
I have just finished reading a wonderful book. It is a young adult novel bordering on being a children’s book. It won the 2014 Newbery Medal for best work of children’s literature. But it is a book of so many dimensions that it totally defies categories. Librarians with butterfly nets who want to pin this book down on their library shelves will be pointlessly waving their nets at it like they believe it’s a butterfly, but it will soar away from them like an eagle.

Flora & Ulysses (the Illuminated Adventures) is a combination book of many different things. G. K. Cambell’s cartoony paffoonies add to and amplify the story to the point that sometimes it becomes a graphic novel.
Flora herself is a comic-book lover and follower of the adventures of a comic-book superhero named Incandesto. Ulysses the squirrel is run over by a rogue vacuum cleaner and the accident graces him with super powers (the ability to fly and throw cats and write poetry). And Flora rescues and befriends this newly minted superhero and sets him on a path that pits him against the only super-villain available, Flora’s own mother.

At certain points, through metaphor, elegance, and supreme focus, the story itself becomes poetry. But, of course, when the poem ends with a line about the squirrel being hungry, it becomes humorous poetry, simply by the juxtaposition of the sublime with the ridiculous.

As a writer, Kate DiCamillo is a master of everything I want to be. She is as much a masterful story-teller as Mark Twain, Ernest Hemingway, or William Faulkner. But many people will be put off by the fact that she is a children’s author. They will ignore her stories because how could a children’s author affect their lives in any way? But if you are a reader who can think and feel about things in a book, she will make you laugh and make you cry and make you not afraid to die… for love of a good book.
Let me also suggest a few of her other wonderful, wonderful books;


During my middle-school teaching years I also bought and read copies of The Prince and the Pauper, Roughing It, and Life on the Mississippi. I would later use a selection from Roughing It as part of a thematic unit on Mark Twain where I used Will Vinton’s glorious clay-mation movie, The Adventures of Mark Twain as a way to painlessly introduce my kids to the notion that Mark Twain was funny and complex and wise.





















Winsor McCay
One work of comic strip art stands alone as having earned the artist, Winsor McCay, a full-fledged exhibition at the Metropolitan Museum of Art in New York City. Little Nemo in Slumberland is a one-of-a-kind achievement in fantasy art.
Winsor McCay lived from his birth in Michigan in 1869 to his finale in Brooklyn in 1934. In that time he created volumes full of his fine-art pages of full-page color newspaper cartoons, most in the four-color process.
As a boy, he pursued art from very early on, before he was twenty creating paintings turned into advertising and circus posters. He spent his early manhood doing amazingly detailed half-page political cartoons built around the editorials of Arthur Brisbane, He then became a staff artist for the Cincinnati Times Star Newspaper, illustrating fires, accidents, meetings, and notable events. He worked in the newspaper business with American artists like Winslow Homer and Frederick Remington who also developed their art skills through newspaper illustration. He moved into newspaper comics with numerous series strips that included Dreams of the Rarebit Fiend and Little Nemo in Slumberland. And he followed that massive amount of work up by becoming the “Father of the Animated Cartoon” with Gertie the Dinosaur, with whom he toured the US giving public performances as illustrated in the silent film below;
The truly amazing thing about his great volume of work was the intricate detail of every single panel and page. It represents a fantastic amount of work hours poured into the creation of art with an intense love of drawing. You can see in the many pages of Little Nemo how great he was as a draftsman, doing architectural renderings that rivaled any gifted architect. His fantasy artwork rendered the totally unbelievable and the creatively absurd in ways that made them completely believable.
I bought my copy of Nostalgia Press’s Little Nemo collection in the middle 70’s and have studied it more than the Bible in the intervening years. Winsor McCay taught me many art tricks and design flourishes that I still copy and steal to this very day.
No amount of negative criticism could ever change my faith in the talents of McCay. But since I have never seen a harsh word written against him, I have to think that problem will never come up.
My only regret is that the wonders of Winsor McCay, being over a hundred years old, will not be appreciated by a more modern generation to whom these glorious cartoon artworks are not generally available.
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Tagged as Little Nemo in Slumberland, Winsor McCay