Rowboat Watkins is a highly acclaimed picture book artist in the United States in recent years. His unique creative style is deeply loved by young readers, parents and teachers. Picture book enthusiasts also regard his works as humorous readings to relieve stress, because they are often quite funny, but behind the almost absurd exaggerated humor is a lot of positive energy, full of teaching without being preachy.“Don’t mess with the little cake! A picture book for raising high-energy children“The series includes five of his books, which can be said to be five stories that are both funny and educational. Please allow me to introduce them one by one in the order in which their English versions were published.
Rude Cakes (2015)
This is his debut work under the pen name “Rowboat” (originally meaning “rowboat”), and there was a Chinese version translated as “Bad-tempered Cake” (Relay Press, 2016).
This book tells the story of a cantankerous little cake. He never says “please” or “thank you,” refuses to listen to his parents’ advice, and is unwilling to share or apologize. He believes he can never make a mistake. However, when the naive and somewhat goofy Cyclops mistakes him for a hat and puts it on his head, Cake learns a lesson through a series of hilarious adventures and ultimately learns to be polite and kind.
The book’s lessons are readily apparent. But its most striking feature is Robert’s expressive and humorous illustrations, the highly interactive narrative, and the unique designs of the cupcakes and the Cyclops. These powerful visuals captivate children, making them laugh and immerse themselves in the story, unconsciously understanding the importance of courtesy and kindness. This work is irresistible to both children and adults, and it’s no wonder it won an Honorable Mention (Silver) in the 2016 Jack Ezra Keates Picture Book Illustrator Awards.
Pete with No Pants (2017)
This is the second book written and illustrated by “Rowboat,” previously translated into Chinese as “Pantsless Pete” (CITIC Press, 2019). The book features the adorably naive little elephant Pete, constantly struggling with his pants during his unbridled play (apparently, pants can be a hindrance in children’s imaginative play). However, his explorations and constant questioning reveal both joy and sorrow. While the story is filled with silent gray stones, self-absorbed pigeons, curious squirrels, and calmly observing owls, young readers may find resonance in it, experiencing the joys and awkwardness of everyday play. The story’s playful assumptions and self-discovery demonstrate children’s vibrant curiosity and independent thinking.
Mother Elephant strikes a beautiful balance—one of care and guidance. She’s always by Pete’s side, taking care of his daily needs, like feeding and bathing. While she doesn’t directly intervene as Pete explores and asks questions, she quietly supports his independent thinking and self-discovery by providing a safe and warm family environment. It’s her caring and inclusiveness, and her subsequent active involvement in imaginative play, that allows Pete to freely explore and express himself.
Some American reviewers believe that the book’s style of illustration is reminiscent of Maurice Sendak’s early style (such as the “Dear Little Bear” series) and Jean de Bruyne’s “The Story of Babar the Elephant.” This is indeed a valuable association. Classic children’s books often find the right balance between innocence and naivety, funny and cute, sensible and wise, and warm and caring.
Most Marshmallows (2019)
This is actually the fourth book written and illustrated by Rowing Boat. The third is “Once Upon a Time There Was a Big Bunny” (2018), a quirky bedtime story that reverses the roles of storyteller and listener. The marshmallow in this story already appears on the copyright page of “Don’t Mess with the Cake,” as a balloon-carrying marshmallow bullied by a grumpy cake. In the fourth book, the marshmallow not only becomes the protagonist but also, by the end, an omnipotent, fire-breathing marshmallow. This kind of exaggerated, hilarious, yet understandable, twist has become a hallmark of Rowing Boat’s stories.
The book’s English title, “Most Marshmallows,” is worth mentioning. Robert clearly relishes this phrase, as he’s since added “is mostly a dad who likes to tell stories and draw” to his bios. While unusual in English, this phrase is easily understood and imbued with warmth and intimacy. He emphasizes that, despite being a successful picture book creator, his primary role is as a father to his daughter! This in itself offers a bit of a twist, doesn’t it? While most of the marshmallows in this book enjoy a sweet, everyday life, following the rules and yet finding bliss in mediocrity, a few (typically characterized by a love of reading and dreaming) secretly realize that even a marshmallow’s journey can hold endless possibilities.
Marshmallow’s Little Legend focuses on inspiring children to discover and realize their potential. While there are many children’s books embracing this theme, the book’s distinctiveness lies primarily in its unique visual creativity and sense of humor. According to the author, the illustrations are “made with marshmallows, construction paper, cake sprinkles, cardboard, acorn hats, twisted wire, pencils, and other materials.” The book employs a collage-like approach, making the story scenes feel more like children’s craft play. This approach, through a playful experience, allows children to truly experience the infinite possibilities of each life journey.
Mabel (2020)
The story of Mabel, the Little Mermaid, is Rowboat’s fifth self-written and illustrated picture book. It tells the story of a beardless mermaid who, through a series of adventures and friendships, finally comes to terms with her imperfections and her unique growth. The story features mermaids of all ages and genders sporting beards, while the octopus family has seven limbs—a somewhat absurd reversal of reality and conventional imagination. Rowboat continues to successfully reverse this, allowing readers to “see” (and, of course, embrace) such a beautiful “imperfection.”
Accepting the so-called “imperfections” of one’s own body is actually a common theme that is quite encouraged in today’s world. It can be called “body positivity”, which advocates accepting and appreciating one’s own (or others’) body. Regardless of body shape, size, color or other characteristics, it is worthy of confidence and respect. This is also a very important message for growing children:Being different in appearance does not mean being a disadvantage. Inner confidence and self-identity are the most important.
The story of the “rowing boat” uncle is not particularly novel in terms of theme and plot structure, but it is unique in character design and graphic expression. The mermaid who tries hard to disguise herself but is called a “nudibranch”, the octopus with only seven claws but can count to eighty-eight, countless funny graphic details and a warm friendship that is precious in the trough, make this story about “special” physical signs very special and impressive.
No Sleep, Go to Mars! (Go-Go Guys, 2023)
The sixth self-written and illustrated picture book under the name “Rowboat” is a rather boisterous bedtime story about a group of children who, still full of energy, don’t want to sleep, so they want to run around and do all kinds of exciting things. The three children’s imagery, reminiscent of marshmallows, and their floating and wandering state, is reminiscent of Mickey Mouse in Sendak’s “Midnight Kitchen.” I think, in a sense, this book is also a tribute to Sendak.
The playful little creatures in this book love all sorts of toys and vehicles, and their minds are consumed with fantasies of space exploration, a trope now almost overused in children’s books. Uncle Rowboat takes a different approach, particularly when he awakens the bored sheep the little ones don’t want to count. These frantic sheep tear the house apart, chase the refusing children out, and send them into space. Uncle Rowboat doesn’t simply indulge the little ones’ mischief. Instead, he seizes the opportune moment to reverse the seemingly uncontrollable chaos, using the powerful moon to instantly subdue the mischievous creatures. The rhythmic narrative seamlessly shifts between absurdity and sublime tranquility, perhaps a transition from bustle to quiet, and finally, the onset of sleep.
The illustrations of the “rowboat man” maintain his usual vivid, lively, and expressive style, while maintaining a necessary balance within the story, showing the child’s endless energy and thirst for adventure on the one hand, while also conveying the importance of rest and sleep on the other. This perhaps also reflects his role as “primarily a father.”
After reading all the works written and drawn by Uncle Rowboat so far, I can’t help but be very curious about him. What kind of person is he and why can he create such works?
Searching for his profile online is quite fascinating in itself; he seems to intentionally maintain a certain air of mystery, unwilling to reveal his true identity easily. Consequently, his official website (www.rowboatwatkins.com) only contains a few books published since 2015, along with the origins of his nickname (and pen name) “Rowboat” (derived from his wife’s nickname for him for many years). Beyond that, it’s practically blank, as if he hadn’t done anything before this. And judging by the various interviews he’s given in recent years, aside from discussions of his work and creative quips, there’s virtually no personal information.
Thanks to social media and Wikipedia, I first found information about his wife, Dana Stevens. Even this renowned film critic joked on social media that her husband was a bit mysterious, sometimes even those who spent time with him didn’t understand him. But following these clues, I gradually sketched out the true face of this “rowing boat” uncle.
It turns out his real name is Robert Weinstock. He was born in Philadelphia, USA in 1967 and later graduated from Stanford University. This top student from a prestigious university worked as a graphic designer and book editor. In 2003, he suffered a car accident that caused him to lose most of his sense of taste (perhaps changing his career). In 2004, he published his debut picture book, Gordimer Byrd’s Reminder, which he wrote and illustrated. He later published Giant Meatball (2008) and two children’s poetry collections, Food Hates You, Too and Other Poems (2009) and Can You Dig It? ” (Can You Dig It?, 2010), and the picture book I’m Not (2010) which he collaborated with Pam Smallcombe — these are all very interesting books, and the last one was also introduced to China (Twenty-First Century Publishing House, 2013), but the strange thing is that after changing to a pen name, the “Rowing Boat” uncle didn’t mention them at all!
In fact, in 2010, something profoundly meaningful happened to him: he and three other artists were awarded the inaugural Sendak Fellowship! The name of this award is difficult to translate, because unlike most honorary awards, each year, two to four artists are invited to reside in Sendak’s remote rural home for four weeks, away from the hustle and bustle of daily life. They can temporarily put aside financial concerns and focus on the work they particularly want to create. They can also view Sendak’s original paintings and his collection of illustrations, and discuss with him personally (a possibility lost after his death in 2012) or engage in in-depth discussions with other artists. Therefore, even from Sendak’s perspective, their relationship wasn’t one of teacher and student, but rather one of fellow artists engaging in in-depth discussions.
Sendak’s creation of this unique award was primarily inspired by his own formative experiences. Early in his career, he collaborated closely with Ruth Krauss for many years. For about eight years, every two weekends, he would take the train from New York to Rowayton, Connecticut, to stay at the home of Ruth and her husband, Kroger Johnson (creator of the “Arrow” series), discussing his work in progress and, in effect, receiving the guidance and training of these two forebears. The Sendak Fellowship embodies this model of development and has continued to this day, benefiting over thirty emerging artists.
Robert Watkins was one of the creators who particularly benefited from the first two cohorts, as they were fortunate enough to work directly with Sendak himself. I suspect that the “rowboat man” no longer used his original name in his subsequent picture books, and even deliberately concealed the fact that he had created picture books in the past, perhaps to distance himself from his past and present a completely new image.
As mentioned earlier, this “rowing boat” artist, considered a relative newcomer, seems to have gradually found his own style and expression since then, seamlessly blending absurd humor with unpretentious instruction. His playfulness often focuses on the small details, and despite his wild imagination, the details within his paintings are imbued with a childlike amusement closely related to everyday life. Perhaps out of respect and affection for his predecessor, he has various creative designs that pay homage to Sendak, but his visual presentation and expression are also unique.
The goal of the Sendak Fellows Grant, in Sendak’s own words, is to encourage the winners to “produce work that is neither empty nor silly, but original, inspiring and resonating. Illustrations should be in harmony with the music, like dance.” Judging from these works in Robert Watkins’s “High Energy Child Development Picture Book” series, he seems to have achieved it.
Written in Beijing on June 26, 2024
