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• W2022120761 abstract "Letters, Twigs, Hats, and Peter's Chair:Object Play in the Picture Books of Ezra Jack Keats W. Nikola-Lisa (bio) In Weston Woods's documentary film on the life and work of American picture book artist Ezra Jack Keats, there is a momentary pause in the directed action when the focal character—Keats himself—stops to pick up a piece of fruit from a sidewalk vendor. Keats turns to the camera and in his peculiarly halting monotone drones, I'm doing research for lunch. As viewers, we don't know whether to chuckle at Keats's dry humor or merely to brush off this bit of bland seriousness. Who knows, this could be a bit of research for a picture book in the making. On the other hand, Keats could just be picking out his soon-to-be-lunch! Whatever the case, the important point is that the picture books of Ezra Jack Keats emulate his life: they contain a curious balance between the deeply serious and the wholly frivolous. The fulcrum maintaining this healthy balance is nothing less than Keats's repeated reliance on children's play structures. Whether he is exploring the delicate emotion of loneliness or giving full rein to impulsive exploratory behavior, Keats constantly utilizes his knowledge of the play behaviors of young children. It is a feature Keats employs throughout most of his more than two dozen authored and illustrated picture books, a feature—both natural and appropriate—that has become part of his signature. The Child as an Object in Perpetual Motion A constant theme in all of Keats's work is the child in perpetual motion, a theme familiar to the picture book format which is predicated upon the constant swing of undulating rhythms. Keats, however, is not only aware of this crucial principle but takes it to the extreme by putting in motion all of his characters (and many of his central objects as well). In Pet Show, for instance, there is a constant sense of motion right from the beginning as Archie searches for his mysteriously missing cat. A similar sense of perpetual motion is evident in Apt. 3 as Sam and Ben slip along the deserted hallways of their apartment building. And, in Goggles, where everything has been set in motion, every type of ambulatory behavior is evident: crawling, scooting, lunging, and racing. This theme of the body as an object in perpetual motion is exploited nowhere in more wonderful detail than in Skates. In this vibrantly-illustrated book, perpetual exploratory motion rules page after page: bodies hurdle through space, shoot like straightened arrows, and trip gleefully along for the pure pleasure of physical movement and sensory gratification. Although many of Keats's characters exhibit random exploratory behavior, these seemingly purposeless and random movements often become ritualized into more socially recognizable and serviceable forms. In Peter's Chair, all of Peter's sneaking behavior as he spies on his mother and father becomes ritualized in his eventual act of running away. In A Letter to Amy, Peter's whimsical letter-chasing antics become concerted—even deadly serious—when he notices Amy approaching the mailbox from the other direction. And, in Pet Show, after searching for Archie's cat, Roberto and the other neighborhood kids move from extreme randomness to deft organization through one of Keats's most obvious plotting devices—the chase scene. They got to the entrance.A lot of people were already there.Just then Roberto's mouse took off.Willie chased the mouse.Roberto chased Willie.Peter chased Roberto.Susie chased Peter—and the show started. (11-12) If Keats only used such kinesthetic responses to help organize his texts—to elicit fast action and rapid transactions—it probably would be enough. But this is not where the full power of Keats's genius lies. It lies in his ability to use the literal depiction of his characters in perpetual motion as a metaphor for the facile ability of the human imagination. He does this with great explicitness in Regards to the Man in the Moon. It is a tour de force of Keatsian philosophical truth combining elements of constructive play and spatial exploration. In this..." @default.
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• W2022120761 date "1991-01-01" @default.
• W2022120761 modified "2023-10-17" @default.
• W2022120761 title "Letters, Twigs, Hats, and Peter's Chair: Object Play in the Picture Books of Ezra Jack Keats" @default.
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• W2022120761 doi "https://doi.org/10.1353/chq.0.0846" @default.
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