Shel Silverstein's Unlikely Rise to Kid Lit Superstardom

by Mark Peters
Shel Silverstein—the late cartoonist, singer, songwriter, playwright, and mega-selling author of such classics as The Giving Tree and Where the Sidewalk Ends—didn't like children's literature. Spoon-feeding kids sugar-sweet stories just wasn't his style. Fortunately for generations of young readers, someone convinced him to do something about it—namely, break the mold himself. Using edgy humor, clever rhymes, and tripped-out drawings, Silverstein achieved the impossible. He bridged the worlds of adult and children's art, while becoming wildly popular in the process.

Where the Sidewalk Began

Sheldon Allan Silverstein was born on September 25, 1930, into a Jewish middle-class family in Chicago's Logan Square neighborhood. And though the intensely private Silverstein never divulged many details of his youth, we do know his childhood was largely consumed with a rabid devotion to the Chicago White Sox. In fact, if the cartoonist-in-training could've belted homers instead of scrawling pictures, he definitely would have. Instead, the unathletic young Silverstein had to settle for filling up sketch pads instead of stat sheets.

Silverstein's skills in the classroom didn't fare much better than they did on the field. After brief stints at the University of Illinois at Urbana (where he was thrown out) and the School of the Art Institute of Chicago (where he dropped out), Silverstein managed to last three years at Chicago's Roosevelt University, where he studied English. More significantly, however, that's where he began writing and cartooning for the student paper, The Torch, whereby he launched his lifelong career in skewering authority figures. His first published cartoon, for instance, was that of a naked student holding a cigarette while confronting a peeved professor. The caption read, "What do you mean "˜No Smoking'? I thought this was a liberal school."

Aside from receiving a little artistic encouragement at Roosevelt, Silverstein didn't exactly get a lot out of college. Summing up the experience, he once said, "I didn't get laid much. I didn't learn much. Those are the two worst things that can happen to a guy." Of course, he may have wanted to add conscription to that list. Silverstein was drafted in 1953, before he had the chance to finish school (though he's not convinced he would have) and was shipped off to serve in the Korean War. His tour of duty likely influenced his often-dark worldview, but it definitely shaped his emerging career path. Oddly enough, Silverstein earned his first art-related paychecks as a journalist and cartoonist for the Pacific edition of the U.S. military's newspaper, Stars and Stripes. Despite the rigid environment, he couldn't resist the urge to rib the powers-that-be in his work. In fact, Silverstein narrowly avoided the world's first cartoon-related court martial over a comic strip that seemed to imply officers were dressing their families in stolen uniforms. This led to stern instructions that only civilians and animals were proper topics for criticism.

Although not exactly a "yay, military!" kind of fellow, Silverstein nevertheless appreciated the opportunities the Army gave him to travel and hone his craft. After being discharged in 1955, he returned to Chicago and started cartooning on a freelance basis. His hard work soon paid off, and Silverstein started landing gigs at magazines such as Look, Sports Illustrated, and This Week. But then he hit the jackpot; he met Hugh Hefner and got in on the almost-ground floor of Playboy, which had premiered just two years prior. From 1956 on, Silverstein was known to live intermittently with his new pal at the Playboy mansion while contributing articles, as well as plenty of not-quite-kid-friendly comic strips.

Kids' Authors Say the Darnedest Things

Given the whole Playboy thing, Shel Silverstein was hardly a prime candidate to become the world's next great children's author. After all, the guy wasn't shy about his distaste for the genre—a fact evident in his 1961 book, Uncle Shelby's ABZ Book: A Primer for Tender Young Minds. Excerpted in Playboy, the adult book spoofed the Dick-and-Jane genre with lines such as "See the baby play. / Play, baby, play. / Pretty, pretty baby. / Mommy loves the baby / More than she loves you." The ABZ Book made it clear that Silverstein hated the condescending brand of writing often used in children's literature—and what better way to change the state of affairs than to write them better yourself? Convincing Silverstein of that took a fair amount of wheedling and cajoling, but his friend (and children's author/illustrator) Tomi Ungerer, along with famed Harper & Row children's editor Ursula Nordstrom, was up to the task. Eventually, they persuaded Uncle Shelby to take a crack at the real thing.

In 1963, at age 32, Silverstein published his first children's book, Uncle Shelby's Story of Lafcadio, the Lion Who Shot Back. The tale—in appropriately Silverstein-twisted fashion—is about a marshmallow-loving lion who faces an identity crisis after becoming a celebrated marksman. It was a huge hit. By 1974, Lafcadio had plenty of company, including Uncle Shelby's A Giraffe and a Half, Who Wants a Cheap Rhinoceros? and two books that would eventually rank among the 20 bestselling children's books of all time: The Giving Tree and Where the Sidewalk Ends (hereafter shortened to Sidewalk).

Poem-cum-cartoon collections such as Sidewalk (and, later, A Light in the Attic and Falling Up) became instant classics for obvious reasons. They featured Silverstein's trademark giddy style and his unmistakable talent for crafting verses as pliable as putty. Who else can write lines like, "Washable Mendable / Highly dependable / Buyable Bakeable / Always available / Bounceable Shakable / Almost unbreakable / Twistable Turnable Man"? Silverstein also endeared himself to readers with unpretentious language, loony black-and-white drawings, and memorable characters (Sarah Cynthia Sylvia Stout from Sidewalk's "Sarah Cynthia Sylvia Stout Would Not take the Garbage Out" comes to mind).
For all of these reasons, Silverstein's work was tremendously well received by the masses.

However, anytime you push an envelope, you're bound to take some heat. Indeed, both Sidewalk and A Light in the Attic were banned from various libraries and targeted by prudish groups who thought the poems and pictures were too weird, too gross, too antiauthoritarian, or otherwise too much for children's fragile minds. In fact, opponents called Silverstein's poems everything from Satanic and sexual to anti-Christian and cannibalistic. Yes, cannibalistic. Apparently, some folks took serious issue with Sidewalk's poem "Dreadful," which contained such verses as "Someone ate the baby. / What a frightful thing to eat! / Someone ate the baby / Though she wasn't very sweet. / It was a heartless thing to do. / The policemen haven't got a clue. / I simply can't imagine who / Would go and (burp) eat the baby." The eating-human-babies fad never really caught on in America, but perhaps protesters stopped the madness just in time.

Grim Reaping

180px-The_Giving_Tree.jpg Those who branded Silverstein's work as unfit for children were certainly extremists, but that's not to say Uncle Shelby didn't have a dark side that could be a bit unnerving at times. There are hints of this even in The Giving Tree, which tells the story of a generous tree that repeatedly donates parts of itself to a needy boy until it's nothing more than a stump. Although the book is considered a classic today, after Silverstein finished it in 1960, it took him four years before he found anyone willing to publish it. Apparently, editors found it too depressing for kids and too simple for adults. It wasn't until his other titles started raking in the dough that Harper & Row was confident enough to give it a shot.
Other times, however, it's much more obvious that Silverstein had no qualms writing children's literature that was less than shiny and happy. Probably the best example is 1964's Who Wants a Cheap Rhinoceros? In it, a boy lists numerous reasons why a priced-to-sell rhino would make a sound investment, including "He can open soda cans for your uncle." and "He is great at imitating a shark." Gradually, however, the lines get a lot less goofy. On one page, the boy describes the rhino as "good for yelling at," which is accompanied by a picture of the abject, tearful pet. Another page suggests the rhino is "great for not letting your mother hit you when you really haven't done anything bad."

Lines such as those are particularly shocking, but they ultimately reflect one of the most innovative aspects of Silverstein's work—a sense of mutual respect and honesty often lacking in children's literature. Silverstein firmly rejected the notion that characters should always ride off into a sunset or that kids should be taught to aspire to an all-rosy-all-the-time life. In fact, one of his greatest impacts on the genre was proving that creating great children's literature doesn't always mean treating your readers like kids. But Silverstein perhaps summed up his philosophy best in "The Land of Happy" from Sidewalk: "There's no one unhappy in Happy / There's laughter and smiles galore. / I have been to the Land of Happy— / What a bore!"

The Silver Lining, Shel-Style

Silverstein's desire to reverse dopey endings and shiny-happy storylines may have been simply a result of his distaste for predictability. In his art as well as his life, Silverstein strenuously avoided well-trod paths. "Successful cartoonist becomes immortal children's author" is a pretty straightforward tale, so leave it to Shel to throw in the occasional Playboy monkey wrench. Similarly, Silverstein made it pretty impossible to get pigeon-holed into a poetry-and-cartooning rut by simply tossing in a few other careers on top—songwriter, musician, novelist, you name it.
In 1959, just a few years before he started to write children's books, Silverstein began a respectable career in music. How respectable? Well, he was inducted into the Nashville Songwriter's Hall of Fame, won two Grammy awards, recorded more than a dozen albums, and wrote hundreds of songs that were recorded by artists including Kris Kristofferson, Waylon Jennings, and Jerry Lee Lewis. The poetry skills Silverstein brought to children's books were easily parlayed into a knack for clever songwriting. And while Silverstein didn't have the voice to make it as a performer, he quickly attracted attention from other musicians eager to record his tunes (many of which can be found on the recently released The Best of Shel Silverstein: His Words His Songs His Friends). Of course, it helped that Silverstein was considered an exceedingly generous collaborator. He was popularly known for his policy of giving equal credit to anyone who co-wrote a song with him, even if they contributed only a single line or small idea.
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What's interesting is that this was the polar opposite of Silverstein's reputation in the world of literature. One reason his books are so easy to spot on a bookshelf is that he made unyielding demands about their formats. Most have never been printed in paperback (per his instruction), and he scrupulously selected every typeface and paper grade. Such micromanagement might have benefited him as an author, but in the music industry, his generosity paid off, freeing him from petty monetary squabbles and making him an even more appealing collaborator. And plenty lined up to work with Shel. Silverstein-penned hits include The Irish Rovers' "The Unicorn," Loretta Lynn's "One's On the Way," Dr. Hook and the Medicine Show's "Sylvia's Mother" and "Cover of the Rolling Stone," and, of course, Johnny Cash's "A Boy Named Sue."
On top of all that, Silverstein was more than a dabbler in the dramatic. He wrote dozens of plays that were well-received by critics, including "The Devil and Billy Markham," "The Crate," "The Lady or the Tiger Show," "Gorilla," and "Little Feet," plus the screenplay for "Things Change" with playwright pal David Mamet. His musical talents also carried over to several movie soundtracks, including an Oscar-nominated song from "Postcards on the Edge." On the side, he acted a little too, most notably a small role in "Who Is Harry Kellerman and Why is He Saying Those Terrible Things About Me?" alongside Dustin Hoffman. Not bad for something that probably would've appeared on the ninth page of his resume. Of course, that wasn't everything. In his abundant spare time, Silverstein penned a few mystery stories. We also heard he sculpted a few statues, choreographed a ballet, and built an Egyptian-style pyramid, but there's no truth to those stories. As far as we know.

Crying Uncle

Silverstein once said, "Don't be dependent on anyone else—man, woman, child, or dog. I want to go everywhere, look at and listen to everything. You can go crazy with some of the wonderful stuff there is in life." Restless words from a restless man. Throughout his life, Silverstein didn't stay with a single art form, or live at a single residence, for too long. The same philosophy also seemed to apply to his love life. He had two kids, but never married. Freedom of all sorts—especially the freedom to create what, when, and however he wanted—was vital to him. Such an idiosyncratic path doesn't often lead to big bucks, but Shel was once again the exception to the rule. When he died of heart failure on May 10, 1999, at the age of 68, he was worth millions.
Silverstein gave only a few interviews during his lifetime, and not many were lengthy. He seems to have had a real aversion to blabbing about his work. In fact, he didn't even like for his stuff to be advertised, asking that excerpts of poems and cartoons be the sole contents of any necessary, evil, and publisher-mandated publicity. He once suggested, "If you want to find out what a writer or a cartoonist really feels, look at his work." We can only recommend you simply trust him on that one.

SHEL ON SHEL: Shel Silverstein was notorious for not giving interviews. But when he gave 'em, he gave 'em his all—no holds barred.

  • Shel on Folk Music (and Love): "Certainly as a group, folk songs are the dumbest things in the world. People say they're simple. They're dumb. They don't say much. They don't go any deeper into any subject than "˜love is like an oak tree' or "˜love is like a flower.' Bulls--t. Love is not like a flower. I don't know what it's like. It's like a whole lot of things, but it's not like a flower and it's not like an oak tree." (Aardvark magazine, 1963)
  • Shel on Criticism: "I think if you're a creative person, you should just go about your business, do your work, and not care about how it's received. I never read reviews, because if you believe the good ones, you have to believe the bad ones, too." (Publishers Weekly, February 24, 1975)
  • Shel on Taboos: "I'd do a joke about a blind man if I thought it was really funny. Blind people joke about being blind." (Aardvark magazine, 1963)
  • Shel on Laziness: "I believe that if you don't want to do anything, then sit there and don't do it, but don't expect people to hand you a corn beef sandwich and wash your socks for you and unzip your fly for you." (Aardvark magazine, 1963)
  • Shel on His Musical Talents: "Well, for the voice I've got, I like what I do with it. My tunes are okay, nothing that special. My guitar playing's terrible. But my lyrics are pretty good." (The Chicago Tribune, March 4, 1973)
  • Shel on Complaining about Your Audience: "It's easy to sell a bag of popcorn to somebody who wants popcorn. If they want popcorn and you want to sell them shish kebab, you've got a tougher time of it. If you want to educate them, go ahead and educate them. Sell them shish kebab. Or sell them raw fish or whatever you sell them, but don't complain because they wanted popcorn." (Aardvark magazine, 1963)

Turn Your LEGO Bricks Into a Drone With the Flybrix Drone Kit

Flyxbrix/FatBrain
Flyxbrix/FatBrain

Now more than ever, it’s important to have a good hobby. Of course, a lot of people—maybe even you—have been obsessed with learning TikTok dances and baking sourdough bread for the last few months, but those hobbies can wear out their welcome pretty fast. So if you or someone you love is looking for something that’s a little more intellectually stimulating, you need to check out the Flybrix LEGO drone kit from Fat Brain Toys.

What is a Flybrix LEGO Drone Kit?

The Flybrix drone kit lets you build your own drones out of LEGO bricks and fly them around your house using your smartphone as a remote control (via Bluetooth). The kit itself comes with absolutely everything you need to start flying almost immediately, including a bag of 56-plus LEGO bricks, a LEGO figure pilot, eight quick-connect motors, eight propellers, a propeller wrench, a pre-programmed Flybrix flight board PCB, a USB data cord, a LiPo battery, and a USB LiPo battery charger. All you’ll have to do is download the Flybrix Configuration Software, the Bluetooth Flight Control App, and access online instructions and tutorials.

Experiment with your own designs.

The Flybrix LEGO drone kit is specifically designed to promote exploration and experimentation. All the components are tough and can totally withstand a few crash landings, so you can build and rebuild your own drones until you come up with the perfect design. Then you can do it all again. Try different motor arrangements, add your own LEGO bricks, experiment with different shapes—this kit is a wannabe engineer’s dream.

For the more advanced STEM learners out there, Flybrix lets you experiment with coding and block-based coding. It uses an arduino-based hackable circuit board, and the Flybrix app has advanced features that let you try your hand at software design.

Who is the Flybrix LEGO Drone Kit for?

Flybrix is a really fun way to introduce a number of core STEM concepts, which makes it ideal for kids—and technically, that’s who it was designed for. But because engineering and coding can get a little complicated, the recommended age for independent experimentation is 13 and up. However, kids younger than 13 can certainly work on Flybrix drones with the help of their parents. In fact, it actually makes a fantastic family hobby.

Ready to start building your own LEGO drones? Click here to order your Flybrix kit today for $198.

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6 Things We Know About the Game of Thrones Prequel Series, House of the Dragon

HBO
HBO

By the time Game of Thrones wrapped up its record-breaking eight-season run in 2019, it was a no-brainer that HBO would be producing another GoT series to keep the success going. The first announced show in the works, which was reportedly picked from a few prequel ideas, was going to chronicle a time thousands of years before the start of GoT, and was set to star actress Naomi Watts. Unfortunately, that project was eventually scrapped after the pilot was shot—but a new prequel series, House of the Dragon, was announced in October 2019. Here's what we know about it so far.

1. House of the Dragon will be based on George R.R. Martin's book Fire & Blood.

George R.R. Martin's novel Fire & Blood, which tells the story of House Targaryen, will serve as the source of inspiration for the plot of House of the Dragon. The first of two volumes was published in 2018, and takes place 300 years before Game of Thrones.

2. House of the Dragon will likely chronicle the Targaryen family's tumultuous past.

Game of Thrones showed that the Targaryen family has a long-standing history of inbreeding, secrets, betrayal, war, and insanity. Fire & Blood covers topics like the first Aegon Targaryen's conquest of the Seven Kingdoms and his subsequent reign, as well as the lives of his sons. Seems like we'll probably be meeting Dany's ancestors, and Martin confirmed there will definitely be dragons present—maybe even Balerion the Black Dread, the biggest dragon in all of Westerosi history.

3. George R.R. Martin and Ryan Condal are co-creators of House of the Dragon.

Co-Executive Producer George R.R. Martin arrives at the premiere of HBO's 'Game Of Thrones' Season 3 at TCL Chinese Theatre on March 18, 2013 in Hollywood, California
George R.R. Martin
Kevin Winter, Getty Images

Martin shared on his blog that he's been working with writer and producer Ryan Condal (Rampage, Colony), on the show. "Ryan Condal is new to Westeros, but not to me," the acclaimed author wrote. "I first met Ryan when he came to New Mexico to shoot a pilot for a fantasy western that was not picked up. I visited his set and we became friendly ... He’s a terrific writer … and a fan of my books since well before we met." In another blog post, Martin said that the show's script and bible were "terrific, first-rate, exciting." Sounds like we'll be in good hands.

5. A Game of Thrones director is returning for House of the Dragon.

Per a tweet from the Game of Thrones Twitter account announcing the show, Miguel Sapochnik, who directed many of the original HBO series' biggest episodes, such as "Battle of the Bastards" and "Hardhome," will be returning for House of the Dragon as showrunner alongside Condal. Sapochnik is also known for directing a handful of other notable shows, such as True Detective, Masters of Sex, and Altered Carbon.

6. House of the Dragon could be coming in 2022.

HBO ordered 10 episodes of House of the Dragon, and HBO president of programming Casey Bloys said he thought that the show would debut "sometime in 2022." However, with the film industry facing major delays due to safety concerns surrounding the coronavirus pandemic, there's no word on when the show will begin filming.

Meanwhile, Martin revealed that he won't be writing any scripts for House of the Dragon until he finishes The Winds of Winter, which has been in the works since A Dance With Dragons, his most recent book in the A Song of Ice and Fire series, debuted in 2011. The good news, however, is that Martin says he has been "writing every day" while keeping indoors and social distancing, leaving fans with the hope that The Winds of Winter will come soon.