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Browse by: Chris Van Allsburg (Biography) (0.14 seconds)
 
 
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A fantasy of mine is to be tempted by the devil with a miraculous machine, a machine that could be hooked up to my brain and instantly produce finished art from the images in my mind. I'm sure it's the devil who'd have such a device, because it would devour the artistic soul, or half of it anyway.
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Any system named Dewey was all right with us. We looked forward to hearing about the Huey and Louie decimal systems too.
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As much as I'd like to meet the tooth fairy on an evening walk, I don't really believe it can happen.
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At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the 'what if - what then' approach to writing and illustration.
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Certain peer pressures encourage little fingers to learn how to hold a football instead of a crayon. Rumors circulate around the schoolyard: kids who draw or wear white socks and bring violins to school on Wednesdays might have cooties. I confess to having yielded to these pressures.
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Each story I've written starts out as a vague idea that seems to be going nowhere, then suddenly materializes as a completed concept. It almost seems like a discovery, as if the story was always there. The few elements I start out with are actually clues. If I figure out what they mean, I can discover the story that's waiting.
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Following my muse has worked out pretty well so far. I can't see any reason to change the formula now.
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I am fascinated by the act of making something real that at one point is only an idea. It is challenging and beguiling to sense something inside, put it on paper (or carve it in stone), and then step back and see how much has got lost in the process.
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I don't make plans. All my life, one artistic impulse has simply led me to another.
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I pore over every word on the cereal box at breakfast, often more than once. You can ask me anything about shredded wheat.
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I write for what's left of the eight-year-old still rattling around inside my head.
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Lucky are the children who know there is a jolly fat man in a red suit who pilots a flying sleigh. We should envy them. And we should envy the people who are so certain Martians will land in their back yard that they keep a loaded Polaroid camera by the back door.
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Santa is our culture's only mythic figure truly believed in by a large percentage of the population. It's a fact that most of the true believers are under eight years old, and that's a pity.
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Some artists claim praise is irrelevant in measuring the success of art, but I think it's quite relevant. Besides, it makes me feel great.
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The Dick, Jane, and Spot primers have gone to that bookshelf in the sky. I have, in some ways, a tender feeling toward them, so I think it's for the best.
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The idea of the extraordinary happening in the context of the ordinary is what's fascinating to me.
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The opportunity to create a small world between two pieces of cardboard, where time exists yet stands still, where people talk and I tell them what to say, is exciting and rewarding.
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The Polar Express is about faith, and the power of imagination to sustain faith. It's also about the desire to reside in a world where magic can happen, the kind of world we all believed in as children, but one that disappears as we grow older.
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The Polar Express was the easiest of my picture book manuscripts to write... Once I realized the train was going to the North Pole, finding the story seemed less like a creative effort than an act of recollection. I felt, like the story's narrator, that I was remembering something, not making it up.
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There was a great deal of peer recognition to be gained in elementary school by being able to draw well. One girl could draw horses so well, she was looked upon as a kind of sorceress.

Biography

Chris Van Allsburg, born June 18, 1949 in Grand Rapids, Michigan, is an author and illustrator of children's books. He won the Caldecott Medal for Jumanji (1982) and The Polar Express (1985), both of which he wrote and illustrated, and both of which were later adapted into successful motion pictures. He received the Caldecott Honor Medal in 1980 for The Garden of Abdul Gasazi.

He attended art school at the University of Michigan, and received his MFA from Rhode Island School of Design.

His books often depict fantastic, uncontrolled events and utilize sometimes brutal irony. Van Allsburg breaks out of the comfortable world of children's literature to explore the darker side of human nature. For example, his book The Sweetest Fig is about a selfish man who is suddenly given the opportunity to make his wildest dreams come true. His greed is eventually his downfall. This is not an unusual moral for a story in children's books, but Van Allsburg's chilling characterization of the man brings a frightening tone to the narrative.

Bibliography

* The Garden of Abdul Gasazi
* Jumanji
* Ben's Dream
* The Wreck of the Zephyr
* The Polar Express
* The Stranger
* The Z Was Zapped
* Two Bad Ants
* Swan Lake
* Just a Dream
* The Wretched Stone
* The Widow's Broom
* The Sweetest Fig

* The Mysteries of Harris Burdick
* Bad Day at the Riverbed
* Zathura

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Chris Van Allsburg".
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