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In his 83 years of life, after all, he encountered many other monsters to address, like the housing crisis (“I’m angry at the government taking so long to do anything about homeless kids,” he said in 1994) and, as in the above quote, the 9/11 attacks. The book addresses this without centralizing its influence on his work. Much has been written of Sendak’s own childhood trauma and upbringing in the shadow of the Holocaust. “I can share my life with music,” he said in an interview, “much better than I can share it with anybody or anything else.

His love of music was also critical to his creative process. We learn, for instance, about Sendak’s working routine - a “rigorous schedule,” according to his longtime assistant, and now Sendak Foundation president, Lyn Caponera, that included a daily reading of the New York Times and freshly squeezed orange juice ( an excerpt of her essay is available on Literary Hub). Maurice Sendak, “Self-Portrait” (1950), ink on paper, 10 3/4 inches x 16 1/2 inches The book rewards readers with a deep dive into Sendak’s work and process. It accompanies an exhibition of the same name at the museum, up through March 5 - the first major retrospective of the artist’s work since his death in 2012.Ĭritical essays and interviews accompany sketches, self portraits, and illustrations from his lesser-known works like Little Bear (1957), Hector Protector (1965) and We Are All in the Dumps with Jack and Guy (1993). Wild Things Are Happening: The Art of Maurice Sendak is a new book from the Columbus Museum of Art and DelMonico Books, edited by Weinberg, who is also curator of the Maurice Sendak Foundation. The tale laid the groundwork for the idea that modern children’s books can address themes of monstrosity, disobedience, and directly confronting personal fears. Indeed, Where the Wild Things Are tells the story of a rambunctious young boy named Max who befriends and rules over monsters before he returns to the real world.

They’re just waiting for you to tell them.” “People keep things from children now,” he continued, “in the sense that we don’t want to frighten them or upset them, yet we all know they sat and watched the towers go down a hundred thousand times.