The question is, are we happy to suppose that our grandchildren may never be able to see an elephant except in a picture book?
As adults, we've seen so much before that we often turn the pages of a picture book without really looking. Young children tend to look more carefully.
When I wrote the eight fairy tales that appear in 'Horse, Flower, Bird' I was working toward a completely new form of artistic expression, trying to create a new kind of tale that also felt vintage: innocent and childlike, but haunted. I tried to write a picture-less picture book.
I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'
I'm usually working either on a picture book and a young adult book, or a middle grade book and a young adult book. When I get bored with one, I move to the other, and then I go back.
When you start writing a picture book, you have to write a manuscript that has enough language to prompt the illustrator to get his or her gears running, but then you end up having to cut it out because you don't want any of the language to be redundant to the pictures that are being drawn.
A picture book is a small door to the enormous world of the visual arts, and they're often the first art a young person sees.
Painting is the only universal language. All nature is creation's picture book. Painting alone can describe every thing which can be seen, and suggest every emotion which can be felt. Art reaches back into the babyhood of time, and is man's only lasting monument.
I just did a picture book called The Wildest Brother on Earth, and you will find both of my children in there.
Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!