Maurice Sendak was only a small child at the time. But he never forgot his fear as he listened to the radio broadcasts about the Lindbergh baby kidnapping.
The man found guilty of that crime was executed but always declared his innocence.
Maurice Sendak grew up with continuous reminders about death. When he was sick, his grandmother dressed him in white clothes that she thought would help him avoid dying.
During World War Two many of his family members in Europe were murdered in the Nazi German death camps. He remembers his mother screaming and crying each time she learned that another family member had been killed. Sometimes his parents would talk about the dead relatives, especially the children.
These influences help explain an important part of Maurice Sendak’s books. They often show children dealing with and overcoming evil forces and other complex situations. Many of his stories are about a child trying to survive while facing fears or other difficult emotions.
In his books, he skillfully combined an adult's point of view with a child's point of view, and the dark and light in all of us.
One of the first books that Maurice Sendak worked on as an artist was “A Hole is to Dig: A First Book of First Definitions.” To write the book, Ruth Krauss asked young children how they would define words like “face,” “dog” and “party.” The book, published in nineteen fifty-two, brought wide attention to Maurice Sendak’s artwork. A few years later, he drew pictures for the first "Little Bear" books, written by Else Minarik.
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