SATA
ENTRY TYPE:
WORK TITLE: THE BABYSITTER FROM ANOTHER PLANET
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE: 2/14/1965
WEBSITE: http://www.stephensavage.net/
CITY: Brooklyn
STATE:
COUNTRY: United States
NATIONALITY: American
LAST VOLUME: SATA 273
NOT THE BRITISH BIOLOGIST STEPHEN SAVAGE
RESEARCHER NOTES:
PERSONAL
Born in Los Angeles, CA; son of a college professor; married; wife’s name Stefanie; children: Chloë.
EDUCATION:University of Wisconsin—Madison, B.A. (art history), 1987; School for Visual Arts, M.F.A., 1996.
ADDRESS
CAREER
Author and illustrator of children’s books and educator. Franklin Watts, New York, NY, worked in production department; School of Visual Arts, New York, NY, adjunct illustration instructor, 2001—.
AWARDS:New York Times Best Illustrated Children’s Book selection and Notable Children’s Books designation, American Library Association (ALA), both c. 2004, both for Polar Bear Night; Gold Medal, Society of Illustrators, 2008; Primary Fiction Award, International Readers Association, 2011, and ALA Notable Children’s Books designation, 2012, both for Where’s Walrus?; ALA Notable Children’s Books designation, 2014, for Ten Orange Pumpkins; Sendak fellowship, Maurice Sendak Foundation, 2015; ALA Notable Children’s Book designation and Theodor Seuss Geisel Award honor book citation, both 2016, both for Supertruck.
WRITINGS
Contributor to periodicals, including Atlantic Monthly, Entertainment Weekly, New York Times, Wall Street Journal, and Washington Post.
SIDELIGHTS
Illustrator and graphic artist Stephen Savage is the creator of numerous picture books for young readers, including Where’s Walrus?, The Mixed-up Truck, and Little Plane Learns to Write. Additionally, Savage has provided the artwork for titles by authors such as Lauren Thompson and Tim McCanna, and his editorial illustrations have graced the pages of the Atlantic Monthly and the New York Times, among other publications.
Savage showed an early interest in the arts, even gaining parental permission to weld metal sculptures in the basement using a blowtorch. “I always made art, but like a lot of kids I didn’t know what to do with it—how to turn it into a job,” Savage later recalled to Sally Lodge in an interview for Publishers Weekly. After earning a degree in art history, he moved to New York City and started his illustration career while worked in the production department of a publishing company.
In addition to completing his master’s degree in fine arts, Savage produced two interactive concept books for children and earned plum assignments illustrating articles for national magazines and newspapers such as the New York Times, Entertainment Weekly, and the Wall Street Journal. When editor and author Thompson reviewed his illustration portfolio, she created a story based on one of his images that became the picture book Polar Bear Night.
A bedtime story, Polar Bear Night follows a polar bear cub as she ventures out from her warm den at night. Sensing that something special is about to happen, the cub stays awake while other Arctic animals go to sleep, and when she climbs to the top of a snowdrift she witnesses a shower of falling stars. Described Savage’s linocut images in the picture book, a Publishers Weekly critic praised them as “striking compositions” in which “the darkness is quietly beautiful.” McCanna’s Jack B. Ninja offers an inventive riff on a classic nursery rhyme. “Savage’s illustrations are minimalist in detail and bold, with simple shapes and lines,” a Kirkus Reviews writer stated. “He makes effective use of bright, contrasting colors, which pop to the eye.”
Savage paired his own art with a wordless narrative in the hide-and-seek book Where’s Walrus? As a zookeeper hunts for a missing aquatic mammal in the latter work, readers can spot the errant walrus hiding in each illustration. “What really makes this wordless romp pop are Savage’s crisply designed, boldly composed scenes,” Ian Chipman announced in Booklist, and in Horn Book Kitty Flynn praised the “stylish” images in Where’s Walrus? for their child-friendly mix of “clean shapes, strong lines, and solid blocks of color.” Noting that Where’s Walrus? feels “modern” while also recalling the 1950s in a way that is “refreshing, captivating, elegant and witty,” a Publishers Weekly critic added that Savage’s “expressive characters … brim with personality and charm.”
In Little Tug Savage follows a small but helpful tugboat as it works throughout the day and then settles in at night. “Each boat has a face with easily read emotions displayed, running the gamut from smug, happy, worried, and sad to sleepy,” as Maryann H. Owen noted in her School Library Journal appraisal. A Publishers Weekly critic wrote that “the crisp stencil-style art, in high-contrast industrial blue-grays with brick-red highlights and grainy shading, maintains an even keel” throughout the nautical-themed tale. Praising the “vintage charm” to be found in Little Tug, Thom Barthelmess added in Booklist that Savage’s “spiral storytelling and stylized illustration combine” to produce a picture book “that is both a winning read-aloud and a deceptively simple exploration of individuality perfectly suited for its target toddler audience.”
With Ten Orange Pumpkins: A Counting Book Savage crafts a concept book that also doubles as a holiday tales in which ten orange pumpkins are stolen, one by one, by a series of scarily costumed figures. Citing “a visual style reminiscent of 1950s horror tales,” a Kirkus Reviews writer added that Savage’s images here “have a softness and gentle humor that will capture the imaginations” of young readers. In School Library Journal Julie R. Ranelli praised the “catchy rhyme scheme” employed by the author/illustrator, and the “bold colors contrast with seasonal shadows … , drawing readers in.” Noting the versatility of Ten Orange Pumpkins, Ranelli concluded that the story “could be enjoyed year-round.”
[new prose]
In The Mixed-up Truck, Savage provides “a surefire storytime selection,” in the opinion of School Library Journal critic Julie Roach. The self-illustrated picture book focuses on a cheerful, red-and-white striped cement mixer that hopes to make a good impression on its first day at the construction site. Directed to mix “powdery white cement,” the truck mistakenly stops at a flour mill (leading to the creation of a cake) and then a sugar factory (resulting in a sweet frosting). Undaunted, the cement mixer embarks on a third trip to locate the desired materials with a zeal that pleases his colleagues.
In the words of a Publishers Weekly critic, Savage “creates a sunny cast of vehicular characters, and his brief text is equally upbeat, punctuated by fun repetition.” The volume’s “thematic elements—trucks and food and mastery of a skill—are well-pitched to a very young audience,” a writer observed in Kirkus Reviews. “This tale’s tight plot and winsome characters serve the dual purpose of exploring the world of vehicles and emphasizing the rewards of perseverance,” Roach concluded.
A tenacious protagonist also takes center stage in Little Plane Learns to Write, another work written and illustrated by Savage. Excited to begin flight school, Little Plane quickly discovers that skywriting is more difficult than he imagined, especially the intricate, swooping loopity-loops. With a push from his flight instructor, Little Plane practices late into the night, using a full moon to guide his actions.
According to a Publishers Weekly critic, “Little Plane is an enterprising hero who radiates eagerness and energy.” A writer in Kirkus Reviews applauded Savage’s illustration, nothing that the “bold colors stand out over patchwork rural and blocky urban scenes against a varying cerulean sky,” and School Library Journal contributor Peggy Henderson Murphy noted that “the crisp, engaging artwork will keep storytime audiences engaged.”
A pair of siblings enjoy an evening with a fun-loving extraterrestrial caretaker in The Babysitter from Another Planet. “Bright digital pictures by Savage … have a reassuring sense of symmetry and solidity, with midcentury modern stylings,” a Publishers Weekly reviewer observed. In his wordless picture book Sign Off, the author/illustrator depicts the activities of the silhouetted figures from road signs who spring to life each night. “Savage’s aesthetic and mastery of color are tailor-made for this inventive story,” in the opinion of a Publishers Weekly contributor.
[end new prose]
BIOCRIT
PERIODICALS
Booklist, November 15, 2004, Jennifer Mattson, review of Polar Bear Night, p. 585; May 1, 2011, Ian Chipman, review of Where’s Walrus?, p. 97; October 1, 2012, Thom Barthelmess, review of Little Tug, p. 100.
Bulletin of the Center for Children’s Books, February, 2011, Deborah Stevenson, review of Where’s Walrus?, p. 296.
Horn Book, November-December, 2004, Lauren Adams, review of Polar Bear Night, p. 703; March-April, 2011, Kitty Flynn, review of Where’s Walrus?, p. 107; November-December, 2012, Julie Roach, review of Little Tug, p. 74.
Kirkus Reviews, October 15, 2004, review of Polar Bear Night, p. 1014; January 15, 2011, review of Where’s Walrus?; September 15, 2012, review of Little Tug; September 15, 2013, review of Ten Orange Pumpkins: A Counting Book; April 15, 2016, review of The Mixed-up Truck; April 15, 2017, review of Little Plane Learns to Write; March 15, 2018, review of Jack B. Ninja; December 1, 2018, review of The Babysitter from Another Planet; March 1, 2019, review of Sign Off.
New York Times Book Review, November 14, 2004, Janet Zarem, review of Polar Bear Night, p. 30.
Publishers Weekly, November 22, 2004, review of Polar Bear Night, p. 59; September 24, 2012, review of Little Tug, p. 74; December 2, 2016, review of The Mixed-up Truck, p. 14; April 17, 2017, review of Little Plane Learns to Write, p. 66; April 16, 2018, review of Jack B. Ninja, p. 91; October 29, 2018, review of The Babysitter from Another Planet, p. 73; February 11, 2019, review of Sign Off, p. 65.
School Library Journal, November, 2004, Jane Marino, review of Polar Bear Night, p. 118; February, 2011, Ieva Bates, review of Where’s Walrus?, p. 90; November, 2012, Maryann H. Owen, review of Little Tug, p. 83; November, 2013, Julie R. Ranelli, review of Ten Orange Pumpkins, p. 89; June, 2016, Julie Roach, review of The Mixed-up Truck, p. 84; May, 2017, Peggy Henderson Murphy, review of Little Plane Learns to Write, p. 69; July, 2018, V. Lynn Christiansen, review of Jack B. Ninja, p. 54; winter, 2018, Maryann H. Owen, review of The Babysitter from Another Planet, p. 52.
ONLINE
Bklyner.com, https://bklyner.com/ (October 13, 2016), Donny Levit, interview with Savage.
Pen & Oink blog, https://penandoink.com/ (December 12, 2012), Robin Rosenthal, interview with Savage.
Publishers Weekly Online, http://www.publishersweekly.com (October 9, 2012), Sally Lodge, interview with Savage.
Seven Impossible Things before Breakfast blog, http://blaine.org/sevenimpossiblethings/ (January 7, 2013), Julie Danielson, “Seven Questions Over Breakfast with Stephen Savage.”
Stephen Savage website, http://www.stephensavage.net (March 15, 2019).
about stephen
STEPHEN SAVAGE is the author and illustrator of 9 books for children, including the New York Times bestselling picture book POLAR BEAR NIGHT, written by Lauren Thompson. He is the creator of the WHERE’S WALRUS? books, SUPERTRUCK, and LITTLE TUG. Steve is the recipient of a New York Times Best Illustrated Book award, a Sendak Fellowship, an ILA Primary Fiction Award, and a Geisel Honor award. His editorial illustrations have appeared in dozens of major newspapers and magazines including the New York Times, The Atlantic Monthly, The Washington Post and The Wall Street Journal. He teaches at the School of Visual Arts in Manhattan and lives in Brooklyn with his wife and their daughter.
Meet Author/Illustrator Stephen Savage: Sweet Dreams, Wise Trucks, And Kentile Goodbyes
By Donny Levit - October 13, 20160
Stephen Savage
Stephen Savage. (Photo by Donny Levit / Park Slope Stoop)
My two-year-old son first introduced me to the New York Times best-selling author, illustrator, and Park Slope neighbor Stephen Savage.
It started out with The Mixed-Up Truck, Savage’s most recent book which came out in July 2016. The search for contemporary children’s authors is still new territory for me. I admittedly bought it for my son based on the cover. And it didn’t hurt that the little guy is obsessed with anything on wheels.
The Mixed-Up Truck by Stephen Savage
Cover of The Mixed-Up Truck. (Courtesy of the author)
The font and signage of the title reminded me of the iconic Kentile Floors sign which was disassembled back in 2014 to the chagrin of many a Brooklynite. That signage is a visual trope throughout Savage’s book.
But more importantly, my son fell in love with the underdog protagonist — a cement mixer who has an epic first day on the job. Since that reading, more of Savage’s books have been added to the “heavy rotation pile” for bedtime.
Stephen Savage reads The Mixed-Up Truck at Community Bookstore
Stephen Savage reads The Mixed-Up Truck at Community Bookstore in September 2016. (Photo by Donny Levit / Park Slope Stoop)
Savage grew up in Minnesota and was exposed to art at a very young age. His parents would bring him to the Walker Arts Center, where he was particularly taken by an exhibition of Alexander Calder’s sculptures and mobiles.
“His works were almost like toys; they had a real entertainment aspect to them,” Savage said in an interview with Publishers Weekly. “He wasn’t making art for a museum, but was having fun bending wire!”
Russian constructivism
Images of Russian constructivism. (Photo by Donny Levit / Park Slope Stroop)
Color and Geometry
Savage’s Red Hook studio also has a playfulness to it. The space is packed with retro children’s books, a variety of art collections, and his dog Rudy, who sits quietly in the corner. His desk is covered with a mélange of illustrations and ideas, and sketches of his forthcoming book Little Plane Learns to Write (slated for June 2017) are hanging on the wall.
The bright geometric shapes that make up Savage’s vehicles in some way grow out of Russian Constructivism. He places a few samples on the floor.
supertruck
Courtesy of the author.
The visuals from his truck series (Savage’s Supertruck is also on heavy rotation during bedtime) have a warmth and familiarity to them. “There’s a taboo against taking tried and true archetypes,” he says. “but it proves what [George] Lucas and [Joseph] Campbell said — there are story arcs that simply resonate.”
The Little Tug by Stephen Savage
A page from The Little Tug by Stephen Savage. (Courtesy of the author)
“The Language of Trucks”
However, the interior of Savage’s studio isn’t the only place that provides him with inspiration. He speaks about his daily commute from his Park Slope home to his Red Hook studio.
“When I’m walking down to my studio and passing through Gowanus, there are no people,” he says. “This area is the language of trucks, outdoor signs, and warehouses. Neon type and roadways. I didn’t set out to be a truck person.”
While looking past IKEA, past the Erie Basin, and into the Red Hook channel, he discusses how the harbor influenced his book The Little Tug.
“If you live in a place, you don’t have to look any further. You’re in it every day,” he says. “I’m not the right guy to tell a story about forests and creatures.”
Margaret Wise Brown riff by Stephen Savage
“With apologies to Margaret Wise Brown and Clement Hurd.” Illustration by Stephen Savage. (Courtesy of the author)
Margaret Wise Brown and Walking Around Brooklyn
The week he turned in his illustrations for The Fathers Are Coming Home, Savage became a father. “My daughter was two days old,” he recalls. He also found the coincidence between his fatherhood and the title of the Margaret Wise Brown book to be rather powerful.
Savage was able to illustrate a book by one of the world’s most popular children’s book writers. Brown, who is famous for her 1947 book Goodnight Moon, died in 1952. She left work that had not yet been illustrated or published.
“She wrote it for an illustrator of hers who had gone off to war,” he explains.
For an article Savage wrote about his “rambles” around Brooklyn, he riffed on Clement Hurd’s illustrations for Goodnight Moon. Savage’s version of the room’s exterior is revealed to be a bridge and city night.
The picture is in many ways revelatory of Savage’s gift as an artist — the ability to look inward and outward at the same time.
“The genius of a Margaret Wise Brown book is that there’s something ‘off’,” he says.
Seven Orange Pumpkins by Stephen Savage
A page from Seven Orange Pumpkins by Stephen Savage. (Courtesy of the author)
Pumpkin Whimsy
“Words switch on another part of your brain,” Savage says as we look through his very mischievous book, Ten Orange Pumpkins (Sidenote: an excellent read for this time of year).
The book is a countdown — or disappearance — of ten pumpkins that fall prey to mummies, ghosts, and witches. The language is playful, also riffing on broad horror tales. Think a kid’s version of Attack of the Killer Tomatoes.
“When I started out, I didn’t really know if I was more of a words person or a visuals person,” Savage says. But clearly, he’s been able to fuse both together in his story telling.
(N.B.: If you buy the “board book-style version, it’s Seven Orange Pumpkins)
A page from The Mixed-Up Truck by Stephen Savage
A page from The Mixed-Up Truck by Stephen Savage. (Courtesy of the author)
“I know the importance of monuments.”
Savage is on the faculty at the School of Visual Arts in Manhattan. And his life is kept rather busy while he raises his daughter.
But in 2014, he became involved in a very different cause.
When plans were confirmed that the Kentile Floors sign would be removed, Savage needed to be involved.
“I became a leader of ‘Save The Kentile Floors Sign‘ movement,” he said. “I’ve never been an activist.”
“It was like the Back to the Future — when it’s so important to ‘Save the Clocktower‘,” Savage said, smiling broadly. “You know you’re back in Brooklyn when you come out of the tunnel [on the F/G subway line as it pulls into Smith-9th Streets station after Carroll Street]. The skyline looks almost unfamiliar without it.”
And while memories of the structure certainly live on in The Mixed-Up Truck, he believes it’s still a loss for the community.
“The Black Lives Matter movement is more important than the Kentile Floors sign, but I believed I needed to protect it. Like the Empire State Building,” he says. “I know the importance of monuments.”
Stephen Savage
Stephen Savage with Rudy. (Photo by Donny Levit / Park Slope Stoop)
“Crazy Kid Logic”
Savage was showing the sketches to his forthcoming Little Plane Learns to Write, which should be coming out in June 2017. He’s covered tug boats, trucks, and now planes. This will be his fourth “vehicle book.”
But he’s ready to switch it up.
“If an artist does the same book over and over, it’s like a tv show that’s gone on too long,” he says. “Kids are smart. They know if it’s a one-note johnny and close the book. I’m looking forward to throwing myself into another genre.”
We ended our conversation with a discussion about my son’s reactions to Supertruck. I tell Savage that he really was interested in the fire escapes in Supertruck and now points them out almost every day. Ever since reading the book, he also wants cars and trucks to wear glasses — akin to the protagonist.
“Those are the most satisfying things to hear,” says Savage. “Authors write a book but don’t get much of a chance to hear what goes on between parents and kids.”
“I just keep trying to channel crazy kid logic. That’s what a creator needs to do.”
Visit Stephen Savage’s website to learn more about his work. And be sure to stop by an independent book store to pick up his books.
Wordless Wednesday: Where’s Walrus? & Interview With Stephen Savage
Jan 6, 2016
By Caryn
in Book Reviews
2 Comments
Tags: 2011, interview, Q&A, seek-and-find books, Stephen Savage, wordless books
WheresWalrus 1
The holidays are over, the New Year is here, and it is time to bring back the Wordless Wednesday posts for a while. The holidays really took over in November and December, so I saved some great wordless books and also author interviews to share this month! Let’s start with this fun, clever, seek-and-find book about a walrus looking for its place in the world. Check out Where’s Walrus? by Stephen Savage, 2011, and stay tuned for a Q&A with Stephen Savage too.
WheresWalrus 2
At the opening of the story, we are greeted by an image of Walrus staring at an open gate of the zoo. All the animals, and the keeper too, are lounging and dozing. But Walrus is alert, perhaps unsatisfied, curious, or just taking the opportunity that has presented itself.
WheresWalrus 3
Walrus escapes the zoo, but is spotted by the keeper and the chase is on. Spread after spread, Walrus is to be found “hiding” or more likely participating in various scenes and professions.
WheresWalrus 4
The keeper chases Walrus all the way to a diving competition where Walrus no longer tries to blend in, but surprises everyone—including Walrus—with a hidden talent. And thankfully, the keeper is smart enough to capitalize and encourage Walrus in the alert, active animal it really wants to be.
WheresWalrus 5
This book is so much fun as it functions cleverly on many levels. First, there is the obvious seek-and-find enjoyment of the images. While a lot of books in this category use lots of detail and overwhelming backgrounds to challenge the seeking, Walrus is surrounded by white space; solid graphic shapes; and humorous, rather than subtle, disguises. It really isn’t difficult to find Walrus each time, but it is funny to find Walrus.
Second, the seek-and-find aspect isn’t the only point of the story. You can leave it there if desired, but there is a deeper plot doing on. Using one of the tips of how to read a wordless book, this is the perfect book to ask lots of questions. Why is Walrus the only animal awake? What is Walrus feeling? Why would Walrus be trying different activities and professions? As you give Walrus and the story closer inspection, you might come up with a deeper storyline about feeling discontent, wanting to do more, and maybe finding some more exciting purpose in daily life. Perhaps that is putting too much depth on Walrus’ adventurous spirit, but I think Walrus has some bigger aspirations than lounging in a pool all day long.
WheresWalrus 6
Lastly, I think one of the geniuses of this story is that you can identify with either the Walrus or the keeper. Walrus is struggling to find some purpose and the keeper is struggling to understand Walrus. His job is singular: keep the animals safe and in their places. But the keeper also learns a big lesson about not underestimating Walrus, encouraging Walrus, and being creative in problem-solving. The keeper may be frantic, but he doesn’t look angry. The keeper is a good example of being patient, compassionate, and listening even if the communication isn’t very clear.
Enough of my interpretation, let’s hear from the creator himself, Stephen Savage. We exchanged a brief email interview and I have his thoughts to some questions for you today. He is the fun civilian pictured between these sailors, a reference you’ll need to read the book to possibly get!
SavageandSailors
Question: What motivated you to create a wordless picture book as opposed to a traditional text + illustration book?
Stephen Savage: My editor, David Saylor, at Scholastic suggested the idea after I showed him a drawing of 3 walruses dressed in fedoras.
Q: Was there ever text or narration in your head for Where’s Walrus? or did it always perform silently?
SS: Funny that you ask! Early drafts of the book contained words, but David and I felt that they spoiled the deadpan humor in the art.
Q: Is there a specific storyline and conclusion to Where’s Walrus? that you hope the reader gets or is it a bit open-ended in your opinion?
SS: Part of what makes the book successful I think is its open-endedness. For young readers, it’s your basic seek-and-find book. But for older readers, it’s a story about self-discovery and finding your place in the world.
Q: Was it a more challenging experience to create a wordless book than your text books or is every book different, period?
SS: Walrus was my first picture book as illustrator and author. I like that my first go-round was “pictures only.” Since Walrus, I’ve written 4 books with text. Both word and wordless formats have their challenges.
Q: Is there a soundtrack that you hear for Where’s Walrus?
SS: Visual art is never an auditory experience for me….
Q: I have seen your fantastic color scripts that you do for books and it made me wonder about setting. Where’s Walrus? seems set in NYC. Did you create a map to lead Walrus and the keeper through the city or is it more favorite spots you wanted Walrus to appear, regardless of proximity to each other?
SS: I’ve lived in NYC for 25 years, so many of my books feel they’re set here. But I keep things vague and avoid specific landmarks (e.g. the Statue of Liberty) in an effort to create a universal and timeless “every-city” for the reader.
Yeah… I simply chose fun locations/situations for walrus without any regard to geography. The ordering of the scenes was key. Locations needed to transition in funny and interesting ways.
Q: Do you consider wordless picture books a better solitary experience or more exciting as a read-aloud?
SS: It works great either way.
Q: Have you ever shared Where’s Walrus? in a storytime? Do you have tips for how it or any other wordless picture books could be read aloud?
SS: Yes, l’ve read Where’s Walrus? hundreds of times with groups large and small and they’re always fun. The wordless format frees things up for both the storyteller and the audience.
Readings run the gamut. Sometimes they’re campfire sing-a-longs, football pep rallies, or improv comedy routines.
Q: Do you have any favorite picture books?
SS: I like the classics! Babar, Harold and the Purple Crayon, and the “little” books by Lois Lenski are my faves.
Q: And lastly, because you never really read a picture book alone and I adore brainstorming book groupings, do you have any books that you consider to pair well with Where’s Walrus?, wordless or not?
SS: We just released a Where’s Walrus? sequel: Where’s Walrus? And Penguin? As they say in the movies: “the adventure continues!”
WheresWalrusandPenguin
Thanks to Stephen Savage for answering my questions and creating such a fun, yet surprisingly deep story. I hope you check it out friends, and also the sequel. We can’t wait to see what adventures Walrus greets with his new companion, Penguin.
For more great interviews with Stephen Savage, don’t miss Jules detailed look at some of his work on Seven Impossible Things for Breakfast and also Pen & Oink’s!
Interview with Author-Illustrator Stephen Savage
June 26, 2016
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Kelsey Marie Paff
I first came across Stephen Savage's work when I purchased Little Tug for my son. He was just an infant at the time so it was hard to tell if he had favorite stories or not, but there was no doubt, Little Tug was (and still is) a favorite. If he was fussy, Little Tug calmed him down. If he was tired, Little Tug helped him go to sleep. And if he was smily (as he often is) Little Tug made him smile all the more. With that being said, I am pleased to have had the opportunity to interview author and illustrator, Stephen Savage. Enjoy.
KMP: I'm sure you've been asked this question many times but what gave you the idea for Little Tug?
SS: I wrote the book back in 2009 when I had 2 things on the brain: BABIES and BOATS. My daughter had just been born, and I was seeing tugboats and ocean liners on my way to my new studio in Red Hook, Brooklyn. The 2 things came together to form the story.
KMP: Did you have a particular city in mind when you did the illustrations for Little Tug? (I always think of it as NYC.)
SS: I couldn't help but set it in NYC-- I've lived here for 27 years! It is, however, a stylized, Art Deco-y version of my home. I kept things vague so the book would feel iconic and universal.
KMP: When you write and illustrate for children do the words come to you first and then the illustrations?
SS: Yup. Writing comes first. I MUST have a story in order to make pictures. Illustration is a text-based art form! The only exception to this in my own work are the wordless WHERE'S WALRUS? books. And don't ask me how I created those!
Interesting to note that LITTLE TUG is the first picture book I both wrote and illustrated.
KMP: Can you tell us a little bit about the materials you like to use for your illustrations?
SS: I use Adobe Photoshop and Illustrator (along with a Wacom tablet) primarily. But some of my early books are linocut.
KMP: Among the books you've written and/or illustrated, do you have a favorite?
They're like my kids and I love them all, so it's hard to pick a favorite (yes, I know… so cliche). I also feel like I'm still learning my craft and that my best work is ahead of me.
KMP: We all have books that we loved as a kid -- would you mind sharing some of yours with us?
I loved books by the greats: SUESS, SENDAK, CROCKET JOHNSON, EZRA JACK KEATS. I also adored 2 little known books: THE WHALES GO BY by Fred Phleger and MY VISIT TO THE DINOSAURS by Aliki.
KMP: Lastly, do you have any upcoming publications that you can share with us?
SS: THE MIXED-UP TRUCK, hits shelves on July 5
JACK B. NINJA (written by Tim McCanna), 2017
LITTLE PLANE LEARNS TO WRITE, 2017
If you haven't already purchased Little Tug (or other books by Mr. Savage), they're all waiting for you on Amazon!
The Babysitter from Another Planet
Stephen Savage. Holiday House/Porter, $17.99 (32p) ISBN 978-0-8234-4147-1
MORE BY AND ABOUT THIS AUTHOR
Arriving via spaceship to care for her charges, the titular babysitter is a far cry from the unearthly menaces of 1950s sci-fi movies. She not only has a kind, patient face topped with a floating moonlike orb, she also creates an entire meal, including cupcakes, with her eyes; explains homework by conjuring up 3-D forms from thin air; and plays antigravity games before bedtime. Why would anyone want the usual teenage human babysitter? The book is really a series of spreads around a premise—the slight narrative arc doesn’t move much beyond bedtime or into the intricacies of alien sitters for hire—but the familiar ritual turned cosmic is a lot of fun to regard. As many kids know, spending the evening with a great babysitter really does feel out of this world. Bright digital pictures by Savage (Little Plane Learns to Write) have a reassuring sense of symmetry and solidity, with midcentury modern stylings, seemingly inspired by a vintage issue of House Beautiful, that grown-ups will surely appreciate. Ages 4–8. (Feb.)
THE BABYSITTER FROM ANOTHER PLANET
by Stephen Savage ; illustrated by Stephen Savage
Age Range: 5 - 7
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KIRKUS REVIEW
When Mom and Dad go on a date, the children meet their new babysitter with caution that turns to glee as she soon becomes their favorite sitter.
A strange silhouette, with green rays emanating from her eyes, greets the kids as they scramble under the kitchen table. It’s clear this is no ordinary caregiver. Bull-horned, purple, and reminiscent of a slimmed-down Barbapapa character, this babysitter is definitely an extraterrestrial. But as she cooks, helps with homework, reads, and sings lullabies, she slowly becomes more familiar. The kids are won over when she pulls the ultimate sitter move—letting them stay up late (and play anti-gravity games). Digital illustrations are done in a cool palette using simple blocks of color. The cover parodies the 1950s futuristic aesthetic, from the shape and shading of the flying saucers and car to the modern-style home; distressed display type on the title harkens back to pulp magazines. Unfortunately, while Savage exhibits his signature skill on the cover and title page, the interiors lack the same attention to scale and detail. The mysterious lighting may unsettle more than just the protagonists; this is one to use with children who have had some experience with babysitters already. The family appears to be a multiracial one, with a peach-skinned dad and a light-brown–skinned mom.
A resource for the babysitter bookshelf and to prompt conversations about seeing beyond appearances. (Picture book. 5-7)
Pub Date: Feb. 12th, 2019
ISBN: 978-0-8234-4147-1
Page count: 32pp
Publisher: Neal Porter/Holiday House
Review Posted Online: Nov. 12th, 2018
Kirkus Reviews Issue: Dec. 1st, 2018
LITTLE PLANE LEARNS TO WRITE
by Stephen Savage ; illustrated by Stephen Savage
Age Range: 3 - 5
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KIRKUS REVIEW
At flight school, Little Plane learns skywriting by practicing “arcs, dives, and loopity-loops.” But the last present a particular problem for him, as the circling maneuver makes him dizzy.
Little Plane avoids this by eliminating the O’s in words that include them. When his instructor reviews his work and sees the words “CL UDS” and “RAINB W,” the sleek gray plane questions Little Plane, “Where’s your loopity-loop?” Writing seems to be too hard for Little Plane. But at nighttime, Little Plane tries again, circling slowly and carefully around the moon and accomplishing this feat twice without getting dizzy, thus perfecting his loopity-loop and successfully completing his skywriting class. Two-dimensional digital art portrays simple, child-friendly aircraft with broad, round-edged lines and anthropomorphic features; their bold colors stand out over patchwork rural and blocky urban scenes against a varying cerulean sky. The uncluttered, clean layout perfectly accommodates the one-sentence-per-page dialogue-driven text. The book’s endpapers feature the alphabet in skywriting form and can double as a simple alphabet primer, while the theme of persistence to succeed will be encouraging for little ones with aspirations to get things right.
A well-designed winner for ambitious little pilots. (Picture book. 3-5)
Pub Date: June 6th, 2017
ISBN: 978-1-62672-436-5
Page count: 32pp
Publisher: Neal Porter/Roaring Brook
Review Posted Online: March 29th, 2017
Kirkus Reviews Issue: April 15th, 2017
Little Plane Learns to Write
Stephen Savage. Roaring Brook/Porter, $16.99 (32p) ISBN 978-1-62672-436-5
Certain letters often bedevil those who are new to writing. For Savage’s newbie skywriting hero, it’s O: “loopity-loops made him dizzy.” His flight instructor, a stern gray plane, won’t let Little Plane off the hook: after all, without O, words like “cloud” or “rainbow” are just fluffy letters hanging in the sky. But Little Plane finds his inner grit, and using a gorgeous full moon as a kind of practice track, he masters his Os and becomes a first-class writer. The story feels more slight and rushed than Savage’s previous vehicular-themed books: Little Plane’s big turning point gets barely a beat in the narrative before he’s circling the moon, and there aren’t as many of the jazzy, streamlined environments that usually make Savage’s books such a visual treat. But the moonlit scenes add real romance and drama to the final pages, and like the stars of Little Tug, Mixed-Up Truck, and Supertruck before him, Little Plane is an enterprising hero who radiates eagerness and energy. Ages 3–6. Agent: Brenda Bowen, Sanford J. Greenburger Associates. (June)
The Mixed-Up Truck
Stephen Savage. Roaring Brook/Porter, $16.99 (32p) ISBN 978-1-62672-153-1
It’s a cement mixer’s first day on the job, and with his bright eyes and peppermint-stripe drum, he’s ready to make a good impression on the no-nonsense trucks on site. But things go downhill quickly. Told to get “some powdery white cement,” he goes first to a flour factory, then to a sugar factory, and ends up building a huge, multi-tiered frosted cake that nobody wants. Third time’s the charm, though—he gets the right white powder at the cement factory and “presto! A building!” Savage (Supertruck) creates a sunny cast of vehicular characters, and his brief text is equally upbeat, punctuated by fun repetition (“presto!” is also used ironically to herald the cement mixer’s mishaps), and a play on words involving mix-up and mixed up. It’s a sweet lesson in managing employees and seeing a job through to the end. The cement mixer’s colleagues are miffed but stay calm, even when they’re being swallowed up by pink frosting; they know the new guy will get it right eventually, and he does. Ages 2–6. Agent: Brenda Bowen, Sanford J. Greenburger Associates. (July)
THE MIXED-UP TRUCK
by Stephen Savage ; illustrated by Stephen Savage
Age Range: 0 - 3
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KIRKUS REVIEW
A brightly striped cement mixer tries to do the job right on its first day, with mixed results.
Three confident-looking trucks are going about their jobs: “The crane was lifting. The dump truck was dumping. The digger was digging.” When the cement mixer asks “How can I help?” the trucks reply, “Mix up some powdery white cement.” Off goes the protagonist to mix white powder and water in its own jauntily striped red-and-white barrel. The result? An enormous three-layer cake. “You got mixed up,” the trucks say, not unkindly, and repeat their instructions. The next white-powder mix: frosting. When at last the mix of white powder and water yields the expected cement—a building!—all the trucks are “dusty and tired.” The little mixer’s last job for the day? Mixing up (white) soap (powder) for the cleanup. Savage’s pages are clear and uncrowded; his tidy, wide-eyed construction trucks work within view of a city skyline that could belong to Supertruck (2014), with large white-powder factories that are imposing and stolid and clearly state their products. The book’s thematic elements—trucks and food and mastery of a skill—are well-pitched to a very young audience.
A good reminder for adults that giving instructions is an art and that mistakes will be made from time to time (and that white powder not intended for small mixers should be put out of reach). (Picture book. 18 mos.-3)
Pub Date: July 5th, 2016
ISBN: 978-1-62672-153-1
Page count: 32pp
Publisher: Neal Porter/Roaring Brook
Review Posted Online: March 30th, 2016
Kirkus Reviews Issue: April 15th, 2016