"There was a great deal of peer recognition to be gained in elementary school by being able to draw well. One girl could draw horses so well, she was looked upon as a kind of sorceress"
About this Quote
Elementary school runs on its own quiet economy: tiny skills become giant status symbols, and art can function like social currency. Chris Van Allsburg nails that micro-politics with a storyteller's precision. The line about "peer recognition" strips away the adult myth that childhood is innocent and egalitarian; it’s competitive, just with different trophies. In that world, being able to draw well isn’t a hobby. It’s leverage.
The horse matters. It’s not a neutral subject like a smiley face or a house. Horses are complicated: anatomy, motion, proportion, the trick of making something look alive. So the child who can draw them has mastered not just technique but a kind of illusionism. That’s why Van Allsburg lands on "sorceress" rather than "talented". The word frames artistic skill the way kids often experience it: not as practice and grit, but as mysterious power. You can’t see the hours. You only see the result, and it feels supernatural.
There’s also a gendered charge in "one girl" and "sorceress". The classroom elevates her, but in a way that’s slightly othering: admiration braided with distance. She’s revered, but as an exception. Van Allsburg, whose books often treat the everyday as a portal to the uncanny, is quietly mapping the origin story of that sensibility: childhood is where we first confuse craft with magic, and where social hierarchies form around whatever looks like magic.
The horse matters. It’s not a neutral subject like a smiley face or a house. Horses are complicated: anatomy, motion, proportion, the trick of making something look alive. So the child who can draw them has mastered not just technique but a kind of illusionism. That’s why Van Allsburg lands on "sorceress" rather than "talented". The word frames artistic skill the way kids often experience it: not as practice and grit, but as mysterious power. You can’t see the hours. You only see the result, and it feels supernatural.
There’s also a gendered charge in "one girl" and "sorceress". The classroom elevates her, but in a way that’s slightly othering: admiration braided with distance. She’s revered, but as an exception. Van Allsburg, whose books often treat the everyday as a portal to the uncanny, is quietly mapping the origin story of that sensibility: childhood is where we first confuse craft with magic, and where social hierarchies form around whatever looks like magic.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
| Featured | This quote was our Quote of the Day on December 23, 2023 |
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