Review: The Animal Family by Randall Jarrell

Review: The Animal Family by Randall Jarrell

©Harper & Row

The genre: Children’s literature

The gist: A fairy tale story about an unconventional, self-made family.

The background: In elementary school, my library teacher (yes, we had a library class. I can only guess every class was about the Dewey Decimal System?) gave my class a list of all the Newbery Honor books. She encouraged us to read as many as we could by the end of the school year, so sure enough it became something of a competition. The Newbery books were flying off the shelves, and one of the first ones I could get my hands on was a peculiarly small, square book called The Animal Family. From the first page, I loved it. The world was so ethereal and utopic that I never wanted to leave.

And I’ve read it over and over again since. As cheesy as it sounds, it still holds the same kind of magic for me as when I first read it as a kid (though I think books from our childhoods can tend to do that). I’m transported every time. It’s not only one of my favorite childhood books, but one of my favorite books. So here’s its much-deserved review.

The tea: 1965’s The Animal Family is a little-known gem.

Authored by poet Randall Jarrell with illustrations by iconic children’s author and illustrator Maurice Sendak, this book packs a lot of punch in a small package.

Let’s talk about Mr. Sendak for a second first: Though Sendak is known for his distinctive character designs like in Where the Wild Things Are, among others, the drawings in The Animal Family are all landscapes or embellishments. A cliff, a forest, an ocean, a cave, some decorative vines. The pretty illustrations show just how wide his range was as an artist, and some of his distinct style shines through in the forest drawings that remind me of the forest-y scenes in Where the Wild Things Are.

The choice not to illustrate any of the characters adds to the magic of the book, so the reader is free to imagine the them however they wish.

Now, the story. The events are simple, but even in prose, Jarrell’s poetic insight lifts the story off the page, and that’s what makes this book truly enchanting.

A hunter lives alone “where the forest runs down to the ocean” and begins hearing a lone mermaid singing from the water. Over time, he befriends her, she decides to live on land, and they soon add members to their makeshift little family one by one, including a bear, a lynx, and a boy. The five-creature family lives happily ever after.

What it lacks in plot, it makes up for in genuine, even wise sweetness. Every time a new member is added to the family, it’s mentioned how they couldn’t believe they used to live without them. Once the hunter has the mermaid in his life, he can’t imagine how he used to live alone. Once the mermaid and hunter have the messy, sweet bear cub in their life, the mermaid remarks, “To think we used to live without a bear!” And when the boy comes into their life, his being found on the beach after a shipwreck fades to less of a truth than the one they tell him: “We’ve had you always.”

It’s a warm hug of a book, without being cloying. It’s a celebration of self-chosen families, of adoptive families, of friends, of the ones you pick to have by your side not out of obligation but because you want and like them there.

Like in fairy tales where you don’t question an enspelled maiden sleeping a hundred years, you don’t question the practicality or realism of a lynx, bear, and human living together, nor the existence of mermaids. But unlike many fairy tales, Jarrell gives the story just enough detail to make the characters real and lovable: in the conversations the hunter and mermaid have learning each other’s language (“Whatever you say has that—that walnut sound,” she says to him); in the specific, thoughtful ways the hunter helps the mermaid adapt, like building a rocking chair for her to remind her of the motion of the sea.

When I first read this book as a kid, it was, and is, unlike anything else I’ve ever read. It’s novel in every sense of the word—the perfect of example of the art form’s namesake.

The wrap-up: Read this book. Read it alone. Read it to your kids. Give it as a gift. It’s, sadly, out of print, but easy enough to find used for a decent price. And there’s always the library. I’m not promising it’ll blow you away like it did me, but I’m pretty sure it’ll warm your damn heart.

The rating: ⭐⭐⭐⭐⭐/5

The hunter and the mermaid were so different from each other that it seemed to them, finally, that they were exactly alike; and they lived together and were happy.

—Randall Jarrell, The Animal Family
Bangor, Maine: Where IT’s at

Bangor, Maine: Where IT’s at

Last month, I paid a visit to Stephen King’s house and some other King-related spots in Bangor, and I might as well have been stepping into Derry, Maine and the pages of It. Besides the house, here are all the other cool King things I saw in town.

First stop on the tour was the Paul Bunyan statue that inspired the scene in the novel where the statue comes alive and attacks Richie. (The statue’s also featured for a second in It: Chapter Two, though not this exact one since it was filmed in Canada). This was one of the scariest parts of the book for me—inanimate objects coming to life was always a big fear of mine as a kid—and it was kind of creepy to see in person.

Next up was the sewer grate at Jackson and Union that, according to King lore, served as inspiration for where little Georgie gets murdered by Pennywise. This was just down the street and around the corner from King’s house, and I could imagine him walking around the neighborhood when writing the novel, cooking up wonderfully demented ideas.

I saw two grates at this intersection: According to the internet, the round one is allegedly the One, but the square one looks more like the original cover. Who knows—a demented, supernatural clown luring you into either would be equally bad. In any case, I was the weirdo taking pictures of ordinary-looking sewer grates, though I’m sure that neighborhood is used to King fans being extra.

Speaking of stepping into the pages of It, the other side of the Jackson/Union intersection looked straight out of Derry. This could’ve been Bill and Georgie Denbrough’s quiet, tree-lined street, their white, clapboard-sided house uphill from the sewer grates.

The neighborhood was adorable. It’s the kind of place so quaint and sweet that it might make a horror author on a stroll wonder whether everything is as idyllic as it seems. I kept thinking, Ugh, I want to live in a cute sleepy town with sinister stuff lurking under the surface!

The next and maybe coolest stop on my tour was the Thomas Hill Standpipe. Just down the street from the sewer grates and only a few blocks from King’s house, the standpipe is an iron water tank with a wood frame jacket that controls Bangor’s water pressure and holds 1,750,000 gallons of water. In the novel, it’s where Stan first encounters It/Pennywise and sees horrible visions of the victims who drowned in the tank (there have been no IRL drownings, I checked. For reasons.)

As I rounded the corner in my rental and got past a cluster of trees, I was shocked by how this huge thing just came out of nowhere, located smack in the middle of a quaint little neighborhood. Part of it was the fact that, unlike most water towers, it’s not perched on legs—it’s squatting flush on the ground next to you, hunched at the top of a somewhat steep hill.

That was the other part: I should’ve known that the Thomas Hill Standpipe located on Thomas Hill Road would be situated on a hill, but I thought it was such a weird spot to put a gigantic water tower (if it were to break, I imagined the houses on the hill below it being washed away in half a second), and being sat at the top of a hill added even more to its hulking presence.

The viewing deck up top is only open to visitors a few times a year. While I’m sure the view from the top is spectacular, you pay with the journeys up and down the dark, narrow staircase, one of the places where Stan contends with some creepy shit. Just look at it.

Summit Park across the street slopes downhill from the Standpipe and is allegedly where King wrote a large chunk of It on a park bench. This was a a very small park, and there was only one bench, with FREAK spray-painted across it. This may or may not have been the same bench that King frequented in the eighties, but I could still imagine him sitting there writing, coming up with Stan’s ghosts. The Standpipe looms even larger from the park, since the park is downhill. And I’m not ashamed to admit that when the sun started setting, I thought, Yup, it’s Getting Out of Here o’clock.

In downtown Bangor, I noticed a canal running through the heart of downtown, and again I had a feeling of living in the locale of It, since It works insidiously through Derry’s water/sewer system (like through the sewer grate and the Standpipe) and a canal like this exists in Derry too.

It’s actually called the Kenduskeag Stream and it flows into a nearby river, but you could’ve fooled me. Stumbling across something in town that undoubtedly inspired Derry made me smile every time, and made me want to stay in town for a while and write a creepy novel of my own. (Really, this is not a bad writing exercise, to base a fictional town closely on a real one and just add a dash of spooky. Like Tyra says to make it fashion. Take Champaign, Illinois—but make it creepy.)

King obviously loves Bangor since he set one of his longest and most famous novels in its likeness. And it seems that Bangor loves King back, with tributes around the city like this bench featuring him and his dog—though not too much; someone gave our man a funny ‘stache.

Probably that jokester Richie.

100th post!

100th post!

I’m having tons of fun on this blog—it’s something I would do even if it were a shout into the void (though, really, isn’t everything?), but it’s even better to share the love, so thanks for following and/or popping in!

For my 100th post, I thought I’d share my own bookshelf. This one I’ve only had for about a week. I love it. I recently moved and figured that was as good an excuse as any to upgrade from my overflowing four- to a six-shelfer.

Fiction section. The gap on the top shelf next to Hank Green is where his An Absolutely Remarkable Thing should go but I’m currently reading 👀
Nonfiction in the middle. My baby poetry collection on the bottom (though, in all fairness, the Norton Anthology is DENSE). And the one Funko Pop I own, Sabrina Spellman with Salem, next to The Chilling Adventures of Sabrina comic by Roberto Aguirre-Sacasa, which is *chef’s kiss* if you like creepy things.

Here’s to the next 100! Thanks for reading.

Why I underline and highlight in my books

Why I underline and highlight in my books

I used to think that writing in books was sacrilege.

Then, freshman year of college, I was reading a copy of Fear and Loathing in Las Vegas by Hunter S. Thompson I had borrowed from my cousin when I came across a highlighted paragraph. “Why would you do that?” I asked her, scandalized.

“Because I might not read that book again, and this way I can remember the parts I liked,” she answered. I hadn’t thought of it like that, as a way to preserve your love of a book, rather than a sign of careless treatment of it. I changed my mind in about .02 seconds and I’ve been marking up my books ever since. (Never the library’s or any I borrow; I’m not an animal.)

It’s nice to grab a book from the shelf sometimes and page through, reading passages I’ve marked. It’s how I source a lot of the quotes for this blog. And even if I start by reading a few highlighted lines, I may get pulled in and wind up reading an entire page or two—or just decide to start over and read the whole book.

So, funnily enough, my intent in underlining and calling out passages to keep love of books and stories alive without having to read them again, often results in my reading them again.

I’ve played myself, but also not.

Happy underlining, folks.