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The notion that history is always happening isn’t necessarily obvious to a kid. I remember have several moments of revelation when I was younger, realizing time and time again that the folks we studied in school were real. That they walked around like I did. History has a tendency to play out like a movie when you’re young. You might be moved but you wouldn’t necessarily be able to wrap your head around the notion that there but for the grace of God go I. To hammer this notion home it might be advisable to find moments in recent history that have been recorded for all of posterity. Like, say, the Chilean miner incident of 2010. A lot of kids (as of this review) would remember when that was in the news. Yet they might not think of that as a historical incident yet. Enter Trapped by Marc Aronson. Here we have a book that sheds some light on the story that hypnotized the world. With its natural tension and everyday heroes, Trapped is that rarest of nonfiction beasts: A contemporary work of historical fact that has you gripping the edge of your seat.
The collapse of a San Jose mine on August 5, 2010 wasn’t anything the world hadn’t seen before. Mines collapse all the time. It’s a dangerous occupation. The difference here, of course, was the fact that the 33 men trapped 2,300 feet underground were still alive. Suddenly the world was riveted by their story. Would the rescuers be able to find them? And even if they did, how would they get them out? Backmatter to this true tale includes brief biographies of each of the thirty-three miners, a Timeline, a Glossary of Names and Terms, a word on “The World of the Miner” by a miner, a note to students, Notes and Sources, a Bibliography, a list of interviewed subjects, Useful Websites, and an Index.
A good work of nonfiction for kids makes you want to keep reading, even when you know the outcome. When I pick up a book like Amelia Lost by Candace Fleming, I love that I feel like there may be a chance that they’ll find Ms. Earhardt this time. Similarly, when I read Trapped I have to feel like there’s a chance that they won’t rescue the miners this time. Indeed there were several moments when it really seemed as though the miners wouldn’t be found. Aronson parcels out this tension, knowing better than to fill the narrative with foreshadowing or some kind of false narrative technique. And like Fleming’s book he makes sure to tell two different stories at once. We are both with the miners and with the rescuers as the tale unfolds.
Mr. Aronson is a fan of context. It isn’t enough to know that this story takes place 2,000 feet below the Chilean Desert. He must show you how that desert was formed. And it isn’t enough to simply know that these men were farmers of items like copper. He’s inclined to give you the very hist
3 Comments on Review of the Day: Trapped by Marc Aronson, last added: 8/2/2011
The picture was a pinup calendar so racy but not porn, the miners were also sent inflatable naked women dolls once they got healthy enough to have sexual needs. I did not think that was worth mentioning. I didn’t condemn the gossip rather I was saying that the Drs on the site would not let any topside romantic conflicts filter down to the men. Yonni did have a tangled love life but that just seemed to distract from the drama at hand.
Happy to answer any other questions and thanks for the close read and nice comments.
Marc aronson
Books4Learning said, on 8/2/2011 1:01:00 AM
Wow! What a relevant book. I agree that it is valuable to introduce recent events has history to give students a sense of a living history that they are experiencing, not just something 100 years ago. The topic and connections are ideal for classroom study. Thanks for sharing.
Tammy Flanders said, on 8/2/2011 9:14:00 AM
I really enjoy Marc Aronson’s books. Sugar is one of my favorites and I’m just starting on an older title about Sir Walter Ralegh. You’re right about how he’s able to make the ’story’ of history relevant. Great for classroom use. I will look for this latest book.
Thanks for the recommendation.
Tammy
Apples with Many Seeds
My husband Matt pairs well with me for a number of reasons. Amongst them is our mutual inclination to collect things we love. As such, Matt has systematically been holding onto all his issues of The New Yorker ever since he got his subscription in college. Over the years these issues have piled up piled up piled up. I was a Serials Manager before I got my library degree and one of the perks of the job was getting lots of lovely magazine holders. For years these holders graced the tops of our bookshelves and even came along with us when we moved into our current apartment a year ago. Yet with the arrival of our puir wee bairn, we decided to do the unthinkable.
Yes. We ripped off all their covers.
Well, most anyway. We have the complete run of New Yorker text on CD-ROM anyway, and anything published after the CD-ROM’s release would be online anyway. Thus does the internet discourage hoarding.
In the meantime, we now are the proud owners of only three boxes worth of New Yorker covers. They’re very fun to look at. I once had the desire to wallpaper my bathroom in such covers, but that dream will have to wait (as much as I love New York apartments and all . . .). For now, it’s just fun to flip through the covers themselves and, in flipping, I discovered something. Sure, I knew that the overlap between illustrators of children’s books and illustrators of New Yorkers was frequent. I just didn’t know how frequent it was. Here then is a quickie encapsulation of some of the folks I discovered in the course of my cover removal.
Istan Banyai
Zoom and Re-Zoom continue to circulate heavily in my library, all thanks to Banyai. I had a patron the other day ask if we had anything else that was similar but aside from Barbara Lehman all I could think of was Wiesner’s Flotsam. Banyai is well known in a different way for New Yorker covers, including this controversial one. As I recall, a bit of a kerfuffle happened when it was published back in the day.
Harry Bliss
Author and illustrator of many many picture books, it’s little wonder that the Art Editor of The New Yorker, Ms. Francoise Mouly, managed to get the man to do a TOON Book (Luke on the Loose) as well. And when it comes to his covers, this is the one I always think of first.
12 Comments on Children’s Illustrators and The New Yorker, last added: 7/28/2011
Thank you so much for this retrospective! So lovely to see a Gary Larson cover in there, I had no idea! I’m going to have to check out more of Marcellus Hall, I love that cover.
I also love the covers by Richard McGuire, creator of books like The Orange Book and Night Becomes Day. Check out this old blog entry I wrote, http://handthumbcomics.com/?p=66 , for some of his covers!
janeyolen said, on 7/27/2011 10:39:00 PM
Fascinating. I knew of some of them, but. . .
Jane
Linda Urban said, on 7/28/2011 3:30:00 AM
I love this article Betsy.
For about a year or so, when my son was small, he thought the magazine was about an individual guy who was The New Yorker. My boy scanned every cover looking for glimpses of the guy in a “Where’s Waldo?” sort of way and a few of those covers became favorites of his. He still has a small stack of them in his room.
leda schubert said, on 7/28/2011 5:10:00 AM
Great list. Also Charles Martin, Ludwig Bemelmans, Joseph Low, James Thurber (did he illustrate a children’s book? I don’t think so. But he wrote several of my favorites), Roger Duvoisin, James Stevenson, John O’Brien, Roxie Munro, Gretchen Dow Simpson (she did an alphabet book years ago) and probably more.
Fact: our basement is completely filled with New Yorkers.
Fact: Almost all of these illustrious illustrators who also do children’s books are men. Hmm. Yet a bunch of women did covers as well.
Zoe said, on 7/28/2011 5:30:00 AM
Thanks for this – has brightened up my lunch time coffee no end!
Marisabina russo said, on 7/28/2011 6:41:00 AM
You can add me to the list though my covers and spots came out when you were probably just a tot! Interesting post.
Sharon Creeech said, on 7/28/2011 7:30:00 AM
Love this; thanks so much for compiling.
Paul Zelinsky said, on 7/28/2011 7:51:00 AM
This is great to look through; thanks! What you can’t tell from looking is that some of these illustrators were New Yorker illustrators who were approached by New-Yorker-reading editors or art directors, and others were book illustrators before they became New Yorker cover artists. I am guessing that the Sendak one is the only case of The New Yorker approaching a book illustrator.
If I may pile on with suggestions for more, you could also include Ross MacDonald and Douglas Florian. I was going to say Marisabina Russo but she said it herself, and she said it, according to the indication on the post, almost three hours after I am writing this now. How did she do that?
About that wonderful NewYorkistan picture– I don’t know how it was credited in the magazine, but it was created jointly by Maira Kalman and Rick Meyerowitz.
jules said, on 7/28/2011 8:31:00 AM
I wrote this for Kirkus recently—http://www.kirkusreviews.com/blog/childrens/seven-impossible-things-new-yorker-effect/—-and started a list of those editorial illustrators who migrated to children’s book illustration. This post is PERFECT and adds to my list (which exists for no other reason than to just….exist). Bravo to this post!
Victoria Stapleton said, on 7/28/2011 8:47:00 AM
And now there is Frank Viva, whose first book is ALONG A LONG ROAD (Little, Brown).
Genevieve said, on 7/28/2011 9:06:00 AM
As a long-time New Yorker reader, I adore this post. Many of these covers look so familiar to me, I remember seeing them originally, but most of them I had not known were done by children’s book illustrators. Now I need to go find their books!
Elizabeth Bird said, on 7/28/2011 9:13:00 AM
I found a Viva cover that looks identical to Along a Long Road but didn’t get a chance to include it.
Jules I wondered if you’d done a New Yorker piece but neglected to check Kirkus. Consider yourself linked.
Wish I could get my hands on the covers of other artists mentioned. Didn’t know about Roxie.
I was pleased as punch when author/illustrator Stephen Savage told me that he’d like to film part of his book trailer for Where’s Walrus? in my children’s room at the main branch of New York Public Library. If you’ve ever wondered what the interior of my children’s room looks like, this is a pretty good shot of it. Thanks for coming out, Stephen!
There’s a new blog out there. A blog that I should have seen the minute it appeared on the scene, but I’m pleased as punch to only be discovering it now since it has ample content for your greedy eyes. Someone, somewhere, unknown to all of us, as created the site Rat Chat Reviews. I don’t know how much work goes into a single episode, but what I can tell you is that these reviews wipe the floor with mine. Do I ever feature tough guy rat reviewers who are just as happy to discuss Elise Primavera’s Thumb Love as they are Tea Time by Karen Rostoker-Gruber and the new Caldecott Award and Honor winners? I do not. The review I’ll direct you to today will be Colonial Voices: Hear Them Speak by Kay Winters, illustrated by Larry Day.
One thing I do know, the summary of cheeses found at the S&S, Egmont, and Little Brown librarian previews is entirely accurate. Whoever is behind this is local to me! Thanks to Aaron Zenz for the link.
Greenwillow trailers have a way of pairing their books with just the right editing and tone. They’re classy. Well put together. You can see that in this trailer for Kevin Henkes’ latest, Little White Rabbit:
Marcellus Hall is one of the bright up-and-coming illustrators in children’s books right now (titles he’s worked on include City I Love and The Cow Loves Cookies, amongst others). Not content to do just one thing, the man also fronts the band The Hostages. This is a series of his New York City sketches along with his music. Gorgeous stuff.
Unreleased rough mix slow version of "Star Position" by Marcellus Hall & The Hostages with sketches by Marcellus Hall 2010, New York City. Look for Marcellus Hall's solo album "The First Line" on Glacial Pace Recordings February 2011.
0 Comments on Marcellus Hall—STAR POSITION as of 1/1/1900
Marcellus Hallis an illustrator based in New York. He was born on the great plains of the midwest and spent languid summer hours as a youth at the fishing hole or playing video games. His clients have included the New Yorker, the Wall Street Journal, the Atlantic Monthly, and Time, among others. His work has appeared in American Illustration, Communication Arts, and the Society of Illustrators annuals. His first cover for the New Yorker was published in 2005. In addition to illustrating the books White Pigeons and 57 Octaves (fifthplanetpress.com), Hall has self-published books of drawings and writing including "Hard Luck Stories" and "Legends of the Infinite City" (a collection of black & white drawings of New York City). Hall has illustrated for ABRAMS a children’s book entitled Because You Are My Baby (2008) and CITY I LOVE
(Spring 2009).
As a musician Hall has made recordings with bands Railroad Jerk, White Hassle and has toured the U.S., Europe, and Japan. Hall continues to make music under his own name.
CW: Where are you from, Marcellus?
MH: I am from Minneapolis, Minnesota (although I no longer speak like I am).
CW: What is your educational background? What courses or training might be helpful in beginning a career in illustration?
MH: I exhibited a strong interested in drawing at an early age. My parents recognized this and encouraged me. I took summer art classes and had good teachers in the Minneapolis public schools. I made drawings for the yearbook, the school newspaper, and countless school functions. All of this was helpful to me in my evolution as an illustrator.
I developed a love for literature while growing up too which has served to ground me and instill in me an appreciation for the narrative as well as an understanding of human nature.
CW: How did you like RISD? Do think it prepared you for where you are today?
MH: I liked RISD. Alongside the usual drawing and painting regimen, I benefited from classes in performance art, printmaking, and sculpture. I also met musicians at RISD and I broadened my philosophy of art. I began learning guitar and harmonica. I learned the most from other students while at RISD
CW: How did you develop your current art style?
MH: I wanted to have my style develop naturally and not self consciously.My method was to carry a pocket sketchbook and draw everything around me constantly.
CW: A perfect approach. An illustrator shouldn't have to force or create a style. If you are, most likely it won't be easy or rewarding. Its should just come naturally.
CW:After you graduated, what was it like for an illustrator? What was it like for you?
MH: When I arrived in New York after graduation, I was determined (despite a simultaneous goal to start a rock band) to give illustration my best shot and I decided that, if I failed, I could at least say “I tried.” I scoured magazines at newsstands for addresses and sent photocopied mailers to art directors. On my days off as a part-time bookstore or art supply store clerk, I dropped off my portfolio at magazines.
I produced a comic strip for three years for a short-lived alternative free newspaper.And I made small photocopied booklets of my drawings (and writings).
My first illustration job was for Screw magazine. Later I was hired on a regular basis by Mike Gentile at the fledgling New York Press.
CW: What are some of your favorite books for children?
MH: My favorites include Curious George, Babar, Stuart Little, Charlie and the Chocolate Factory, Ferdinand, The Little Prince, Sasek’s cities series, and books by Robert McCloskey, Theodor Geisel and Syd Hoff.
CW: Who are your artistic influences?
Bill Elder, Jack Davis, Harvey Kurtzman, George Grosz, Franz Masereel, Ben Shahn, Rockwell Kent, Paul Klee, Arnold Roth, Ralph Steadman, Saul Steinberg, Ronald Searle, John Sloan, Ernst Kirchner, Erich Heckel, Emil Nolde, Sue Coe, George Luks, Edward Hopper, Thomas Hart Benton, Robert Crumb, Basil Wolverton, Mort Drucker, Aubrey Beardsley, Marc Chagall, Hiroshige, Henri Toulouse Latrec, Heinrich Zille, Hansi, Raymond Pettibon, Al Hirschfeld, Charles Demuth, and Pieter Breughel.
CW: You have done work with New Yorker, the Wall Street Journal, the Atlantic Monthly, and Time, among others. As musician you have made recordings with bands Railroad Jerk, White Hassle as well as solo have toured the U.S., Europe, and Japan. What drew you to children's book illustration? How did your first book come to be published?
MH: After years drawing for magazines and newspapers, I had an itch to work in a field where the printed piece isn’t thrown away.The children’s book field was the obvious place to look.I asked my illustrator friends for contacts and John Hendrix pointed me in your direction.
CW: I had worked with John for a couple of years at that point. He sent me an email suggesting I take a look at your work. I had already known your work from New Yorker covers. I asked you to come into the office, after seeing your work online. But really it was one image of a garbage man that completely sold me on you.
CW: CITY I LOVE is your second children's book project we have worked together on.( The first being Because You Are My Baby!) Can you describe your creative process? And how you approached the challenges of this particular book?
MH: My favorite part of the illustration process is making sketches. Here I can be the most free and loose. But the thrill of executing well a final piece of art is no less rewarding. With City I Love I was particularly excited because I am naturally drawn to urban life and its variety.
I began sketching compositions that I felt were dynamic and fun to draw. simultaneously I incorporated city landmarks. Later I sought more specific reference material from the New York Public Library picture collection.
I created a character (a dog) to establish continuity in the book (which is a collection of poems).
Once the sketches were approved, I began work on the final art. Using graphite transfer paper I redrew the compositions onto Arches 140 lb cold pressed watercolor blocks. Then I painted the line work with a brush and brown waterproof “Calli” ink. Finally watercolor washes were applied (Winsor Newton) and “touch ups” were made digitally or with opaque acrylics.
CW: What is it like to work with an Art Director?
MH: When I was younger and less experienced, I resented the role of an art director. I have since learned to value a good negotiator between the artist and editor. There are good art directors and bad art directors. A good one makes you feel trusted and gives you freedom. Eventually an art director can be a collaborator. A bad art director causes you to second guess yourself.
CW: It's good to see that I made a such a good impression on you . . . just kidding.
CW: During the making of CITY I LOVE, what was (were) some of the oddest requests or changes you where as asked to make?
MH: Without question, the oddest request made during the making of City I Love was that I not depict a hot dog vendor so near to the U.S. capitol. The reason given was that it was implausible considering current national security measures. I inquired subsequently whether it was plausible to depict a dog on his hind legs with a backpack, but I was not given an answer.
CW: What frustrates you about your own work and how do you go about changing or adapting to your frustrations.
MH: I struggle with color. It is not easy for me to envision a finished colored piece beforehand so my painting process is like groping in the dark. Sometimes the result is a failure that must be thrown away. That said, however, this highwire act (painting without a net) can at times yield a better piece than one that is more carefully planned.
One solution for me with regard to color has been to establish a base color (eg. sometimes yellow) that can unify all the watercolors that come after it.
I have never warmed to the technique of coloring digitally. Although I do make corrections digitally.
CW: What did you find to be the toughest and most rewarding aspects of your work on CITY I LOVE?
MH: The toughest part in making City I Love was to create a natural flow. The text is made up of disparate poems about a city and I was asked to assign various international cities to the poems.At times it was like putting square pegs into round holes.Establishing recurring characters and a consistent style was an attempt to achieve continuity.
CW: Your watercolors have been called "cosmopolitan", a little French with a splash of nostalgia, "vintage" what do you think or (of) your work and hope the viewer takes away from your work?
MH: I hope that people come away from it thinking that it is rural, futuristic, and a little Japanese . . .
Hmm, I have a high regard for my work. But not too high. But not too low either. It is right about where it should be. I am not too egotistical . . . and yet I am not too self deprecating either. I have a healthy relationship with my work. There is sort of a give and take. Not too much give... and not too much take. I don’t think my work is better than everyone else’s. Nor is it worse. I am just average, I guess. Moderation is best taken in moderation . . .
I hope people enjoy my work... and I hope they think of it as being a little French. But not too French. Maybe a little German for balance.
Or Thai.
You’ll notice that, of the 33 artists I listed as influences, only two are French.
CW: What is next for you in books as well as in your music career?
MH: Do you mean besides winning the Caldecott and outselling Coldplay?
I am currently writing children’s stories of my own and have finished recording a solo album that I plan to distribute and promote.
I also aim to publish a collection of semi-narrative graphic vignettes that I call graphic poetry. A visual “Leaves of Grass,” if you will.
I am starting a blog at the moment called “Kaleidoscope City”on which I will post my efforts in this, as well as my many street sketches (which may one day also become a book). I am also finishing up the sequel to Because You Are My Baby! called Because I Am Your Daddy! The first book followed a Mom and her baby boy this one is the opposite of the first book, following a Dad and his daughter. This will be coming out in Spring 2010.
CW: My last question is a simple one, what city do you love?
Abrams Young Readers full color illus. Throughout, 32 pages, 8.5 x 10.5 Hardcover with jacket ISBN: 0-8109-8327-3 EAN: 9780810983274 US $16.95 Availability: Preorder (available in March 2009)
Also illustrated by Marcellus Hall
Interview Adventure Series • 3 • Starring John Hendrix author of JOHN BROWN
0 Comments on Marcellus Hall • Interview Adventure Series • 2 as of 1/1/1900
this was an awesome interview, and marcellus hall's work is so classic. (and french!) ;) it's really enchanting! i think it's funny he mentions his struggle with color, because the beauty of his palette is what i was drawn to! bravo!
I guess I stuck my neck out with that "little French" comment but I could have sworn that the little hound had a baguette in his bag and was humming a song for accordion accompaniment, something by Yann Tiersen?
Congratulations Pascal! Pascal will get to choose the winner next Sunday, and also pick a new topic. My thanks go out to Josh for helping with his input on judging, and Mike for taking on the reigns of Monday Artday. I'll be back Monday with the new Challenge.
0 Comments on And the Winner is... (for Transition) as of 1/27/2008 5:21:00 PM
After a hard day at the Bat-office, he's gotta drag off the cowl, and get back to being Bruce Wayne. I always thought the whole dual identity thing was fascinating - especially seeing as how there are days when I can barely maintain the one.
0 Comments on Transition as of 1/27/2008 3:26:00 PM
At the beginning, the little birds were really terrified by the idea of MA administration transition; they were so accustomed to working with Bearuh that they feared their destiny with the new administrator… (Now that they know that Mike isn’t mean as they thought and that Bearuh is going to be contributing often, everything is fine)
I had so much fun on my anole transitions piece that I made a transitions valentine and a transitions antivalentine (I prefer to think of it as for Dot's theme rather than Dot's contest--I'm having fun with it, that's all.)
On the first one, I just changed the background (from my transitions anole on leaves) and added text. On the second one, I fiddled a bit more--changed the background and text. Click images to view larger.
0 Comments on Transitional valentine and antivalentine as of 1/1/1900
I was browsing around for examples of character design when I happened across this great illustrator on ConceptArt. So I checked out her blog and put a watch on her Deviantart account. <_< No, I'm not a stalker... I really liked her stuff. So anyway, on her blog she has this tutorial. Well, being as I'm trying out new things, I figured, why not?
Well, this is the result. A lot more practice and maybe I can get it to look as good as hers. I think next time I'll use a larger sized drawing... ATC size probably isn't good to practice on. o_O
You should really go check out more of Steph Laberis' stuff! ^_^
Anyhow, I was going to do something else for transition but I think this is more truth for me... I am going through some transitions in my art. I hope you all enjoy my learning process. lol
0 Comments on Transition as of 1/24/2008 11:47:00 PM
This is a really quick small sketch on a tiny piece of scrap paper: pencil, charcoal and pen. It also didn't scan terribly well. Click image to view larger (much larger than the original sketch--even this small one is larger).
Angelina sees some transitions in American Politics allowing her to have a voting choice in the primaries between an African American and a woman. They might actually each have a chance of winning. She's eager for the transition that will allow her to vote for an African American woman and have some hope for her electibility.
0 Comments on Transitions: Angelina at the Window as of 1/24/2008 10:54:00 AM
The challenge on Monday Artday this week is "transition".
Up every evening 'bout half eight or nine I give my complete attention to a very good friend of mine He's quadraphonic, he's a, he's got more channels So hologramic, oh my TVC one five I brought my baby home, she, she sat around forlorn She saw my TVC one five, baby's gone, she She crawled right in, oh my She crawled right in my So hologramic, oh my TVC one five Oh, so demonic, oh my TVC one five
Maybe if I pray every, each night I sit there pleading "Send back my dream test baby, she's my main feature" My TVC one five, he, he just stares back unblinking So hologramic, oh my TVC one five One of these nights I may just Jump down that rainbow way. be with my baby, then We'll spend some time together So hologramic, oh my TVC one five My baby's in there someplace, love's rating in the sky So hologramic, oh my TVC one five
Transition Transmission Transition Transmission
Oh my TVC one five, oh oh, TVC one five Oh my TVC one five, oh oh, TVC one five Oh my TVC one five, oh oh, TVC one five Oh my TVC one five, oh oh, TVC one five
Oh oh oh oh oh, oh oh oh oh oh
0 Comments on transition as of 1/20/2008 7:58:00 PM
Hi guys, long time no see! Here is my 'transition'-illustration Hope you like it :)
Bearuh, i'm sorry you're leaving, but i wish you all the luck with all your activities! And thanks for starting this great blog. Mike, glad you took over! :)
0 Comments on Transition as of 1/20/2008 3:44:00 PM
This was an illustration for an article about the changing role of women in enterprises. Can't look at it yet, I can only see what I did wrong. I'll like it again in a year's time :)
Mr. Aronson is a fan of context. It isn’t enough to know that this story takes place 2,000 feet below the Chilean Desert. He must show you how that desert was formed. And it isn’t enough to simply know that these men were farmers of items like copper. He’s inclined to give you the very hist
The picture was a pinup calendar so racy but not porn, the miners were also sent inflatable naked women dolls once they got healthy enough to have sexual needs. I did not think that was worth mentioning. I didn’t condemn the gossip rather I was saying that the Drs on the site would not let any topside romantic conflicts filter down to the men. Yonni did have a tangled love life but that just seemed to distract from the drama at hand.
Happy to answer any other questions and thanks for the close read and nice comments.
Marc aronson
Wow! What a relevant book. I agree that it is valuable to introduce recent events has history to give students a sense of a living history that they are experiencing, not just something 100 years ago. The topic and connections are ideal for classroom study. Thanks for sharing.
I really enjoy Marc Aronson’s books. Sugar is one of my favorites and I’m just starting on an older title about Sir Walter Ralegh. You’re right about how he’s able to make the ’story’ of history relevant. Great for classroom use. I will look for this latest book.
Thanks for the recommendation.
Tammy
Apples with Many Seeds