To Live Long Write for Children:
by Maria Popova
Honoring one of the biggest hearts and most brilliant minds in children’s literature.
For those who hold children’s books dear, a little piece of the soul dies every time another beloved children’s book author or artist leaves us. It helps a little to know that the greatCharlotte Zolotow (June 26, 1915–November 19, 2013) lived to be 98. (On a semi-serious aside: It seems that writing for children holds an especial promise of longevity, with many authors and illustrators outliving the average life expectancy of their homeland by years, often decades — Maurice Sendak lived to be 84, E. B. White 86, Ruth Krauss 92, Alice Provensen reportedly continues to draw well into her nineties, and Eric Carle just releasedhis latest book at 84. There must be something uniquely soul-nourishing about the warmth and kindness that writing for children both requires and stimulates.)
Although she authored and edited more than seventy books, Zolotow remains best-known for Mr. Rabbit and the Lovely Present, published in 1962 and illustrated by none other than Sendak. But the most influential relationship of her career was with the great Ursula Nordstrom, fairy godmother of modern children’s literature, who steered Zolotow’s collaboration with Sendak and with whom Zolotow worked closely for many years thereafter. From Leonard Marcus’s altogether fantastic Dear Genius: The Letters of Ursula Nordstrom(public library) — which also gave us Nordstrom’s witty, wise, and prescient 1953 letter on the state of publishing and the infinitely heartwarming story ofhow she cultivated young Sendak’s genius — comes the wonderful record of Zolotow’s formative relationship with Nordstrom.
In August of 1961, when Mr. Rabbit and the Lovely Present was coming together, Nordstrom assured Sendak of Zolotow’s commitment to the project:
She is so glad you’re illustrating it, and so are we, that nothing can cloud our pleasure.
A few months later, on October 30, she sent a heartwarming letter to Zolotow herself:
Sendak’s pictures are so lovely for your (untitled) book! Utterly different from anything he’s ever done — with a timeless, classic quality: You’ll be happy, I know. The little girl is so lovely, and the rabbit is funny, a good combination, I think.
After thanking Zolotow for recommending a play Nordstrom had just seen and loved, and for Zolotow’s kind words about the only children’s book Nordstrom herself ever wrote, The Secret Language, she holds up a mirror of warm mutuality:
I can never tell you how grateful I am to you, dear friend and author. I’ve never had anyone — well, — be so generous andkind, certainly no AUTHOR — as you’ve been.
The longtime collaboration and lifelong friendship between the two began when Zolotow became Nordstrom’s editorial assistant at Harper & Row — a position that, under the influence of Nordstrom’s enormous generosity of spirit and creative bravery, no doubt helped Zolotow cultivate her own. In fact, she soon became Nordstrom’s right-hand-woman and was even the one to bring in Louise Fitzhugh’s hugely popular 1964 classic, Harriet the Spy, which queer women continue to celebrate for its trailblazing use of an apparently queer protagonist.
In a 2009 interview, Zolotow spoke of the interplay between being a writer and being an editor:
Being both a writer and editor affects different expressions of the same personality. Writers must shut out everyone else while they write. They must forget outside suggestions, or the temptation to follow suggestions separate from their own visions.
Editors must resist the desire to insert their own idea of how and where the story goes. They must resist the temptation to offer their own words as a solution when something is weak; instead they should alert the writer to this weakness, so that if the writer agrees, she may solve the problem in her own words and way.
When Nordstrom was ready to leave Harper, she bequeath her department to Zolotow. In a 1980 letter to another one of her authors, Mary Stolz, Nordstrom wrote:
I told Charlotte Zolotow many months ago that I wanted to slope off my job with Harper, and not be an editor any more. There are good things about it, always have been, but no more working with authors, dealing with contracts, worrying about the lack of reviews, or when there are bad ones, for “my” authors. Charlotte, as head of the department, is a brilliant and sensitive creative person. She will see that your work get the good attention I think you have always had from the dept.
And see to it she did — Zolotow went on to bring to life dozens of books for young readers, from her very first, The Park Book, published in 1944 and illustrated by H. A. Ray, to such delights as William’s Doll (1972) illustrated by William Pène du Bois and I Know a Lady (1984) illustrated by James Stevenson to her final book, The Beautiful Christmas Tree, published in 1999 and illustrated by the inimitable Yan Nascimbene, whom we also lost this year.