I never met Maurice Sendak, but I did see him speak in three different personal appearances. The first was the best, and it was recorded -
Setting the scene - It's 1983 and Sendak was at Harvard University for a student theater production of Really Rosie. He was speaking as a part of Harvard's Learning From Performers program, and fortunately for me, it was open to the public. The talk was at Eliot Library, and Sendak was standing behind a wingback chair. The place was jam packed and there were people sitting on the floor and standing all along the walls and windows, even spilling into the hallways. As I had gotten there early, I was sitting in a nice comfy chair, only about 10 feet away from Sendak. After a brief introduction and statement, he took questions for nearly 2 hours. It was pretty amazing. The clarity and insight of his intellect was very impressive, and he was funny too.
Audio recordings (the files are pretty big, both are nearly 28 mb) -
Maurice Sendak at Harvard, 1983, part 1
Maurice Sendak at Harvard, 1983, part 2
This was recorded on cassette tape so there are some skips and jumps, but the sound quality, at least of his voice, is surprisingly good. It is hard to hear most of the questions though.
The file should open up whatever sound player you have on your computer, or download it. I've tried the files on a number of different computers and all seem to handle it fine. Each part runs for about an hour.
I broke it down into sections, if you want to skip through it.
you can see below the fold...
all times are approximate -
PART 1
0:00 - 11:00
Intro by Learning From Performers person
Sendak gives a brief statement, mostly about his move from print work
into theater work. At the time he was in the midst of doing sets and
costumes for the Pacific Northwest Ballet version of The Nutcracker.
11:00 - 16:45
Being a Children's book author, and what did you read as a child?
16:45 - 24:00
Origins of Outside Over There
His obsession with the Lindbergh Kidnapping case.
Being a sickly child
Askled if there is a formula for writing children's books
Asked how old he was when he learned to read
24:00 - 30:50
Asked about the origins of the Wild Things
and how New York has been an influence on his work
Very funny details of how his Jewish relatives inspired the Wild Things
Also asked why Wild Things was controversial
30:50 - 36:50
Do critics read into your books?
Do you like to read about artist's lives?
What do you think of Sesame Street?
What do you think of socially relevant books for kids?
What have been the hurdles of moving into theater?
36:50 - 42:30
Did you work to obtain a 'style'?
talks about how he doesn't like Arthur Rackham.
art and writing question
How do you fee about the impermanance of the theater compared to print?
42:30 - 48:00
Would you ever illustrate a Wagner opera?
How would you educate children?
What was your art education?
How did you develop your writing talent compared to drawing?
48:00 - 54:50
Relates the experience of photographing children for Outside Over There
Talks about seeing Really Rosie on stage with young adult actors
Asked about illustrating the book The Juniper Tree.
54:50 - 59:45
What is your working routine?
Talks about how his love for bad TV fits into the routine
Asked about the weston woods film of Wild Things
Asked why he thinks The Juniper Tree is such a good story?
PART 2
0:00 - 6:00
Continuing on about The Juniper Tree.
Would you ever illustrate an adult book?
Would you design for Broadway shows as opposed to Opera?
Experience of working in Opera.
6:00 - 12:50
Do kids write you letters?
The Toronto 'Outside Over There' letters
A note from Danny
What is the background for In the Night Kitchen?
12:50 - 24:00
What is the origin of Higglety Pigglety Pop?
What about Pierre?
Where did Pierre come from?
15:00 - 17:20
What responses are there to your books in other countries?
What do think about the translations?
17:20 - 19:30
How do you feel about being famous?
You said you were timid in the past - where were you timid in some of your other books?
19:30 - 24:15
How do you approach set design?
How do you adapt illustration ot set design?
What is your work process for set design?
24:15 - 31:45
Is the story true of an autistic child speaking their first words after exposure to Wild Things?
What was your technique for Zlateh the Goat?
How have you been influenced by comics?
Relates his early job working in comic strips.
Are you still interested in comic strips?
Relates his thoughts on Little Nemo.
and how comic book artists are pigeonholed like children's book artists.
31:45 - 34:00
What kind of things do you think you can do on the stage that you cannot do in children's books?
How much do you think of the audience when you work?
34:00 - 38:30
Do you have contact with other children's book authors and illustrators?
Talks about William Steig, Tomi Ungerer and Dr. Seuss.
Relates his theories on the psychology of Dr. Seuss.
38:30 - 41:30
So do you really just make the work for yourself?
Were you influenced by EC comics?
What about your animated films?
Tells of The animated Really Rosie.
Will you do it again?
41:30 - 49:45
Re: Outside Over There, is there a sexual undertone to it?
What are the things you said you wish you could express, but can't?
Talks about the 'all powerful female mystery'.
How does Outside Over There relate to the set designs for The Magic Flute?
Do you think people will see those things you put into your work?
49:45 - 52:30
Do you feel a need for being socially responsible?
What about social committments?
Did you consciously choose children as models?
52:30 - 54:46
You seem so at ease answering questions - do you do this often?
Do you do a circuit? Or much public speaking?
No, and on that note, I'll stop speaking.