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On Ezra Jack Keats

 A little sister is a major event, so there is a body of work specifically about "the big sibling acting out."


The big sibling can run away--as in "A Baby Sister for Frances." The big sibling can torment his sitter--as in Tomie dePaola's "The Baby Sister."

"Peter's Chair," a sequel to "The Snowy Day," has Peter in a rage, because his baby sister, Susie, is soaking up attention. Peter's high chair has been re-purposed; it's now pink. (The book comes from an earlier era, with some rigid ideas about gender. That's not to say that the ideas are now dead.)

Peter must shed his crib, his wall-paper; even a "toddler chair" seems to be on the verge of "going pink." Peter grabs it and throws a tantrum outside; it's only then that he discovers he no longer fits in the chair. Something seems to happen between the lines. Peter realizes he is a big boy; he can relinquish the chair. He can also play tricks; in a statement of independence, he stashes his shoes under a long curtain, then hides far away from the curtain, so his mother thinks she is dealing with the Invisible Man.

This book makes me believe that I'm reading about my own children; it's plausible, and it's not saccharine. It's just the truth. Also, it's a clear source of inspiration for Christian Robinson; both Keats and Robinson use collage, and they like to employ white newsprint (for carpets, or for snowflakes).

I wish Ezra Jack Keats were still around--but it's nice to think that his spirit lives on, in Robinson and in Kevin Henkes.

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