Praise for The Dark Wood of the Golden Birds:“In 1948, a year after she rewilded the landscape of literature with Goodnight Moon, Margaret Wise Brown watched the love of her life fade to black. Michael Strange, born Blanche Oelrichs, had cast an instant spell on Margaret—outspoken, sophisticated, and self-possessed . . . Both women were born in the wrong century, bent on bending it to their will; both were accidental radicals, just by living unselfconsciously . . . Margaret loved Michael with unassailable devotion, and Michael was dying. So she did the hardest thing in life—facing the death of a beloved while remaining a pillar for their passage—the best way she knew how: She wrote a love letter in the form of a children’s book . . . I fell instantly under the spell of this crepuscular story aglow with love and longing . . . Margaret's love letter to the mystery of death . . . bittersweet and beautiful like the transience of life itself.”—Maria Popova, from the AfterwordPraise for Margaret Wise Brown:“Brown was a seductive iconoclast with a Katharine Hepburn mane and a compulsion for ignoring the rules . . . [Her books] were radical for their time . . . Brown helped create a new type of children’s literature that provided both aural and visual feasts. Her books . . . delighted, surprised, and sometimes disturbed.”—Anna Holmes, The New Yorker“Goodnight Moon, and indeed most of Brown’s exceptional and quirky bibliography, are that perfect marriage of mesmerizing for children and tantalizing for adults. They’re a pleasure to read—precise and rhythmic—words that don’t rhyme still harmonize so beautifully that even the most halting reader can become a poet, telling her child a blessing . . . Brown’s books are stories told through the eyes of children, with equal parts wonder and terror at the infinite world, and a brave yearning for independence.”—Barrie Hardymon, NPR“Brown was solely a writer, not an illustrator. She is known for the lyrical poetry of her texts . . . Goodnight Moon, with its simple, reassuring and cadenced text, elevated the craft of children's book writing to art.”—Edith Kunhardt Davis, The New York Times Book Review“Why has Margaret Wise Brown’s picture book Goodnight Moon sold upward of 48 million copies? . . . Like most of the hundreds of children’s books, poems, and songs Brown wrote during her short life, Goodnight Moon is less a story than an incantation. It summons a cocoon around reader and listener, a sensation of being pulled out of the hurly-burly of the world into a pocket of charmed tranquility . . . Her picture book texts—with their repetitions, impulsive digressions, and eccentric non sequiturs—always sound a bit like a story a child is making up as she goes along, or, rather, like the story that child would be trying to tell if she could only make the words come out right. Many great children’s authors replicate the tone of a beloved grown-up, but Brown, more than any other, speaks with the voice of a child.”—Laura Miller, Slate“Brown was anything but forgettable. She was gorgeous, vivacious and luminous, a firefly in Hepburn slacks. She had stormy relationships with both men and women. One of her favorite pastimes was beagling, a sport that requires chasing hares on foot. She was partial to furs; she preferred writing with quill pens; in her Greenwich Village apartment, she held festive parties for the Birdbrain Club, her friends’ answer to the Algonquin Round Table.”—Jennifer Senior, The New York Times
