Synopsis:
Welcome to the world of William Steig, a place where "Small Fry" stand on street corners and New York's hoi-polloi rub shoulders with the hoity-toity. Where Roland the minstrel pig and Dominic the piccolo-playing dog wander the land, singing their ballads. Where "People Are No Damn Good, " but children "walk with God." Where poetry rules and time does not pass.William Steig, the dean of "The New Yorker" cartoonists, began his career at the magazine in 1930. After achieving acclaim with his gang of street urchins, affectionately nicknamed the "Small Fry, " Steig branched out, exploring through his drawings the psychological undercurrents in relationships between parent and child, husband and wife, self and society. In such groundbreaking collections as "About People" (1939), "Persistent Faces" (1945), and "The Agony in the Kindergarten" (1950), Steig laid bare the raw insecurities of childhood. In the process, he introduced symbolic art to mainstream audiences and permanently elevated the place of the cartoon in American culture. Beginning in the '60s, Steig demonstrated his understanding and awe of children in numerous award-winning picture books, including such classics as: "Rotten Island" (1969), "Sylvester and the Magic Pebble" (1970 Caldecott Medal), "Dominic" (1972), "Gorky Rises" (1980), "Doctor De Soto" (1982 Newbery Award), and "Shrek!" (1990). Now 90 years old, Steig continues to express his comic perception of the human plight. His 30th book for children, "Pete's a Pizza," was published this year. Featuring hundreds of illustrations, including a portfolio of previously unpublished pieces selected by the artist himself, "The World of William Steig" celebratesthe lifework of an uncompromising iconoclast who has never lost sight of the power of humor.
Review:
Anyone who loves William Steig--the dean of the New Yorkercartoonists or the Caldecott-winning creator of Sylvester and the Magic Pebble and dozens of other children's books--will adore Lee Lorenz's gorgeous, 207-page, oversized book The World of William Steig. Lorenz, the art editor of the New Yorker from 1973 to 1993 and its cartoon editor until 1997, brings an insider's point of view and engaging writing style to this fascinating, truly historical tribute to his colleague. Pulitzer Prize-winning John Updike contributes an introduction that's sure to spark the interest of even the most Steig-deprived among us: "Such a compilation serves to celebrate an original who has endured, who has taken his talent in one direction after another and found new territory deep into his old age. Steig's art is not just testimony to his love of life but robust evidence of the necessary interaction between art and life, reality and fantasy." Featuring hundreds of colour and black-and-white illustrations, including a portfolio of previously unpublished pieces selected by Steig himself, this rich book traces the life and artistic development of this funny, wise, talented man in the following chapters: A Family Album, At The New Yorker, Symbolic Art, The Years with Shawn, The Artist's Hand, and Through the Eyes of a Child. The book closes with Wordplay; Heroes, Villains, and Happy Endings; Epilogue; Acknowledgments; Bibliography; Featured Art; and an index. Contented browsers will find absorbing details of Steig's childhood in the Bronx, his cartooning days, his symbolist art, and his burgeoning, late-blooming interest in (and talent for) creating books for children. As Maurice Sendak says of the master, "Steig's infectious delight in rich, subtle storytelling, combined with a graphic style both simple and hilarious, has produced a body of work that remains astonishingly fresh and original. There is no school of Bill Steig. There is only Bill Steig." No Steig fan should be without this marvelous celebration of his life's work. --Karin Snelson, Amazon.com
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