Product Details

• Amazon Sales Rank: #226762 in Books
• Published on: 2005-10-30
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 64 pages

From Publishers Weekly
Starred Review. The publication of Johnson's (Harold and the Purple Crayon) deceptively simple story marks the debut appearance of this work in precisely the way Johnson conceived of it. (A version was published in 1965 as Castles in the Sand with illustrations by Betty Fraser.) Nel discovered the original dummy while researching a biography of the author. The ingenious book design plays up the feel of an artist's sketchbook, and the spare pencil sketches (with even the artist's erasures in evidence) on a beige background give readers the feeling of peering over the artist's shoulder. The drawings introduce young Ann and Ben, outlined in the expressive line that Harold fans will recognize immediately. The children have only to write a word in the sand and the item appears before them, making an intriguing play on the notion of spelling and spells. Musing that such things only happen in "stories about magical kingdoms," the pair proceeds to create just that, conjuring up a king, farms, castles and a horse, on which the monarch rides off to his kingdom, just as the tide rushes in. Maurice Sendak, a close friend of Johnson and his wife, Ruth Krauss, contributes an insightful "appreciation," and the afterword quotes a letter from Johnson describing the tale's debt to the Fisher King. Like all great stories, this one stretches well beyond the pages. All ages. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
PreSchool-Grade 2–First published in 1965 as Castles in the Sand with illustrations by Betty Fraser, Johnson's manuscript resurfaces here, accompanied by his original sketches. Two children, bored on a summer day, wander down to the beach and begin to write in the sand, only to find that the waves wash away their words and replace them with the objects they describe. They continue writing until they have created a magical kingdom complete with forest, castles, and a sad king. With strong allusions to the Fisher King myth, this is a sly reflection on the power of words and the line between real and imaginary worlds. Though the story was enthusiastically turned down by many publishers in Johnson's day as too oblique for young audiences, the characters' realizations (e.g., The king is still there, in the story….Hoping to get to his throne) are presented in a child-friendly way. The sketchy dummy illustrations, complete with erasure marks, lend a deep realism of their own. Though this package, complete with a foreword by Maurice Sendak and an afterword by Philip Nel, will mostly appeal to children's book aficionados, the deceptively simple story has undeniable child appeal as well.–Kathleen Kelly MacMillan, Carroll County Public Library, MD
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Gr. 1-3. While speaking about the nature of stories and the merits of being in one rather than reading one, a boy and his sister find a magical beach. They write a word in the damp sand and a breaking wave washes away jam and leaves a dish of jam in its wake. Soon they create a kingdom, beginning with king and adding forests, farms, cities, and, at the king's urging, castles. At first they follow the king into his story, but at his command, they return to the beach, where they watch as the tide comes in and covers the magic kingdom with water. The children debate whether the story has ended or whether it simply stopped when they left. This is illustrated with the unfinished sketches that Johnson submitted in 1959 to Ursula Nordstom, who (like several other publishers) rejected the book, saying "we're afraid that it just isn't a children's book." In 1965, it was published as Castles in the Sand, with illustrations by Betty Fraser.Bracketed by two insightful, informative gems for Johnson fans, a two-page "appreciation" by Maurice Sendak and a four-page afterword on the book's history by Phillip Nel, this handsome book is clearly aimed at adults as much as children. But whoever the audience, there is magic to be found in the words and sketches of Crockett Johnson. Carolyn Phelan
Copyright © American Library Association. All rights reserved

Customer Reviews

Magic by the beach
I've made a terrible mistake. Can there be such a thing as doing too much research on a children's book? It seems ridiculous, really. Especially since I write reviews for Amazon.com and not some high-falutin' literary journal like "Children's Literature In Education" or "The Lion and the Unicorn". When it came to the recent publication of Crockett Johnson's ridiculous and fascinating, "Magic Beach", however, I felt ill-prepared to review the puppy without a little background information on my side. Fortunately, this is one book with a pedigree that is easy to follow. From its famous (and long-dead) author to its Forward by Maurice Sendak to finally an Afterword by Crockett scholar Philip Nel, the story of how the book came to its present form is just as interesting as the tale it tells. The only problem now is that I almost feel I know too much about the title. With some difficulty I will try to parse what I know from what I think and hope it all comes out relatively coherant. This is by no means a book meant for children and one might wonder whether its existence as a purely historical document justifies such vast publication at all, but it certainly is an interesting little thing and a fairly nice read to boot.

Ann and Ben, two children, walk along a seashore from their cottage. Ann complains of boredom but Ben points out that stories are far more interesting when you go out and make them rather than stay inside and read them. In the course of their somewhat philosophical squabbling Ben happens to write the word "JAM" in the sand. A breaking wave floods the word and suddenly a silver dish full of jam appears by magic. Further experiments with "BREAD", "MILK", and "TREE" yield similar results. The children are now interested in the turn their day has taken and Ben reasons that if there is magic then this must be a magic kingdom. Ipso facto, a magic kingdom must be ruled by a king. Once Ben has written the word "KING" in the sand, however, the tale takes a turn towards the peculiar. The king, morose and unhelpful, speculates that the spell cast comes from the children themselves. Once they've created a kingdom in full and a horse with which to ride to his castle, the king insists that the children leave the kingdom proper. All too soon, however, the sea comes and swallows up the world the children created with just words in the sand. At the end, they stand on a sandbank and view the calm clear sea. Ann suggests that the story may be continuing sight unseen, "But Ben had his ear to the shell, and he was listening to the sea".

You know you're in trouble when you've read a book of 53 pages, pictures included, and you suddenly decide that you need to polish up on your Arthurian legends ("Fisher King" anyone?) as well as your T.S. Eliot. I'm a rather big fan of Ursula Nordstrom (original editor of Crockett Johnson) so I scanned the book, "Dear Genius: The Letters of Ursula Nordstrom" for any reference to "Magic Beach" available. Unfortunately, such letters were not deemed particularly interesting by Leonard S. Marcus and I had to be content to rely on scholar Philip Nel for information regarding this book's history. According to his Afterword, Nordstrom did not feel that the book was written with children as its intended audience. As the Kirkus review of "Magic Beach" puts it so succinctly, "Johnson's editor Ursula Nordstrom didn't think this was a story for children. As in so much else, she was right -- but it does make a handsomely packaged artifact for adult readers of children's literature". This is why I hate to read professional reviews before writing my own on Amazon. Too often they say exactly what I would like to, only far far better.

Published by the truly eclectic publisher Front Street the book has been reproduced with Johnson's original illustrations. Of course, they weren't exactly polished when he set them down in the first place, never to return to them again. They're just the faintest of outlines on a brown paper background. Maurice Sendak prefers them in their "diamond-in-the-rough" form, though. "The sketches were intended only to show his editor the direction he meant to go in, but, for me, they are as finished as any illustrations he ever did. Only better". Which is why, ladies and gentlemen, we do not allow artists full license over the works of their contemporaries. The pictures are certainly nice in a this-is-how-an-artist-works process. Just don't go thinking that had Johnson included (oh, I dunno) color they wouldn't have been preferable. And to present them in this original outline is to basically tell your readers: For adults only. Children were not the focus of the original tale and they are certainly not the focus of it now. Still, in the Oct. 13, 2005 edition of Publisher's Weekly, editor Stephen Roxburgh had this to say of the galleys: "It was not broken, so we did not fix it". All well and good though I didn't know if I could completely agree with his statement that, "children even more than adults appreciate 'the richness, fullness, gradations and subtleties' of book illustration". Hence doing away with that richness altogether? Confoosing to say the least.

Perhaps the most telling piece of evidence in the midst of all this information is the fact that "Magic Beach" WAS published in 1965 as "Castles In the Sand". The illustrations were drawn not by the great man himself but rather by one Ms. Betty Fraser. I have not seen "Castles In the Sand" myself (though I was sorely tempted to buy a copy from EBay for the sole purpose of this particular review) but if Fraser's work in other areas is any indication, the book must've been a violent departure from Crockett's original vision. The fact that tracking down a copy of "Castles In the Sand" is as difficult as it is speaks volumes about how unremarkable it was. And call "Magic Beach" what you will, it is not unremarkable. I know that I've complained and caterwauled over authorial/editorial/Sendakian intent till I was blue in the face but when it comes down to it, I liked this book. I liked the story. I liked Johnson's method and what he was saying with a title that, in many ways, was a kind of anti-"Harold and the Purple Crayon". Instead of creating a world (which they do initially) our boy and girl heroes create AND destroy it in one fell swoop. And who is to say that any of it was real after all? Harold has the comfort of crawling into a bed he has drawn himself. Ann and Ben are left only with seashell and a potentially drowned monarch.

I would not hand "Magic Beach" to the child that is far more attuned to the equally misleadingly simple, "Don't Let the Pigeon Drive the Bus", but there is no denying that some kids would get a lot out of this tale. In any case, it's certainly a picture book for grown-ups, and I recommend it to them without hesitation. Lovely, curious, and cruel. A wonderful experience for those who chance upon it.

a diamond in the rough
i stumbled upon this book in the bookstore as i was shopping for a present and fell in love with it. it is a simple story about being a part of a story versus just reading a story, and can reach a large spectrum of readers. i would recommend this book for children above first grade though, the illustrations are beautiful but may not catch the attention of the younger readers.