- What inspired you to
write A Bear for Bimi?
Several reasons. During the
last administration the images of children walking borders in places around the
world to take refuge to a safer place. Being a parent, it is unimaginable to me
the strength and resilience it must take to endure such a passage with very
young children. Having said that, my mother came over on a boat from Poland
with her parents to escape religious persecution and was quarantined alone for
a few weeks when she became ill.
So she was an immigrant and
I was conscious as I say in the dedication that it never left her – and if she
did not come to America then of course I would not be here as well as other
generations that have come from me and my husband. We are both first
generation. The images of children separated at the border of Mexico and the
heartlessness of how it was done were heartbreaking. I wrote the book several
years ago to that act.
- The Kirkus Review of the
book calls it "A lovely story about friendship, welcoming the other,
and winning people’s hearts with kindness." What do you think of that
description, and what do you hope kids take away from the story?
Empathy for others who are
different than us; we all share feelings and emotions and need to feel loved
and protected in this large world of ours. Although it takes place on one small
block, neighbors of different nationalities help Bimi’s family since they too
came either directly or indirectly from another country before they became
Americans. The book was just put on the list of the Best Jewish Children’s
Books 2021 for Tablet Magazine and also the Anti-Defamation League List 2021
for “Books Matter” that are written on social justice and diversity. (Bimi is Muslim
and Evie is Jewish. The neighbors are from all over – like in Queens, NY where
I was born.)
- What do you think
Yevgenia Nayberg's illustrations add to the book?
Well, I chose her to be the
artist and never had anyone else in mind. I am an artist first, before a
writer, (now, both! I write young adult novels, chapter books, cookbooks,
poetry, and so on…) but she was the perfect person for me to do this project –
always. We never met – except via email and then on a zoom event after the book
was published, but I find her style so interesting. She is also an immigrant
and would bring something to this story I felt.
I am very pleased with the
final art.
- How did you first become
interested in creating books for young readers?
Oh, gosh, that would take a
book. (I probably have info on my website at: www.janebreskinzalben.com I have done over 50 books and been doing this
a long time to say the least. I was a fine arts student – an etcher/ abstract
painter - and still am. I took a course in college with an illustrator who had
been runner up for the Caldecott. He encouraged me. Out of college I worked for
Dial Press and the art director I worked for also designed Maurice Sendak’s books.
I learned everything from her about typography and the look of well-made books.
I taught for 18 years at the School of Visual Arts on creating picture books.
And was also the art director at Scribner’s for books for young readers. My
mother ultimately became a children’s book librarian and her love for reading
and art was a factor. There are just too many answers to that complex question
if we had a few hours---- I am sure online there are various articles and
interviews that would fill in some of the dots.
- What are you working on
now?
At the beginning of the
pandemic I wrote 10 short story picture books. I was working back and forth
with an editor from years ago. It was encouraged greatly and it was a joy to
write while being isolated. This past fall, the project was signed up and
expanded on the publisher’s directive, and to my surprise to a 144 page book
full color book that I am illustrating with over 100 illustrations. It is quite
a massive project and it should be coming out in 2023. I am very excited about
it and am passionately working away every day.
- Anything else we should
know?
I am intrigued that since I
have been painting contemporary canvases these past years and showing in
galleries – with a break in my illustration career – although another book I
wrote (A Moon for Moe & Mo, also illustrated by another artist in London)
that it vastly affected these new illustrations. I think they show more
confidence and a bolder sense of color than I had in prior books. My linework
seems stronger even though I use a triple zero brush or pen. People talk about
age in our culture, and the fact is if you continue to work and hone your
skills, you always get better, and have a greater sense of the whole. Just from
living a life.