Maurice Sendak's Where the Wild Things Are is considered to be a classic children's book that speaks to every child because of its drawings and simplicity in wording. The book tells of the story of Max, and his adventures in a jungle. It can be said that there are many different elements that make the book one that is wonderful and memorable. This is due to the depictions of the drawings that are coupled with the words, and the fact that it illicit memories of childhood for the individual reading it - whether they are an adult, or a child themselves. For this reason, educators have often observed its usefulness in the classroom.
Sendak's imaginative story encourages creativity and imagination in children because of its culturally, engaging content. Another reason behind the appropriateness of using Sendak's book deals with its appeal and authenticity. Since educators are committed to ensuring that texts they are authentic, the usage of Sendak's book allows for an in-depth discussion. While the overall pictures and story itself are fictitious, the underlying dynamics of the book reveal the perspectives of a child and their imagination using animals in the forest, which are indeed real and valid. Additionally, it echoes the relationship between children and their mothers, and provides considerable discussion on the substantial process that each child goes through in rectifying what is real and fake in their world.
The Role of Design in Where the Wild Things Are
Composition plays a key role in picture books. Children want to feel the book and its elements. According to module 2, "the role of composition has become more complex and more important to the successful creation of coherent, cohesive books." With respect to Sendak's book, visualization is critical to the overall story. The book's cover has the title in all capital letters, as well as the story and pictures by text. The block capital letters are set against a black background, with a monster seemingly Max sitting to the right under a trees, and on some leaves. The image is frequently noted as iconic because it reveals a significant aspect of the book - an imaginative world that the main character will be undertaking. Moreover, the cover is stunningly colorful. Each element in it is ingenious in the sense that the colors are vivid. Children will undoubtedly find it appealing as a result. The teacher in using the book to teach a class, should find that the children looking at the cover wanting to start reading immediately. According to Module 12, individuals read images and process information through three distinct memory structures: the working, sensory and long-term memory (Module 12, n.d.). Each of these factors into the ways in which knowledge is gained, and how individuals feel about the dynamics of a picture book. To this end, Sendak's book cover and the pages within the book work together to evoke a memorable journey through the pictures and words.
Module 12 goes on to state that “illustrators and designers "need to compose with an understanding of how to organize the perception with features that pop out using texture to differentiate groups; direct the eyes with the position of items and use colour and/or scale to create salience; [and] clarify complexity with segments and sequences, specialized views and inherent structure" (p.1). The book in its cover achieves this feat, as individuals that read it will undeniably find themselves engrossed. Each element stands out on the cover. From the boat, which is yellow and red, to the red trees, to the lush, different shades of green that are used for the leaves and the some of the leaves on the red trees, to the blue background. There is significant detail put on the monster on the front. Children might inquire as to why the monster has human feet when he is supposed to be a monster because the cover shows the monster with a monster-like body, but feet that are white in color.
The Use of Pictures in Where The Wild Things Are
According to Module 8, "there are two ways in which a text can be illustrate: an artist can use a literal, descriptive denotative mode, or a symbolic, implied connotative mode" (p.1). In the case of Where The Wild Things Are, the denotative mode is used. In the denotative mode, "an artist's illustrations are a direct and literal imitation of the text reality" (Module 8, n.d.). From the opening lines of the book, "the night wore his wolf suit and made mischief of one kind and another his mother called him "Wild Thing!" (Sendak, 1963), it is clear visually that the reader will be pulled into Max's world. The text provides the instructor with the opportunity to help the children move into Max's imaginative world. The reality of the text is that Max is where the wild things are, and his appearance "has made him king of all wild things" (Sendak, 1963). The reason why the text can be considered denotative, is that Sendak wants the reader to identify with the mischief that Max is getting into. The text is supposed to evoke a feeling to the point where the reader feels as if they are in Max's shoes as he experiences his fantasy. The positioning of immediately throwing the reader into Max's world only serves to underscore the importance of letting 'our' imaginations run wild. This is perhaps one of the most important reasons as to why the book has remained a part of educational curricula. Educators understand that children live simultaneously in reality and fantasy, and often move back and forth between the two. As such, in immediately throwing each reader into the denotative text, this affords an opportunity for Sendak to showcase the relevance of how children can be regarding their thoughts.
Additional information can be picked up from the denotative text. The information intently focuses the reader on the physical appearance of Max and the scenery itself. The author writes that "that every night in Max's room a forest grew, and grew- and grew until his ceiling hung with vines and the walls became the world all around and an ocean tumbled with a private boat for Max" (Sendak, 1963, p.2). This text provokes the reader to examine the pictures and illustrations to see just how Max's room is growing into a forest and the boat that will be taking Max across the ocean. While the text is definitive in its application, the reader is left wanting to peer into the adventure that Max will be taking. The text continues by stating that "and when he came to the place where the wild things are, they roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws" (Sendak, 1963, p.2).
In the illustrations that accompany this part of the text, the monsters seek to frighten Max. There is a playfulness to the pictures as well - an almost silliness that is demonstrated particularly with the monster that is closest to the trees in the illustrations. Through the denotative descriptions, the illustrators provide a considerable attitude and view of the monsters - as they truly are gnashing their teeth and showing their claws to Max. They are also showing their teeth. Module 8 highlights that there should be six useful pieces of information in a picture book that uses denotative text - the details should produce a specific context of the characters; the details should reveal the type of character that the reader is following; the illustrations should show definitively what the character looks like' there should be unusual things in the visuals; the texture and facial expressions should provide personality to the character(s) and the information should reveal the writer's viewpoint of the story (p.1). In the case of Where the Wild Things Are, each of these is present throughout the story.
Using the mentioned example of the monsters frightening Max while he is the boat, the illustrations expressly reveal Max's character. He does indeed look frightened as he is shown to lean back as the monsters are frightening him. The monsters, as noted, are fierce in their depictions of claws shown and teeth revealed. It is clear that Max is terrified to a certain degree of what he is seeing but also knows that he is in control of what is occurring in his world. Sendak (1963) outlines that they showed their terrible claws till Max said 'Be Still'" (p.3). In revealing this to the reader, Sendak accomplishes two things: 1) he once again shows that Max is in charge of what is occurring, which was reflected at the beginning of the book, and 2) he also shows how Sendak feels about children and their imagination.
Why Where the Wild Things Are Is So Powerful?
Module 7 focuses on the subject of sophisticated picture books and their purpose. It is important and critical for educators to use more sophisticated books that present different and diverse perspectives on the world that children are involved in (p.1). It can be argued that Sendak's book is very sophisticated in its application because of the fact that it presents several concepts about the human condition. First, Max appears to have the intention to let loose. He wants to experience his wild side so to speak. Educators in using this book can stress the relevance of children doing this in their own lives. In other words, Sendak conveys that it is important for everyone from time to time to let loose, and not be proverbially bogged down by the lives that they live. While it can be said that children do not have much to worry about, they in fact do. They are growing and learning about the world around them - its positives and its negatives. As such, by showcasing the necessary need for allowing silly frolic into their world, educators can help the children comprehend why they need to lighten up from time to time.
Module 7 continues by stating that sophisticated book presents a unique dynamic and provoke children to consider a multitude of issues that they will undoubtedly experience (p.1). Sendak in writing the book also displays the concept of there's no place like home. This is a rather powerful concept because it is something that is often told to children as they are growing up. The home is supposed to provide security and safety, which in essence why there is no place like it. Sendak's presentation of Max wanting to be loved is revelatory of someone who didn't necessarily have a home, so in turn, constructed it using the wild things. Sendak is suggesting that there should be a certain level of creative power to children in identifying where their home is. Since educators teach a wide-range of students, these individuals come from a variety of different backgrounds and circumstances. Therefore, by conveying to the child through the potency of using their imagination to construct a home, Sendak is suggesting that if one does not have a home, that they can always create one. This will afford them the chance to be loved, even if they have to do so in their own mind.
Another interesting aspect of the book that Sendak expresses to the reader is that there will always be someone to have their back. Children spend a significant amount of time in the classroom with their teachers. For this reason, a bond often forms. Sendak explains through the adventure that Max takes that there will always be someone in their corner, even if it is not necessarily a parent. This is very powerful to showcase in a book – and is the reason why it has often been stated to be very sophisticated in its application. Max realizes that his mother is and always will be there for him. Sendak (1963) writes that “and [he] sailed back over a year, and in and out of weeks, and through a day, and into the night of his very own room, where he found his supper waiting for him, and it was still hot." In saying this to the reader, it displays a heartening aspect about always be able to count on someone to be there not only in a time of need, but in general. The sophistication surrounding this is evident, and something that educators convey to children even if they do not outright mention that they want the best for their students.
References
Sendak, M. (1963). Where the Wild Things Are. New York, NY: Harper & Row.
