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Title: Be A Friend Author & Illustrator: Salina Yoon Publisher: Bloomsbury Children’s Books, January 2016 Themes: individuality, imagination, friendship Ages: 3-7 Opening: Dennis was an ordinary boy …who expressed himself in EXTRAORDINARY ways. Synopsis: Dennis is an ordinary boy who expresses himself in extraordinary ways. Some children do show-and-tell. Dennis mimes his. … Continue reading →

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By Bianca Schulze, The Children’s Book Review
Published: November 19, 2011

Gloria Spielman is the author of two picture books Janusz Korczak’s Children and Marcel Marceau: Master of Mime which has been awarded a Silver Medal in the 2011 Moonbeam Children’s Book Awards in the category of Non-Fiction Picture Book. A former high school English teacher, Gloria has also written English teaching books and contributed to multi-media English courses. She has many more wonderful books in the works that we can look forward to reading soon.

Nicki Richesin: Congratulations on your lovely Marcel Marceau: Master of Mime. It’s a beautifully compelling book about his legendary career and how he brought the world’s attention back to the ancient art of pantomime, but it’s also the story of how he survived World War II. What inspired you to create this well-deserved homage to Mr. Marceau?

Gloria Spielman: Thank You, Nicki. I always enjoy reading The Children’s Book Review; it’s such a terrific resource for anyone in the world of children’s books, so I was thrilled to talk to you.

I’d much rather tell you what inspired me to write my first book, Janusz Korczak’s Children, it’s a far better story. My then third grade daughter had to do a project on Korczak for Holocaust Memorial Day, and that got me reading and thinking.

The truth is, the original inspiration for Marcel Marceau actually came from my friend Mandy. She was looking at Janusz Korczak and said “You know, you should write about Marcel Marceau. He was really interesting.” She told me of his work with the resistance and after she left I did some reading. Mandy was right. I started to imagine the pictures. I often imagine a picture book in pictures as well as words. My editor agreed. So did the publisher. And I started to write. I wish could say I saw a wonderful mime performance when I was a child and fell in love with it, but that would be a lie.

I was astonished to learn that Marceau was a part of the French resistance. He bravely smuggled Jewish children through the forests to safety and entertained allied troops. He led such a fascinating life. Did you discover anything that surprised you when doing your research?

It was all fascinating.  But there is only so much that can go into a 32 page book. One anecdote that would have made a great picture book illustration is when Marceau came face to face with the man he called his creative father, Charlie Chaplin. He told Chaplin how he paid tribute to him in his American performance and began to imitate him in the middl

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Paris-trained mime Lorin Eric Salm answers the age-old question, Are mimes relevant in animation? That’s only second in importance to the question: if a mime falls in a forest and no one is around to hear it, does anyone care?

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Cartoon Brew: Leading the Animation Conversation | Permalink | One comment | Post tags: Lorin Eric Salm, Mime

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Last night we all jumped in the car after school and raced to Leeds to go and watch the beautifully crafted staging of Little Leap Forward. Adapted from the book, by Guo Yue and Clare Farrow, illustrated by Helen Cann and published by Barefoot Books, it tells the story of events from Yue’s own childhood set against Mao’s Cultural Revolution in China.

A powerful combination of masked actors, puppets and shadow-box/animation, not to mention an atmospheric score and cleverly versatile set, the story is told “only” through mime. We followed Little Leap Forward’s dawning awareness of the importance of freedom, both through the political events unfolding around him and through his love for a songbird captured for him by his best friend. No matter how much Little Leap Forward coaxes and bribes with seeds, the bird cannot sing from within the confines of a cage. A “scary” dream sequence that had Little Brother on the edge of his seat alerts Little Leap Forward to what he has to do and he sets the bird free.

I have to say that this particular performance will be looked back on by us - and probably by the cast - with very mixed feelings. There was a group of children in the audience from a local School for the Deaf, who were entranced - picking up enough of the vibrations of the music to get a feel for it, and able to particpate fully in the action on stage. Wonderful. However, the first three rows were taken up by a youth-group outing and it very soon became evident that the children did not know how to behave in a public, live performance. All the more credit to the production, then, that in the scene when Red Guards arrest Little Leap Forward’s mother (an event related in Guo Yue and Clare Farrow’s book for adults, Music, Food and Love), there was not a sound from the auditorium.

Afterwards, the four actors/puppeteers gave a short talk to these children (which we gate-crashed!) and again, they captivated their audience. I couldn’t help thinking what a pity it was that the children had obviously not had any sort of introduction to what they were going to see… I wonder how many would have liked to turn the clock back and engage with it more fully, once they’d had a chance to find out a bit more about it?

Little Leap Forward is on tour in England until 17 July - for further details, look here. In the meantime, watch this short video

and read the production blog. If you haven’t come across the book yet, watch this very moving introduction, narrated by Yue and featuring his magical flute-playing; and read our review, here on PaperTigers.

Little Leap Forward was definitely a production not to be missed: a big thank you to Nicky Fearn, Frances Merriman, Jonny Quick and Mark Whitaker, the faces behind the masks; and to Gemma Bonham of The Carriageworks, for an empathetic discussion afterwards.

* Photograph credit: Ian Tilton

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The Annotated Dracula introduction is finished and delivered, as is The 13 Clocks introduction. (Still to do: an introduction to Cabell's Jurgen and to Brian Aldiss's Hothouse, and then no more introductions for a long time.) Meanwhile, The Graveyard Book is in its very last pages. I might finish today or tomorrow. There's still revising and fixing to do, but it's so close to the end I can taste it.

Dear Mr. Neil,

In your last post, you said:

I went back to writing it all in UK English as it's set in the UK, and we'll fix things in the copyedit.

Wait wait wait wait! Don't fix things! It's fun to read UK English. American brains need the work, and we need to know that we're not the only English speakers in the world. UK English came first!

Point taken, and I didn't mean to come across quite that glibly. The truth is that more than ninety percent of the changes that will get made are copyediting changes that are pretty much invisible to the reader, and are things I think of as House Style anyway. Whether you have double or single speech marks, for example. In the US edition colour will, I have no doubt be spelled without a u and towards will probably become toward. And I doubt that anybody will notice. Sometimes, if I have a sympathetic copy-editor, I'll go in and fight for specific UK spellings and usages when things are set in England (you may have noticed that grey is spelled like that, and not gray, in the US edition of Stardust).

Overall, I suspect that The Graveyard Book will stay pretty English in terms of vocabulary -- nothing as huge as changing the title of the book. Some words may change like nappie to diaper and cot to crib -- possibly the rubbish bins in the alleyway on the other side of the graveyard might become garbage cans, but really, it's a graveyard on a hill in an old English town. Nobody gets into elevators, and the fish and chip shop at the bottom of the hill will resolutely remain a fish and chip shop.

It's normally not about insulting the intelligence of the reader. With something like Coraline or The Graveyard Book which is going to be given to kids in schools, it's often about making it easier on their teachers by not giving the American children the extra Us in Honor or Honour, and not taking them away from British children. (The Canadian children will, I'm afraid, continue to cope as best they can, and some of them will probably sensibly wait for the French edition anyway.)

Help! I'm in need of legal advice regarding ownership rights in collaborations, particularly an artist and writer. Is there a trustworthy online resource about such matters, either for free advice or to locate reputable counsel? Thank you.

-Kay

Not that I know of, but I'll post this in case someone has any suggestions. (The Scrivener's Error blog, over at http://scrivenerserror.blogspot.com/ is very useful and smart. But it is a blog.)

Adam.

From http://www.answers.com/pavement&r=67

pave·ment (pāv'mənt)
n.

1. 1. A hard smooth surface, especially of a public area or thoroughfare, that will bear travel.
   2. The material with which such a surface is made.
2. Chiefly British. A sidewalk.

I mean definition one, as opposed to definition two.


Peter

And now there is a video of the Alan Moore song. (Alan has always maintained that it is a wise thing to have a name that rhymes. As he once said, "'Alan Moore knows the score'. It's because it rhymes. What else were they going to say... 'Jamie Delano plays with Meccano'? Neil Gaiman... doesn't really rhyme with anything, does it?")

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Lots and lots of you are sending me messages saying things like

I'm sure loads of people are sending you this link:

http://www.somethingpositive.net/sp02132008.shtml

about Alan Moore.

It made me smile!


Béatrice

And it made me smile too.

We'll close the polls on the Which Free Book Vote tomorrow, but the final results of the vote are, I think, at this stage, predictable, considering they took on this pattern by the time the first hundred people had voted, and have only wavered by a percentage point here and there since. As you can see here, we're now pushing 26,000 votes, and the pattern hasn't changed. American Gods sits in the lead with 28% of the vote, Neverwhere has 21% of the vote, the three short story collections have about 28% of the vote between them, trailed by Stardust at 9% and Anansi Boys and Coraline at 7% each.

(Interesting, as Harper Collins would have gone for Stardust, and I really didn't know which to put up but would have expected Smoke and Mirrors to be very high on the list.)

I am enjoying the author's preferred text version of Neverwhere on my iPod. Here it is surrounded by British words and British accents from various BBC podcasts (including the Archers) so any Americanisms stand out, such as Richard Mayhew's use of the word "hooker". You are too good with words for this to be a mistake so what was the thinking in using Americanisms in a book that is otherwise very English, and proud of it?

You're too kind, but, honestly, after 16 years out here, as Sherlock Holmes said when chided by Watson for an Americanism, "my well of English seems to be permanently defiled".

On Neverwhere (which I'd started writing before ever I came to America) I suspect the words that are a problem are either:

a) used mostly because they're words used in London too. Take "hooker". A quick google of the Guardian website threw up the following passage from The Guardian,

Thus encouraged, the media have followed suit. Everywhere in the past week, reporters referred to "working girls" - that is, when they were not describing the women as simply "girls" or "vice girls" or "hookers", as in the Mirror's "Hooker No 2 Found Dead", or "tarts", courtesy of the Telegraph's Simon Heffer.

along with about 3000 other uses of the word "hooker" or "hookers" by Guardian writers, many of which were talking about Rugby players, some of which were talking about people named Hooker, and the rest of which were all using the word to describe sex workers (often foreign or at least exotic). It may be an Americanism, but it's one that successfully crossed the Atlantic.

or sometimes it may be that,

b) the Neverwhere audio edition was recorded by Harper Collins from the edition of their text, which contains "sidewalks" rather than "pavements" (a pavement in the US means something else, not the thing on the side of the road you walk along) and a few things like that. If you read the Hodder Headline UK edition of Neverwhere while listening to the audio recording you may well find a word here or there that's different, and they may, in some cases, be the words that trouble you.

(Oddly enough, I wrote Chapter One of The Graveyard Book using American idioms -- "cribs" and "diapers" rather than "cots" and "nappies" -- as it was going to be read by my US publisher first, and then felt weird, so in the following chapters I went back to writing it all in UK English as it's set in the UK, and we'll fix things in the copyedit.)

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