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When I came to New York I was in pieces, and though it sounds perverse, the way I recovered a sense of wholeness was not by meeting someone or by falling in love, but rather by handling the things that other people had made, slowly absorbing by way of this contact the fact that loneliness, longing, does not mean one has failed, but simply that one is alive.

Welcome to TGIF

Thank Goodness It’s FRED!
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FRED

Written by Kaila Eunhye Seo
Illustrated by Kaila Eunhye Seo
Peter Pauper Press          5/01/20`15
978-1-4413-1731-5
40 pages                Age 4—8
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“Fred’s world is filled with fantastical friends that make
his days so much fun he hardly notices that no one else can see them. But one day Fred goes off to school, and things start to change. As Fred grows up, his childhood friends slowly fade away and seem to disappear, taking some of life’s sparkle with them. But a chance meeting with a special young girl reminds Fred—and readers young and old alike—that magic and wonder never really disappear . . . they live forever in our hearts.” [book jacket]

Review
Fred’s imaginary friends have the people in his small town thinking he is different—a polite way of saying the boy is odd. Fred has the ability to see and hear things other people cannot. Fred also believes in things the other townsfolk either cannot, or simply will not, believe. Despite the townsfolk’s’ inability to see, hear, or care about Fred’s creatures, the creatures cared about the townsfolk.

“Sometimes they acted like the wind and moved branches out of the way for people.
And sometimes they acted like shade and kept people cool on hot summer days”

What is Fred seeing and hearing that make the others consider the young boy an oddity? Fred sees creatures . . . imaginary creatures . . . imaginary friends. He never cares about making other friends—he already has the best friends a young boy could hope to have.

When the day arrives for Fred to begin school, he makes new friends . . . real, alive friends. His imaginary friends wait, no longer part of Fred’s day. One day becomes two, then three, and each school year blends into the next. One-by-one the creatures Fred adored disappear, losing their color, and fading into the background.  By the time he reaches adulthood, all the imaginary creatures are lost from Fred’s memory.

The real world takes too much of Fred’s attention and time. Fred’s days run together as he does the same things day after day. This monotony leaves Fred feeling empty, friendless, and all alone, even in the park where he played so joyfully with . . . with . . . he doesn’t remember with whom he played with, or even what his playmates look liked. Where did his childhood friends go?

FRED will have you wondering when your imaginary friends left you. When these old friends leave, they take with them a very precious commodity: your imagination. Can you imagine doing anything other than your daily routine? Not just a dream vacation, but something that will cheer you up, daily make you implausibly happy, and has the synapses on the right-side of your brain sizzling with ideas, as they jump from neuron to neuron. Neither can Fred, poor guy. Then he gets lucky. A small child comes to the park while Fred sits reading—always a delightful detail in a children’s book. The young girl, with a pocket full of lollipops, asks Fred if he and his friends would like a lollipop. His friends anxiously watch Fred, who says,

“Excuse me?”

Someone can see his friends. They are all still with him. A synapse POPS! Another SIZZLES! Fred’s heart no longer feels weighed down, and instead, he feels free. Fred’s imaginary friends—and his imagination—return. Adult Fred finally realizes he . . . wait, I cannot tell you what Fred realized. Fred would like to tell you himself. This is his story. FRED surprised me, in a very wonderful way. Imagination, and the magical journeys it can create, is not the sole domain of childhood, but we tell ourselves there is no time for such “silliness,” yet without retaining our child-like selves, we lose much of our creativity.

I love Ms. Seo’s direct lines in the pen and ink illustrations. Each spread overflows with artistic detail and the color remains only with the story and its characters. I think Ms. Seo’s attention to detail and using color to focus readers’ eyes on the story shows she cares about making a terrific sensory experience for children. The monsters are hilarious and kid-friendly. Not one creature will cause nightmares, as none is even a wee-bit scary. They walk among the unsuspecting—and unbelieving—in town without any commotion. I do wonder how the non-believers (who possess little to no imagination), would think if they saw what Fred could see. The story and all the eye-catching illustrations are a definite sign that this debut author/illustrator has not lost her childhood imagination, inspiration, or her imaginary friends.

FRED. Text copyright © 2015 by Kaila Eunhye Seo. Illustrations copyright © 2015 by Kaila Eunhye Seo. Reproduced by permission of the publisher, Peter Pauper Press, White Plains, NY.

Purchase FRED at Amazon—Book Depository—Peter Pauper Press.

Learn more about FRED HERE.

TEACHERS:  Common Core Teaching Guide for FRED.

Meet the author/illustrator, Kaila Eunhye Seo, at her website:  http://www.eunhyeseo.com/
Find more picture books at the Peter Pauper Press website:  http://www.peterpauper.com/

**NOTE: Through the month of May, 20% off at Peter Pauper Press. Use Code: MAY 20

Review Section: word count = 663

Huntington Press Best Picture Books 2015

Copyright © 2015 by Sue Morris/Kid Lit Reviews. All Rights Reserved

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MEGA FRED FRIDAY GIVEAWAY from May 1^st – May 29^th
Set of all TEN of our Critically Acclaimed Picture Books

For a Chance to WIN Click the Rafflecopter Link Below

Fred by Kaila Eunhye Seo

An EARLY COPY of

All the Lost Things by Kelly Canby

Elephantastic by Michael Engler

The Zoo Is Closed Today! by Evelyn Beilenson

Simpson’s Sheep Won’t Go to Sleep! by Bruce Arant

Hank Finds an Egg by Rebecca Dudley

Hank Has a Dream by Rebecca Dudley

Celia by Cristelle Vallat

Not the Quitting Kind by Sarra J. Roth

Digby Differs by Miriam Koch!

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Kid Lit Reviews is giving away ONE copy of FRED 

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As Christmas draws near, and the dark cold evenings become longer, a number of people will have a foreboding about being alone, creating a sense of loneliness. Is loneliness something to anticipate with anxiety? Or even fear? Should we avoid being on our own, and seek out companionship? On the contrary, I will argue that approaching loneliness and giving it focal time can enhance your wellbeing.

Loneliness has many faces. Sociologists distinguish two types: social loneliness, missing relationships with friends and family; and emotional loneliness, the missing of an intimate relationship, like a partner. Anthropologists have also observed other types of loneliness, such as existential loneliness, the feeling of being lost in the world. In practice, social workers and health care professionals tend to view loneliness as a condition, to be countered or cured. Although there are therapies for loneliness as a condition, they seldom are sustaining in the long term. They view loneliness as an aberration that needs to be treated, and not as a transient part of life.

Being alone has its advantages, offering time for reflection on your life, including the people within it, and most poignantly, those people whom you miss. It offers time to take distance and renew oneself, to step aside from the hectic, running pace of daily life and pause, to have time to yourself, time to muse, digest and cherish more deeply the thoughts and memories that surface, and to view your life with a different perspective.

The French novelist Patrick Modiano, the winner of this year’s Nobel Prize in Literature, has sketched out the beauty of being alone in many of his books. Loneliness is a recurring theme in his oeuvre, where protagonists spend more time in their thoughts and memories than in physical action. His characters wander often alone, approaching their loneliness and longing for other people they have met and with whom they have shared meaningful experiences as balanced parts of life, reflecting and offering positive and negative feelings, not as a condition to be avoided, or feared.

Modiano is often called the heir of the French novelist Marcel Proust, who wrote his magnum opus In Search of Lost Time a century ago. Although the books of Modiano and Proust are very different, they share similarities of theme and attitudes about the appreciation of involuntary memories, which offer their protagonists new insights and perspectives on the situations they are experiencing. These memories are often evoked by the passing impressions of a sound, a visual image, taste, and most of all by scents.

Of all the senses, the sense of smell is the most capable of evoking intense emotional memories. Psychological and neurological studies have shown that memories triggered by scents are more emotional and evocative than those elicited by images or sounds, although there are little differences in the level of detail or vividness of the memories.

The involuntary nature of these scent memories means that they become difficult to control; a scent may pass by you and suddenly intense childhood memories are evoked. In this situation, the best response is to be open, to be aware of your environment and not to close yourself off to the scents that are spinning about the air amid your daily wanderings. The protagonists in the books by Modiano and Proust are often alone or absentminded in a crowd or society when, by chance opportunity, they encounter their best memories.

Besides being involuntary, the scents that evoke special memories are personal and situational, and as they layer and fuse become ‘autobiographical perfumes’, as I have coined them. Everybody can have several autobiographical perfumes that evoke these memories, and for each person, they are different. For one, an autobiographical perfume may be the scent of a special variety of fresh baked cookies, while for another it may be the scents of a church interior. People share common scents as well, especially when they are of the same generation or region and they have encountered the same kind of typical smells in their childhood. Think of the smell of local food, pastry, herbs, and spices; scents attached to familiar landscape and spaces, such as farmland and forest, bars and churches; and each of these experiences enhanced, amplified, and extended by new scents indicative of the holiday season.

And so I present to you the idea of a ‘perfume for loneliness’. This is not a perfume, comprised of chemical or natural extracts, or a medicine as one might expect, against loneliness. It is not a formula that works for all, and is not available to purchase in a shop. It is a perfume for you, personally to discover and create for yourself.

Begin by exploring what kind of scents trigger childhood memories for you. Gather these scents physically, and compose your own personal autobiographical perfume. When you are alone, in a time of reflection, consciously inhale these scents. They will create space to facilitate you to approach and understand your personal feelings of loneliness better. They will evoke special memories that, just like opening a gate, can lead you to deeper reflection on your life, and a richer understanding of the people who are absent and missed. As you inhale, be comforted by this sensory experience, and be at peace with the knowledge that loneliness is not a feeling to avoid or fear.

Headline image credit: Ocean view. CC0 via Pixabay.

The post A perfume for loneliness appeared first on OUPblog.

        

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By Robert Kolker

“That’s that,” quoting Ace Rothstein at the end of Casino. I didn’t end the Martin Scorsese chapter on an optimistic note in the fourth edition of A Cinema of Loneliness. There is more than a hint that the Scorsese’s creative energies might be flagging.

My pessimism grew from the direction — or lack of direction — Scorsese’s films had taken over the past decade. I thought that the big productions of the 2000s — Gangs of New York, The Aviator, and The Departed — indicated some kind of flailing about for ideas. These films were not as lean and mean as the earlier gangster movies that worked at the speed of light and were deliriously comic in their basic brutality.

Copyright Paramount Pictures. Source: shutterisland.com.

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With this in mind, I went to see Hugo with a lot of skepticism. Why would Scorsese make a film in 3D? The only reason I could come up with — aside from the fact that he might just wish to experiment with the old/new screen technology of the moment — is that Alfred Hitchcock made a 3D film when that format was first introduced in the 1950s: Dial M For Murder. Scorsese almost always roots his work in films of the past. His imagination is constructed of film. He is an amateur archivist, with a huge collection of movies that he watches continually. He has his cast and crew look at old movies when they are preparing a new one. His films become something of archival works themselves, full of allusions to their predecessors. But there is more to it than this.

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“One of the things reading does, it makes your loneliness manageable if you are an essentially lonely person.” — Jamaica Kincaid, who has a novel excerpt out in Little Star