the U.S. D e p a r t m e n t o f Interior, I had to c o n f r o n t w h a t h a p p e n e d to the A m e r i c a n Indian and it was a difficult experience. I f o u n d out that it was impossible for m e

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as an illustrator not to get involved in the process of what happened to these people in order to show respect for their culture. The same kind of thing happened when I did the stamps for the Postal Service. I did nine of the Black Heritage stamps, and I also did the Health and Hunger stamp and the United Way stamp. This commercial work has always been very important and exciting for me because it's a way of shouting out my feelings about this country. H/M: If you could describe how you have developed as an artist what would you say? JP. When I look back to the beginning of my career I can see how limited I was. I was trying to see the world and not knowing how to go about it. When I look at myself today and also look around me, I see the different projects and the different books I've completed, and I think of myself as a knowledgeable person--knowledgeable only because of the experiences I've had through what I've done. In a way it's been very close to traveling because I've done so many different things and dealt with subject areas that I probably wouldn't have thought about if I'd gone into some other profession. I guess in a way it has been one big learning process.

A Chronology of Books Illustrated by Jerry Pinkney Arkhurst, Joyce, The Adventures o f Spider Boston: Little, Brown, 1964. Green, Lila, Folktales a n d Fairytales o f Africa. Morristown, NJ: Silver Burdette, 1967. Spellman, John W., The Beautiful B l u e j a y a n d Other Tales o f India. Boston: Little, Brown, 1967. Jacob, Francine, The King's Ditch: A H a w a i i a n Tale. New York: Coward, McCann & Geoghegan, 1971. Robinson, Adjai, Femi a n d Old Grandaddie. New York: Coward, McCann & Geoghegan, 1972. Evans, Mari,JD. New York: Doubleday, 1973. Robinson, Adjai, Kasho a n d the Twin Flutes. New York: Coward, McCann & Geoghegan, 1973. Taylor, Mildred D., Song o f the Trees. New York: Dial, 1975. Martel, Cruz, Yagua Days. New York: Dial, 1976. Green, Phyllis, Mildred Murphy, H o w Does Your Garden Grow? Reading, MA: Addison-Wesley, 1977. Greenfield, Eloise, Mary McLeod Bethune. New York: Harper & Row, 1977. Aardema, Verna, fi-Nongo-Nongo Means Riddle. New York: Four Winds, 1978. Greenfield, Eloise, and Little, Lessie Jones. Childtimes. New York: Crowell, 1979.

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Yellow Robe, Rosebud, Tonweya a n d the Eagles a n d Other Lakota I n d i a n Tales. New York: Dial, 1979. Hamilton, Virginia,Jahdu. New York: Greenwillow, 1980. Zaslasky, Claudia, Count on Your Fingers African Style. New York: Crowell, 1980. Wise, William, Monster Myths o f Ancient Greece. New York: Putnam, 1981. Michaels, Barbara, and White, Bettye, Apples on a Stick: The Folklore o f Black Children. New York: Coward, McCann & Geoghegan, 1983. Flournoy, Valerie, The Patchwork Quilt. New York: Dial, 1985. Dragonwagon, Crescent, H a l f a Moon a n d One Whole Star New York: Macmillan, 1986. Carlstrom, Nancy W., Wild, Wild Sunflower Child Anna. New York: Macmillan, 1987. Lester, Julius, The Tales o f Uncle Remus. New York: Dial, 1987. Fields, Julia, The Green Lion o f Zion Street. New York: McElderry, 1988. Lester, Julius, More Tales of Uncle Remus. New York: Dial, 1988. McKissack, Patricia, Mirandy a n d Brother Wind. New York: Dial, 1988. San Souci, Robert D., The Talking Eggs. New York: Dial, 1989. Lester, Julius, Further Tales o f Uncle Remus. New York: Dial, 1990. Marzollo, Jean, Pretend You're a Cat. New York: Dial, 1990. Singer, Marilyn, Turtle in July. New York: Macmillan, 1990. Dragonwagon, Crescent, H om e Place. New York: Macmillan, 1990. References

Bader, Barbara, American Picturebooks from Noah's Ark to the Beast Within. New York: Macmillan, 1976. London: Collier Macmillan. Tilton, Helga, "'Uncle Remus' revisited," How, 1987, 2, 52-59.