It was inconceivable to me as a child that I would be an adult. I mean, one assumed that it would happen, but obviously it didn't happen, or if it did, it happened when your back was turned, and then suddenly you were there. So I couldn't have thought about it much.
I know there are supposedly happy people in this world. I never believed it, but I take it for granted. God knows, they're all on television.
Girls are infinitely more complicated than boys, and women more than men.
God, I had great people in my life.
Bumble-Ardy looks like a happy book. That's the funniest thing about it. But this was survival. I was working very hard to survive.
My sister had her own room. She also had innumerable boyfriends. I had a yo-yo collection that was beyond belief, and the reason I had it was mostly that I would stand in the doorway of the living room watching her and her boyfriend. Finally she caught on how to get this kid out of the way. Give him a yo-yo!
Then one day my sister abandoned me at the 1939 World's Fair, and that incident is the essence of In the Night Kitchen. I was standing there with hundreds of other people waving back at the little midgets dressed like bakers when I turned around and my sister was gone! The next thing I know I'm screaming and crying and policemen are taking me to a big place with tons of kids who had all been abandoned like me. At least I was old enough to give them a name and an address.
My brother, who was older, was the gifted one, much more talented than I.
[Drawing] and making things was all we ever did. My brother and I built the entire New York World's Fair of 1939 in miniature out of wax. The floor of our room was covered with little waxen buildings. Nobody else could come in.
For my father the one calamity was that my brother and sister and I never learned to swim. My father, who was very macho, was a strong swimmer and was terribly disappointed to have children who didn't swim. Once when my mother was sitting in a beach chair - I can still see the big umbrella - she called to my father, "Throw them in! Throw them in! They'll swim!" So he did. Then he looked down, and there were the three Sendak children lying perfectly still underwater, not fighting for life!
I never thought of Bumble-Ardy in that way. But I still have that same deep feeling for children who are in dire trouble. I see Bumble-Ardy as a lonely, unhappy kid who is doing the very best he can to be in the world, to have a party.
I had lost my sister recently, too, which meant that my whole family was gone. I was the baby of the family. There were five Sendaks and there were five Wild Things, and now there's only one Sendak, and he's about to bite the dust, too! Life, as I said before, was very difficult at that time and so it was natural that there would be a change in the look of things. Also, I was very impressed with my own strength in doing this under the circumstances in which I was living.
In another project I worked on just a few years ago, a staging of Peter and the Wolf, which I translated into Yiddish and sang on a stage in New York City. Thank God very few people knew I was doing it! But the kids in the audience loved it - even though it was all in Yiddish.
Bumble-Ardy is a very wicked little child as far as I'm concerned. He's not to be trusted.
Thank God that Bumble-Ardy's parents are dead so we don't have to wonder what they did to him. We only know that they were famous, and famous people have unhappy children for the most part. They don't have the time to take care of them. So he's a troubled pig-boy, a kid you've got to watch.
I thought that if I were going into old age I would want to do what [Giuseppe] Verdi did, which is to write extraordinary things, and to really find myself.
I had been reading a fabulous book [The Man Verdi, by Frank Walker] about [Giuseppe] Verdi, whom I adore.
A whole new world of Italian music was springing up, and [Giuseppe] Verdi was seen as old. Boito got Verdi all excited about the possibility of doing another opera, another kind of opera. In fact, Verdi composed his two best operas, Otello and Falstaff, in his eighties.
It was a very difficult time. I was working on [umble-Ardy] when my partner and friend was dying of cancer. We set up a room in the house to be like a hospital room. Eugene died, and then I had bypass surgery. I was doing the book to stay sane while all this was going on.
All I liked to do when I was a kid was draw.
We all want to be renewed, don't we?
You can start making up any kind of story if you want to.
Venturing back further, learning is so slow. Accomplishment is so slow. Experiencing and evaluating your experience is so slow.
Life has only gotten better personally for me as I've gotten older. I mean, being young was such a gross waste of time. I was just such a miserable, miserable person.
I want to be free again. I want to be free like when I was a kid, working with my brother and making toy airplanes and a whole model of the World's Fair in 1939 out of wax.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: