Maurice Sendak (1928–2012) stands out as one of the most respected, influential authors of the twentieth century. Though primarily known as a children’s book writer and illustrator, he did not limit himself to these areas. He saw himself first and foremost as an artist. In this collection of interviews, Sendak presents himself as a writer, illustrator, set designer, and librettist. From his early work with Randall Jarrell and Ruth Krauss through his later work with Tony Kushner and Spike Jonze, Sendak worked as a collaborator with a passion for the arts. The interviews here, many of which are hard to find or previously unpublished, span from 1966 through 2011. They show not only Sendak’s shifting artistic interests, but also changes in how he understood himself and his craft. What emerges is a portrait of an author and an artist who was alternately solemn and playful, congenial and irascible, sophisticated and populist. The man who showed millions of children and adults alike what’s cooking in the night kitchen and where the wild things are, Sendak remains an American original who redefined the picture book and changed children’s literature—and its readers—forever.

Since the publication of his classic Outside Over There in 1981, Maurice Sendak’s book illustrations have focused on interpreting the texts of such authors as James Marshall, Tony Kushner, Wilhelm Grimm, Ruth Krauss, Herman Melville, and Mother Goose. And beginning in 1980, with his sets and costumes for The Magic Flute, Sendak launched a busy second career as the designer of stage productions of opera and ballet. Now comes Bumble-Ardy, the first book he has written as well as illustrated in thirty years. Bumble-Ardy has evolved from an animated segment for Sesame Street to a glorious picture book about a mischievous pig who reaches the age of nine without ever having a birthday party. But all that changes when Bumble-Ardy throws a party for himself and invites all his friends, leading to a wild masquerade that quickly gets out of hand. In this highly anticipated picture book, Sendak once again explores the exuberance of young children and the unshakable love between parent (in this case, an aunt) and child.

Kenny dreams of a fabulous land where he would like to live always, and in his search for it discovers many things about himself and about growing up. ‘An unusual, imaginative story . . . in which reality blends with make-believe.' 'SLJ. 1956 Children's Spring Book Festival Honor Book (NY Herald Tribune)

An extraordinary, path-breaking, and penetrating book on the life and work and creative inspirations of the great children's book genius Maurice Sendak, who since his death in 2012 has only grown in his stature and recognition as a major American artist, period. Polymath and master interviewer Jonathan Cott first interviewed Maurice Sendak in 1976 for Rolling Stone, just at the time when Outside Over There, the concluding and by far the strangest volume of a trilogy that began with Where The Wild Things Are and In the Night Kitchen, was gestating. Over the course of their wide-ranging and revelatory conversation about his life, work, and the fantasies and obsessions that drove his creative process, they focused on many of the themes and images that would appear in the new book five years later. Drawing on that interview,There's a Mystery There is a profound examination of the inner workings of a complicated genius's torments and inspirations that ranges over the entirety of his work and his formative life experiences, and uses Outside Over There, brilliantly and originally, as the key to understanding just what made this extravagantly talented man tick. To gain multiple perspectives on that intricate and multifaceted book, Cott also turns to four "companion guides": a Freudian analyst, a Jungian analyst, an art historian, and Sendak's great friend and admirer, the playwright Tony Kushner. The book is richly illustrated with examples from Sendak's work and other related images.

With Papa off to sea and Mama despondent, Ida must go outside over there to rescue her baby sister from goblins who steal her to be a goblin's bride.

Fifty years after Where the Wild Things Are was published comes the last book Maurice Sendak completed before his death in May 2012, My Brother's Book. With influences from Shakespeare and William Blake, Sendak pays homage to his late brother, Jack, whom he credited for his passion for writing and drawing. Pairing Sendak's poignant poetry with his exquisite and dramatic artwork, this book redefines what mature readers expect from Maurice Sendak while continuing the lasting legacy he created over his long, illustrious career. Sendak's tribute to his brother is an expression of both grief and love and will resonate with his lifelong fans who may have read his children's books and will be ecstatic to discover something for them now. Pulitzer Prize–winning literary critic and Shakespearean scholar Stephen Greenblatt contributes a moving introduction.

A “provocative” psychological suspense novel about “a character who is bound inevitably to a disastrous past” (The Oregonian). Years ago, Tom Levy worked an insurance scam that left him rich, but he is about to learn that wealth can’t always protect you from bad decisions. While vacationing in Jamaica, Tom witnesses a man goading his four-year-old daughter into a vulgar display on the dance floor. The man also happens to be married to the woman who has been capturing Tom’s own attention. Enraged, Tom vows he must pay with his life. The next day, atop the Dunn’s River Falls, Tom kills the man in cold blood, in full view of witnesses—condemning himself to life in prison among the most brutal and hardened men of Jamaica. Does an elusive story hold the key to their salvation, and Tom’s own? And once Tom has told it, can he find a way to reenter the hearts of those he has left behind? From the author of The Player, Under Radar was a Village Voice Favorite Book of the Year and blends elements of crime fiction and fable with an edge of black comedy. “Applies an Old Testament vision with an up-to-the-second feel for the details of contemporary affluence . . . Compelling.” —The New York Times Book Review