Deborah Hopkinson

2008 Newbery Honor Book

Author Gary Schmidt's Lizzie Bright and the Buckminster Boy (2004) was that rare book that appealed to both teenagers and younger readers. An eloquent, beautifully written novel based on the destruction of an African-American community in Maine in 1912, it came as no surprise that it earned both a Printz and Newbery honor.

Now, with Schmidt's new novel, The Wednesday Wars, he has achieved something equally rare: a book that manages to be an accessible, humorous school story, and at the same time an insightful coming-of-age tale set during one of the most turbulent times in 20th-century America.

Like his 12-year-old protagonist, Holling Hoodhood, author Gary Schmidt grew up on Long Island. Schmidt's own school recollections include vivid memories of a middle school teacher named Mrs. Baker. Holling also has a teacher named Mrs. Baker, and as the book—and the school year—open, he's convinced she has it in for him:

Of all the kids in the seventh grade at Camillo Junior High, there was one kid that Mrs. Baker hated with heat whiter than the sun.

Me.

On Wednesdays, you see, everyone in the seventh grade—except Holling—is excused early to go to weekly religious classes. Half the class is Catholic; the other half, Jewish. Holling, being the only Presbyterian, is left behind to be the bane of his teacher's existence.

"Just as in the book, I really was the only one in class for the last couple of hours every Wednesday afternoon. But my Mrs. Baker really did hate me," notes the affable Schmidt, a professor of English at Calvin College in Grand Rapids. "After all, I was standing between my teacher and freedom—early release every Wednesday."

Like his young hero, Schmidt breathed in his share of chalk dust cleaning erasers on those Wednesday afternoons. But unlike young Holling, he most definitely did not spend the year exploring the plays of Shakespeare, gaining a fuller appreciation of his teachers as adults with their own trials and problems, and coming to terms with complex school and family relationships. Most especially, the author did not have to grapple with two gigantic, escape-artist rats named Sycorax and Caliban. "I haven't told you about Sycorax and Caliban yet, and you might want to skip over this next part, since it's pretty awful," Holling courteously warns readers.

Holling's year in seventh grade takes place in 1967-1968, a time of social upheaval in America. Although the timeframe does not correspond to Schmidt's own seventh-grade year, his choice was deliberate.

"This was one of our country's most violent years, with the assassinations of Martin Luther King Jr. and Bobby Kennedy. Vietnam dominated the evening news, with 250 soldiers being shipped home in body bags every week," says Schmidt.

To better understand this era, Schmidt did extensive research. "I read The New York Times for the entire time that is covered in the novel. And although this was not in any way meant to be a book about Iraq, over the past three years as I was writing it, I was struck by the similarities to headlines today."

Although the issues in The Wednesday Wars are serious—prejudice, the backdrop of Vietnam, uncertain family and school relationships—Holling is a self-aware, engaging narrator, and the situations he relates are often laugh-out-loud funny.

There are those rats, of course. And there's also the matter of Holling's costume for his debut as Ariel the Fairy in the Long Island Shakespeare Company's Holiday Extravaganza. "I got through the whole dress rehearsal playing Ariel the Fairy while wearing bright yellow tights with white feathers on the . . . well, I might as well say it—butt. There. On my butt!" Holling tells readers. "White feathers waving on my butt."

"I wanted to try something different by writing in a colloquial voice," says Schmidt, noting how different The Wednesday Wars is in style from Lizzie Bright. "I also wanted to show the mixture between drama and comedy, sad moments and silly ones. That's how we live our lives:really ping-ponging back and forth."

One of the most poignant relationships in the book is that of Holling and his father, an architect with ambition. Holling's father rules "the Perfect House," which is scrupulously maintained to outshine every other house on the block. He's also determined to be the head of a perfect family, which inevitably leads to conflicts with Holling and his older sister.

While at the outset Holling is simply "the Son Who Is Going to Inherit Hoodhood and Associates," by the end of the school year he has begun to develop the courage to stand up for the right to choose his own future.

"The idea for this book originally came to me as one simple image," Schmidt explains. "I could see a kid running, with a teacher standing on the sidelines, shouting encouragement."

That scene does, in fact, make it into this rich and multilayered story. It occurs toward the end of the school year, in April. And it is well worth waiting for, both for readers and for Holling, who has begun to realize just how special his Wednesdays with Mrs. Baker have been.

One thing readers will not have to wait too long for is another book by Schmidt, who somehow manages to balance being the father of six children, a professor of English and one of the most talented and thought-provoking writers for young people.

The next novel, he promises, is already done.

Two-time Newbery Medalist Lois Lowry is one of the most distinguished writers of all time. In On the Horizon, she reflects on her extraordinary childhood and the historical moment in which it occurred. As a young child, Lowry and her family lived in Hawaii, scant years before the attack on Pearl Harbor; after the war, they moved to Tokyo.

In the poems that compose On the Horizon, Lowry intertwines personal memories with the experiences of historical figures and ordinary people at Pearl Harbor and Japan who lived through same history as Lowry herself. BookPage spoke to Lowry about writing in verse, choosing which stories to tell and revisiting the past.

Tell us about the decision to tell this story of connections in verse. What did you find challenging about it? Rewarding?
Nine years ago, two other authors—Richard Peck and Cynthia Voigt—and I, all at the same time, without talking to one another about it, wrote novels in which all of the characters were mice. How on earth did that happen? Was there something in the atmosphere? It’s a mystery.

And now, this year, the book I was working on seemed to want to be written in verse. There is no other way for me to describe that. And so I wrote it that way—and later discovered that a lot of authors were writing novels in verse. Another odd coincidence.

I like the demands of poetry. It distills things, pares them back to their essence. Maybe that is what I needed to do with this narrative. It was a subject that had been haunting me for a long time. Was it a story? A memoir? I wasn’t certain. But it floated there in my consciousness for some years, images drifting and surfacing now and then. And that’s what poetry does, I think. When the images began to appear on the page in that form, it seemed right.

The servicemen portrayed in the Pearl Harbor poems are based on real people. How did you choose to tell these particular stories?
The selection of particular individual stories was the same for both the Pearl Harbor and the Hiroshima sections. Research provided me with many true stories, each gripping in its own way.

In the reading and rereading, though, I found that now and then one small, sometimes not terribly important detail would capture my attention. The 17-year-old Marine, Leo Amundson, on the USS Arizona, for example. He was no one special, really, until I discovered that he was from the same small town in Wisconsin where my grandmother lived and where my father had grown up. Had they known each other? Possibly. No way to know. But it made Leo special to me.

Or the sailor named James Myers. Nothing really unique about him, until I followed paths through the archives and found that his family had already lost their two other sons in tragedies unrelated to the USS Arizona. An old newspaper quoted his mother, an Iowa farmer’s wife, as saying, “I had bad luck with all my boys.” I couldn’t get the terse enormity of that woman’s statement out of my mind. Sometimes it was a visual image. Shinichi Tetsutani, about to have his fourth birthday, riding on his red tricycle the morning that he died in Hiroshima. And his parents, burying the tricycle beside him. I couldn’t erase that image from my consciousness.

ALSO IN BOOKPAGE: Read our starred review of On the Horizon.

You moved to Japan not long after the end of World War II. At the time, how much did you understand about what had happened there?
I was 8 years old when the war ended, so my childhood had been permeated with war-related details: the thin blue stationery on which infrequent letters from my father in the Pacific arrived; the ration stamps that my mother used at the grocery store; the news coming from my grandfather’s radio every evening.

All of us as children knew about the war. We even played games in which the bad guys were the Japanese or the Germans—but we had no understanding of the uncertainty, the fear, the huge tragedy that was taking place. I think it was not until 1991, when my own son was a fighter pilot during the first Gulf War, that I understood what my mother must have gone through while my father was overseas.

In the poem “Now,” you mention the Hiroshima memorial. When did you visit it? How were your experiences of visiting Japan at that time different compared to your memories of your life there after the war?
I left Japan in 1950 when the Korean War began and my father, fearing for our safety, sent us back to the United States. (He was on the staff of the Tokyo Hospital and had to stay because of the casualties arriving from Korea.) As a child, I had spent summer vacations on an island in the Inland Sea, near Hiroshima. But I never visited that city then, nor did I during subsequent trips to Japan as an adult. Then in 2014, I had an opportunity to take a trip around Japan by boat, and during that trip we entered the Inland Sea, stopped at Hiroshima and visited the Peace Museum there. 

Japan, and especially Tokyo, is so different now. My house near Meiji Shrine is gone. Skyscrapers and high fashion have taken the place of the rubble and poverty that I remember. But some things, like the quiet courtesy, seem unchanged. I was walking in a park in Kyoto when it began to rain, and without a word a woman approached, smiled and held her umbrella higher so that I could join her under it. When we parted a little later, without thinking, I bowed slightly to her as a thank you. It came quite naturally and felt familiar to do so. Japan still feels, in a way, like home to me.

“It is always small stories . . . that remind us how connected we are to one another.”

Your author’s note contains a fascinating anecdote about a childhood encounter with a boy who grew up to become the illustrator Allen Say—who, as an adult, also remembered the encounter. Why do you think that moment was memorable to both of you? Has he read On the Horizon?
Allen, with whom I have remained close friends, read the book in manuscript form. I talked with him on the phone recently to confirm the accuracy of my pronunciations of Japanese words before I recorded the book as an audiobook. I had to ask him, too, for his original Japanese name (he is portrayed in the book with his childhood name, Koichi Seii) because I have only known him as Allen Say.

The moment described in the book, when we were both 11 years old and looking with both curiosity and suspicion at each other, would never have been a memorable one had we not met each other by chance almost 50 years later.

Many young readers are fascinated by World War II; your book, Number the Stars, has gained a wide readership over the years since its publication. I imagine you’ve received many letters from young readers about that book as well. Do any common themes emerge from those letters about their experience of the novel?
Although Number the Stars is set during WWII in Europe and deals with the Holocaust, its focus is really on the courage and humanity shown by Denmark during that time. I still—32 years after its publication—receive letters and emails from young readers all over the world. The thing that interests them, and that they write passionately about, is just that: the generosity and compassion shown to the Jewish people of Denmark in 1943. So often they write and ask me to tell them what happened to the young girls in the book, and I have to explain that the girls are fictional, but that the real people they represent did in fact survive and grow up and, like all of us, hope for a world free of prejudice.

“Reading, thinking and writing about events during World War II has reminded me again and again that our humanity unites us.”

Three decades and many books separate the publication of Number the Stars and On the Horizon. One is fiction, one is not; one is prose, one is in verse. Both address the same moment in world history. How has your own perspective on or understanding of that historical moment changed (or has it)?
This is a hard question to answer because right now we are feeling so many chilling undercurrents of discontent and divisiveness. Reading, thinking and writing about events during World War II has reminded me again and again that our humanity unites us. 

My son, when he was stationed with the Air Force in Germany, met and married a German woman. Her mother described to me being 9 years old, hiding in a basement, terrified, when the Americans—the enemy—entered her village. She said the soldier who entered the basement where she huddled, crying, was the first black man she had ever seen. He reached into his pocket and gave her a piece of candy.

It is always small stories like hers that remind us how connected we are to one another. These days we need reminding. I guess that’s why I keep telling them in whatever ways I can.

What other books about the war have been meaningful for you—either for young readers or for adults? 
Without question: Hiroshima by John Hersey, Anne Frank’s The Diary of a Young Girl and All the Light We Cannot See by Anthony Doerr.

What is something you love about being a writer of books for young people?
The response, always. The heartfelt misspelled emails. I feel so connected to those readers.

Author photo by Matt McKee

Acclaimed author Helen Frost is well known for her historical novels in verse, including Salt and Crossing Stones. She returns to verse in All He Knew, which explores the little-known experiences of children in state-run psychiatric institutions in mid-20th-century America through the story of a fictional boy named Henry. We spoke to Frost about her personal connection to the story, researching history and the power of poetry.

In the author’s note at the end of All He Knew, you share that the book’s story was inspired by your husband’s uncle, whose experiences have much in common with Henry’s. When did you begin to think about writing a book inspired by these experiences?
Beginning in the mid-1980s, I listened to Maxine Thompson, my mother-in-law, as she talked about her brother Shirley; she said she had always wanted to write about him “to give him the life he never had.” Over the course of several years, she composed seven poems that told his story, and we worked together to put them into a small chapbook called The Unteachable One.

After that, when I was teaching writing to children in institutions of various kinds (though much different from Riverview), I often put out books of poetry and asked the children to find a poem that meant something to them and share it with the group. Someone always selected The Unteachable One. I don’t know whether it was the title or the small size of the book that attracted children, but I was always touched to hear those poems read in the voices of young readers, and they often inspired children to write brave and honest poems of their own. Perhaps it was during those years that I began to think about how I might explore this story more fully.

Riverview, the institution where Henry is sent, is fictional but based on real places. What kinds of research did you do to represent Riverview in your book? Where does research fit in to your creative process?
That part of my research was very difficult—not hard to find books, photographs, film, documentaries, letters, etc., or to find people who wanted to share their own stories, but so hard to really take in what had happened in those institutions, not only in the ’30s and ’40s, but well into the ’50s, ’60s and even the ’70s. I remember a friend whose mother had a baby in 1968 telling me, “We had to put it in an institution.” That word—“it”—still haunts me, as well as another word she used to describe the baby, which we thankfully no longer use.

We have so many stories about wars, and much respect is given to those who agree to fight in them. I hope readers will pause to consider that making a conscious choice about whether or not to participate in any war is difficult and highly personal, and that different choices can be equally worthy of respect.

I wanted to walk around the grounds of the institution where Maxine’s brother lived, but it has since been turned into a prison (which says something in itself), and I was only able to view it from a distance. I did go with a friend, Leslie Bracebridge, to walk around the grounds of an abandoned institution near where I lived as a teenager, and we talked together about what life had once been like there. As such institutions closed, Leslie has helped to create small group homes for adult women who are released, and she shared with me many stories based on what the women have told her.

I do a lot of research before I begin writing, but as I write, more questions come up and further research is required. I renew my library books multiple times and have a lot of internet bookmarks in a computer file for each book I write. And as people learn what I am working on, I hear many firsthand accounts from friends and family about different aspects of the book.

The character of Victor, a conscientious objector who brings much-needed compassion to Henry’s life at Riverview, was inspired by memoirs written by those who served in institutions like Riverview during World War II. How early on in the process of creating All He Knew did Victor emerge as a character? What do you hope readers take away from his role in the story?
I’ve long considered writing a children’s biography of William Stafford, a poet and World War II conscientious objector who I admire deeply and met on numerous occasions. I’d spoken to his son, the writer Kim Stafford, who encouraged me to do this, but I hadn’t been able to find a way to approach such a biography. At some point, it occurred to me that the two stories—one based on Maxine and her brother, the other springing from William Stafford’s memoir, Down in My Heart—could come together as one book.

I hope the reader experiences the delight in language that I enjoy as I write. I hope my love of poetry is contagious.

I had written many poems about Victor as I was beginning Henry’s story, but I’d set them aside, as I tried to focus more sharply on Henry and to some extent on Molly, Henry’s sister. After reading an early version, my editor Janine O’Malley said that she’d like to know more about Victor. I sent her the crown of sonnets and she loved it; from then on, Victor became a more central character.

Later in the process, my understanding of Victor’s character deepened when I learned that Al Rath, a relative I knew as a child, had worked in a psychiatric institution as a WWII conscientious objector and was influential in the profound changes that occurred during and after the war.

We have so many stories about wars, and much respect is given to those who agree to fight in them. I hope readers will pause to consider that making a conscious choice about whether or not to participate in any war is difficult and highly personal, and that different choices can be equally worthy of respect.

The relationship between Henry and his sister, Molly, and Molly’s letters to Victor are particularly touching. Can you talk about how Molly’s character emerged? What choices did you make in creating her character?
Molly’s character is strongly connected to Maxine, who wrote the poems in The Unteachable One, so that voice was with me from the start. Soon, though, Molly became very much her own character. It was important to have an outside observer with a close connection to Riverview who could express outrage about the institution—not only for her beloved brother Henry, but for all the children who lived and died there.

ALSO IN BOOKPAGE: Read our starred review of All He Knew.

You’ve chosen to write Henry’s poems in free verse, while Victor’s poems take the form of sonnets. How did you arrive at this structure? What are some of your favorite sonnets, for readers who’d like to read more of them?
I love the sonnet form, and particularly the challenge of composing a crown of sonnets. I have included such a crown in books for children (Room 214) and young adults (Keesha’s House) as well as for adult readers. It’s a great form for exploring something complex or difficult. Two of my favorite sonnets are John Donne’s “La Corona” and Marilyn Nelson’s A Wreath for Emmett Till.

Did you know from the beginning that you would write All He Knew entirely in verse? How was your creative process different as you created this verse novel versus novels you’ve written partially in prose—and how was it the same? What do you hope the verse forms add to the reader’s experience of the book?
At the beginning, no, I didn’t know very much about the eventual structure I would find for the book.

I sometimes begin a first draft in prose or free verse, knowing that it is likely to find a different form later on. Once I have a sense of the characters’ voices and the direction of the story (typically after writing about 60 pages), I often start over and write in a way that is closer to the final form.

Writing in poetry, like reading good poetry, makes me pay close attention to the sound and nuance of each word and to how the lines and stanzas appear on the page. I also love the way writing in poetry creates surprises—not just helping me say what I already know or intend to say, but leading to discoveries that may deepen or change the direction of the story in an organic and interesting way.

Whether the final version is in prose, free verse or formally structured poetry, I hope the reader experiences the delight in language that I enjoy as I write. I hope my love of poetry is contagious and that the work I put into the writing is unobtrusive, at least upon a first reading. I know that some young readers don’t care about this, and that’s fine; they’ll still hear and feel the poetry, but a few do pay close attention. I think about a sixth grader stumbling over her words as she tried to tell me what she loved about The Braid, finally settling on, “It’s just . . . you know . . . how it’s . . . MADE!”

Can you say a little about the connection between Victor’s parents and the characters in your book, Crossing Stones?
Yes, although saying “a little” may be challenging, as this is bigger than these two books. I recently found an early draft of The Braid which I had titled Diamond Willow, which would later become the title of a different book. I’d been intending to create a multigenerational story in one book, each representing the point of a diamond. That intention has been obscured by now, but it is still possible to follow a thread of genealogy from the sisters Sarah and Jeannie in The Braid as they are separated in Scotland in 1852, all the way through to Willow in Diamond Willow in the early years of this century. Ollie and Muriel in Crossing Stones speak of “Grandma Jean’s best dinner rolls” and “Great Aunt Sarah,” referencing Jeannie and Sarah. By the time Jean shows up as a spruce hen in Diamond Willow, she represents Willow’s great-great-great grandmother. In All He Knew, Victor is Emma and Ollie’s son, and (you’re hearing it here first!) he may also be related to Willow. Thank you for asking!