I first interviewed you back in 1996, with the publication of Lilly’s Purple Plastic Purse. I began by saying—a statement that certainly still holds true—“Kevin Henkes’ picture books and novels are a celebration of the ordinary, written and illustrated with extraordinary aplomb.” At that time, you had a 14-month-old son. How has life changed in those decades, and how has it stayed the same, especially in terms of your writing and illustrating?
My 14-month-old son is now 29 and on his own. Life is no longer filled with all the things that go along with kids at home. I do remember periods when it seemed difficult to find long stretches of time to really concentrate on book work. But one finds a way to do it. Now, finding time is not an issue, and the actual work is very much the same. When our kids were little, I always wanted to have a book to be working on and thinking about. It was an anchor in my life. That feeling, that need to be writing, has not changed.
Still Sal’s dedication reads: “For Peg, Mel, Abby, and Margaret, with much love and thanks for answering oh-so-many questions about teachers and teaching.” Who are Peg, Mel, Abby and Margaret, and what did you ask them?
They are my sister, my sister-in-law, our kids’ former babysitter and a dear friend—all elementary school teachers. Over the years I’ve asked them so many questions about curriculum, class size and classroom layout. I’ve asked them how they might deal with certain behaviors. I’ve gotten suggestions for names from them, too. I’m reminded when I’ve talked to them how open, generous, thoughtful and patient they are—not a surprise, but traits to be admired. Over the years, I’ve read to their classes and helped decorate some of their classrooms. I’ve sketched in some of their classrooms too (after hours when no students were around). Some rug and floor patterns and wall decorations have shown up in several of my illustrations.
What has been your proudest publishing moment over the years, more than 50 books after starting your career? Has your confidence grown, and do you sometimes face struggles as you create?
I can’t say I have a proudest publishing moment, although I am amazed when I look back and think that I went alone to New York City at age 19 to look for a publisher. I don’t think I’d have the confidence to do that now at age 63. And yes, I always face struggles as I create. I constantly ask myself questions such as: Why is this so difficult? Will I ever have another idea? Why can’t I get onto the page what I so clearly hear or see in my head?
“I am amazed when I look back and think that I went alone to New York City at age 19 to look for a publisher.”
Sal’s dad is a sculptor who works from his studio in the family garage. He’s a wonderfully involved and emotionally attuned parent who loves to make fun shaped pancakes and is nostalgic as he watches his three children change and grow. Did you channel any of your own emotions or experiences into Papa?
Like Papa, I was a stay-at-home artist parent along with my wife, Laura Dronzek. Like Papa, I often made fun shaped pancakes—although it’s harder to do than you’d think, and Papa is much better at it than I was. And now, since my kids are grown and on their own, I’m terribly out of practice. All of my characters probably have a bit of me in them, but Papa more than others.
Which children’s writers and illustrators have been the most influential for you?
Among the picture book creators who have meant the most to me are Crockett Johnson, Ruth Krauss, M.B. Goffstein, Maurice Sendak, James Marshall, Jean Charlot, Garth Williams and Margaret Wise Brown. As far as novels for children are concerned, my favorite writers include Paula Fox, Beverly Cleary, Eleanor Estes and Lynne Rae Perkins.
Sal has lots of very big feelings about what adults might consider to be small, fleeting problems. And yet, as readers, we care deeply about her struggles and feel her pain, as well as her triumphs and joy. How do you make her inner life so authentic, sometimes funny, and always riveting?
I’ve always been drawn to the ordinary, to small domestic stories. And I love exploring the inner lives of my characters. I’m more interested in the ripple than the wave. “Big, bad, things” don’t tend to be my focus. But what qualifies as a “big, bad thing” is subjective. It may be as simple or complicated as worrying that you got the wrong teacher or that you have to share your room or any of the hundreds of concerns and shortcomings that children everywhere work through every day. Precision and clarity bring the characters’ feelings to life.
“I’ve always been drawn to the ordinary, to small domestic stories.”
You write so seamlessly, and yet I imagine that getting the plot and timing exactly right was an intricate process. Could you discuss your writing and editing process?
I still write my manuscripts by hand in a spiral notebook. And I write slowly—sentence by sentence, word by word—in one draft without an outline. Writing this way requires a huge leap of faith. It is an act of trust—trust that somehow I will know my characters long enough and get to know them well enough that things will come together and fall into place beautifully.
E.L. Doctorow once observed that writing was “like driving alone at night: you could only see as far as your headlights. But you could go the whole way like that.”
Eventually, I will get to the point where there really is only one way for the story to go. It is inevitable. So far, anyway, I’ve always found my way home.
Art is such a big part of Sal’s and her father’s lives, and it’s one of the things that “draws” them together. Could you talk about the role that art plays in elementary students’ lives, as well as its role in your novels?
I’ve always thought of myself as an artist so that’s always been an important part of who I am. Because of that, I love writing about characters who are artists. Several of the characters in my novels—both adults and children—are artists.
I think art is important in the life of a child. I wish that there was more support for the arts in school, and that art in general was treated with greater respect in society.
As an illustrator, do you visualize your novels as you write? Would you ever consider trying a graphic novel?
Writing a novel is very different from writing and illustrating a picture book. But because I am an illustrator, I do visualize my novels as I work. I love creating and describing the spaces in which my characters live. It’s one of my favorite things about writing. I have thought about trying a graphic novel. Who knows? I do think of my picture book Egg as a graphic novel for preschoolers.
I love Sal and her friend Griff’s mini golf course creation with spoons and marbles. Have you made your own?
I have not made my own mini golf course, although my kids built many things like that. I remember very elaborate villages constructed from twigs, leaves, stones, shells, etc.
Also, Sal’s Papa makes a memorable macaroni and cheese recipe. Are you a mac and cheese chef?
Laura is the cook in our house and makes great macaroni and cheese. I’m very good at eating it!
Your Miller Family Stories, including Still Sal, remind me of Beverly Cleary’s books. Might Poppy Miller get her own book someday?
I never intended to write a second book about Billy Miller and his family. But I couldn’t get him out of my mind, and so it felt right to reenter that world. Now, after four books about the Miller family, I would have thought I’d be finished, but I’m getting little signals that there might be another. Maybe someday Poppy will get her own book.
