This interview was first published on the Book Trust website http://www.booktrust.org.uk
Levi Pinfold’s Black Dog is the winner of the 2013 CILIP Kate Greenaway Medal. I spoke to Levi about how it feels to win this prestigious prize.
‘I’m feeling great!’ Even though we’re only talking on the phone, it’s impossible to miss the fact that Levi Pinfold has a beaming smile on his face. He’s been named the 2013 winner of the CILIP Kate Greenaway Medal, which recognises excellence in illustration, for his second picture book Black Dog, joining a list of winning illustrators that include Sir Quentin Blake, John Burningham, Helen Oxenbury, Shirley Hughes and Anthony Browne, to name but a few.
‘It’s a real honour,’ Pinfold tells me. ‘It’s a hugely personal thing for me. I worked for a very long year on Black Dog and it was very hard work – but very rewarding. It’s just amazing for someone to tell me that it’s good. It’s a real honour to be listed alongside all those fantastic illustrators… it’s really quite humbling.’
Pinfold takes a characteristically modest attitude to his book, which the judges identified as a ‘true modern classic’ that ‘will be read and enjoyed by generations to come.’ ‘I usually tend to downplay my work a little bit,’ he confesses. ‘I’ve looked at it for so long, but I hope maybe the judges could see the commitment that I put into it, and how hard I think about things…. You do put a lot of your personal feelings into books – subconsciously, it just trickles in there.’
Black Dog, which Pinfold wrote and illustrated, is story of a little girl called Small Hope who faces fear head-on in the form of a monstrous giant black dog – but she soon realises that it isn’t quite as frightening as everyone else seems to think. Pinfold explains: ‘I wanted to write a ghost story: a spooky story for kids, with a gothic element. I was sitting in the library, reading a book about the spectral hounds of England, and I found this legend of the black dog, which is a recurrent myth in different counties of England, although in different areas it’s called different things. Usually it was this horrible thing that appears on the moors, and if you see it, something terrible will happen to you. Then I discovered one in Somerset that’s just called the “Gurt Dog” and the description was “he is a nice dog”. I thought that was quite a funny idea, and then I thought “what if he’s just been misunderstood in these other places? Maybe he’s just a lonely dog, wandering around.”’ His next book will also put a new spin on traditional legends. ‘I’m working on a book which should be out next year, which is about vegetables! It sounds very simple, but it’s actually about the Green Man myth, putting a little twist on the legend, and using those symbols in a new way.’
It is Pinfold’s distinctive illustrations which really set Black Dog apart – the Greenaway judges described as a ‘visual treat, full of mood and atmosphere’. Talking about his approach to illustration, he explains: ‘I take a long-term view of illustration and painting. I like to look at very old stuff as well as the most contemporary work. I’m hugely influenced by people like Brueghel as well as people like Shaun Tan and Anthony Browne – I have a very wide sphere of influence’. Thinking about why his style differs from that of many other contemporary picture book creators, he ponders: ‘I think perhaps the other thing is that I spend a lot of time locked up painting, so I don’t spend a lot of time going out and meeting other illustrators, so I don’t tend to get influenced by them. I just love painting and I love children’s books.’
Creating the beautiful, richly-detailed spreads in his picture books is something of a labour of love for Pinfold. ‘My process of creating illustrations is quite lengthy,’ he explains. ‘As for a lot of illustrators, it tends to begin in sketch form, then you produce a fairly detailed rough for your publisher. After that, what I do is I paint the illustration by hand. In Black Dog I used tempera – a kind of old-fashioned paint where you mix egg yolk with pigment. You layer up your painting over weeks. I don’t get bored… when I’m painting, when I’m exploring that world that I’m creating, that’s the moment when I think “this is what I’m meant to be doing”. I’m looking through the piece of paper, looking into it, and that’s what I enjoy.’ Thinking about this for a moment, he adds: ‘It’s a nightmare for my publisher, I imagine – I’m busy “exploring the interior space” and they just want a book!’
Pinfold is not a newcomer to winning accolades for his work: Black Dog has already been awarded the Children’s Book Award in the AOI Illustration Awards 2013. His first picture book The Django won a Booktrust Early Years Award for Best Emerging Illustrator in 2010 and in the following year he was selected as one of ten Booktrust Best New Illustrators. ‘It can be tremendously difficult when you’re starting out as an illustrator and trying to make a mark, and it really helped with awareness of my work, and the relationship with my publisher,’ he reflects. ‘Plus I got to meet the other illustrators – it’s great to see them doing stuff now. Winning those two awards was incredible for me. It’s been a wild ride ever since.’
Pinfold is using his Kate Greenaway Medal win as an opportunity to celebrate libraries and librarians across the country. ‘I’m honoured that my work has been recognised by CILIP on behalf of librarians, for whom I have nothing but respect. I am always amazed at the passion for reading, looking and understanding that libraries inspire in everyone. The availability of a whole universe of knowledge and inspiration in one place is something highly underrated, as is the importance of encouraging minds, young and old, on the pathway to discovery. I think we all have a lot to learn from libraries.’
Here’s another set of five cultural delights that I’ve recently been enjoying:
1. THE ROBINSON INSTITUTE
I really enjoyed this immersive and thought-provoking exhibition from Patrick Keiller at Tate Britain. The Robinson Institute documents a walk through Berkshire, Buckingham and Oxfordshire undertaken by the mysterious Robinson, a fictional academic and ‘scholar of landscape’ who has featured in various films previously made by Keiller. Here, the Duveen Gallery is filled with clues to Robinson’s journey and which point to his strange disappearance – potent photographs of cloudscapes and pylons, offbeat maps, unusual artefacts, landscape paintings and quirky black and white film clips, creating an intriguing web of ideas and references.
2. MARIA KALMAN
I love Maria Kalman‘s beautiful illustrations for Why We Broke Up, a new young adult novel from Daniel Handler (who is perhaps better known as Lemony Snicket). Kalman is the illustrator of numerous books for both adults and children, and has also created many covers for the New Yorker: I love the way she combines brightly-coloured illustrations with handwritten texts in her artworks. Pictured above is one of her images from The Pursuit of Happiness, a fascinating ‘visual column’ she wrote and illustrated for the New York Times in 2011: read it here.
3. A MONSTER CALLS
If you haven’t read A Monster Calls yet, you must. Based on an original idea by Siobhan Dowd, this is an extraordinary and deeply moving children’s book, in which a beautifully-written text by Patrick Ness mingles and merges with incredibly powerful illustrations by Jim Kay. It’s no surprise that the book has just become the first ever to win both the Carnegie and the Kate Greenaway Medals. (I interviewed Patrick and Jim about winning these prestigious prizes here).
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5. WRITING BRITAIN
I’m never entirely convinced by the British Library’s exhibitions: displays of beautiful old books are all very well but it might be more fun if you could actually read them. However, their latest exhibition, Writing Britain: Wastelands to Wonderlands, certainly has some real treasures in it for bibliophiles to enjoy. My highlights were a 1940s first edition Famous Five, the notebook in which Daphne Du Maurier planned Rebecca, the manuscript of Jane Eyre, a first edition of Mystery at Witchend by Malcolm Saville and the original manuscript of Cold Comfort Farm.
This interview was first published on the Book Trust website http://www.booktrust.org.uk
A Monster Calls, written by Patrick Ness and illustrated by Jim Kay, has become the first book ever to win both the CILIP Carnegie and CILIP Kate Greenaway Medals. I spoke to Patrick and Jim about how it feels to share this remarkable honour.
‘One of the defining books of its generation’ is how Rachel Levy, Children’s Library Services Manager for Sutton Libraries, and Chair of the 2012 CILIP Carnegie and Kate Greenaway judging panels, has memorably described A Monster Calls – the first book ever to win both the Carnegie and Greenaway medals.
In winning the Carnegie this year, former Booktrust online writer in residence Patrick Ness also becomes the second author ever to win the award in two consecutive years: he also won the medal in 2011 for the third part of his acclaimed Chaos Walking trilogy, Monsters of Men.
‘Sharing the honour with Jim is great,’ says Patrick. ‘I never expected to win the Carnegie again, but I hoped they might give the Kate Greenaway medal to Jim this year. That was my best case scenario. I never thought they would give both medals to us, so it was a huge surprise.’
Remarkably A Monster Calls is only the second children’s book Jim Kay has illustrated: he credits it with ‘changing my life’. Of winning the prestigious Kate Greenaway Medal, he says: ‘It was great to even be shortlisted. To win the award was just fantastic and not at all expected. It’s a wonderful feeling and it still hasn’t really sunk in. For anyone in illustration, this is a big deal. The list of winners is like a “who’s who” in illustration and it’s fantastic to think my name will be on that list alongside people like Michael Foreman.’
Patrick also acknowledges the prestige of winning the Carnegie. ‘It’s the oldest prize. CS Lewis won it, Ransome won it. It has an incredibly august history.’ But for both Patrick and Jim, it’s ultimately the Carnegie and Greenaway judging processes that set these prizes apart. The judging is rooted in the professional expertise of librarians across the country, who nominate titles to be considered for the shortlist. Patrick explains: ‘Children’s librarians are the ones who are right on the frontline, talking to teenagers and children every day about books. They are the real experts.’
The CILIP Carnegie Greenaway shadowing scheme, which sees children and young people in book groups in schools and libraries all over the country read amd discuss the shortlisted books, is also key to the prize. Patrick says the scheme is ‘brilliant: it’s one of my favourite things in the whole world…. Yesterday I spoke to several shadowing groups in Berkshire and there were a couple of hundred kids there, who were all arguing about the books. They’ve read the books – they are are excited about them, they disagree about them. It’s fantastic.’
Jim adds: ‘We’ve spent hours going through the comments on the shadowing website. I don’t have that much direct contact with readers, and what’s really interesting to me is how well they understand the books. And they’re so honest! It’s fantastic to read their comments.’
One young reviewer from the shadowing scheme described A Monster Calls as a book that ‘not only has the ability to break your heart, but to heal it as well’, touching on the emotional power of a book that Rachel Levy has described as ‘outstanding in every way… a book that readers will remember and return to over and over again.’
But for both Jim and Patrick, it’s also the format and illustration of this beautifully-presented book that make A Monster Calls special. Patrick explains: ‘Books for teenagers and older readers rarely get illustrated – almost never. We thought: why not try to break those rules? Illustration isn’t just for picture books, though picture books are glorious things. Illustration is for everyone.’
Jim adds: ‘Walker didn’t limit us to plates… I was allowed to flow in and out of the text, and that’s a hugely liberating thing for an illustrator. It’s a very rare thing – you see it more in graphic novels.’ Both hope that the book will help to set a precedent, encouraging other publishers to be more adventirous with illustrated books for older readers. Jim comments: ‘I hope it does kickstart a bit more freedom in the way that we see illustrated books, and give illustrators the opportunity to do things differently.’
Of Jim’s illustrations, Patrick says: ‘I think the reason they work so well is that they are suggestive. You never see Conor, for example – you only see silhouettes. Jim’s illustrations give you space for imagination. They create an atmosphere but they don’t tell you how to read the book. Instead they provide a landscape in which you can read the book, and that’s an important difference.’
Jim adds: ‘The text gives you a certain degree of ambiguity and the description is quite sparse. It allows the reader to evolve the story in a very personal way. As an illustrator it was great because not every character is completely pinned down. It gives you that manouverability to build a stage set around the characters and that’s really what we were trying to do.’
The book is also particularly special in that Patrick created the story from the final idea of the late children’s writer Siobhan Dowd, who died in 2007, herself a Carnegie Medal winner (posthumously for Bog Child in 2009). Patrick is specific about how he sees the relationship between Siobhan’s original idea and the finished text:
‘I don’t want to suggest that I’m somehow a conduit for Siobhan. I always think of writing as secret. You have to create a really private space to be free to create, that can’t be seen by other people. For me, in the process of writing this book, it was about bringing Siobhan along to that secret place with me.
‘Even for the best reasons, you cannot write a book as tribute… The risk of that is that you write a bad story, which would be the worst tribute. But in the introduction to the book I talk about running with the baton, and I think that’s the spirit of it. I wasn’t trying to guess what Siobhan would do, but just to grow the story as she would have done. In the end, I hope it isn’t a final tribute but something better, because it keeps people talking about her. It keeps people going back to her other books and reading them; it keeps her name in discussion. It’s a living thing, not a memorial.’
One question that many people will now be asking is whether the two have any future plans to work together. Jim explains: ‘We don’t have any concrete plans yet but I would love for us to work together again in future. I would be delighted and honoured. ‘