Collins, Pat(ricia) Lowery 1932-
COLLINS, Pat(ricia) Lowery 1932-
Born October 6, 1932, in Los Angeles, CA; daughter of Joseph Michael (an accountant) and Margaret (a radio scriptwriter; maiden name, Meyer) Lowery; married Wallace Collins (a network engineer), April 18, 1953; children: Christopher, Kimberly, Colleen, Cathlin, Mathias. Education: Attended University of California—Los Angeles, 1949, and Immaculate Heart College, 1950; University of Southern California, B.A., 1953; further study at Choinard Art Institute (Los Angeles, CA), DeCordova Museum School (Lincoln, MA), and Brandeis University. Politics: Independent. Religion: Roman Catholic.
Home and office— 3 Wauketa Rd., Gloucester, MA 01930-1423. E-mail— [email protected].
Poet, writer, artist, and illustrator; has artwork in permanent and private collections in the U.S. and Japan. Worcester Art Museum, member of faculty; teaches workshops in creativity, writing, and life drawing; gives readings; visits schools as guest author.
Society of Children's Book Writers and Illustrators, Authors Guild, PEN New England.
First-place winner, American Health magazine short story contest, 1988; fellow in residence, Millay Colony for the Arts, 1990; Best Books for Children citation (preschool to grade six category), Bowker, 1990; individual artist's fellowship in fiction, New Hampshire State Council on the Arts, 1991; Children's Book of the Year citation, Child Study Children's Book Committee, 1992, and selection as a Reading Rainbow book, Public Broadcasting Service, 1994, both for I Am an Artist; Book of the Year citation, Ohio Reading Circle, for Don't Tease the Guppies; writer's grant in poetry, Vermont Studio Center, 1997; professional development grant, Massachusetts Cultural Council, 1997; Books for the Teen Age selection, New York Public Library, and Children's Literature Choice citation, both 2000, both for Signs and Wonders; Best Children's Book of 2003, Boston Author's Guild, for The Fattening Hut.
FICTION; FOR CHILDREN
My Friend Andrew, illustrated by Howard Berelson, Prentice-Hall (Englewood Cliffs, NJ), 1981.
Tumble, Tumble, Tumbleweed, illustrated by Charles Robinson, Albert Whitman (Niles, IL), 1982.
Taking Care of Tucker, illustrated by Maxie Chambliss, Putnam (New York, NY), 1989.
Waiting for Baby Joe, illustrated by Joan Whinham Dunn, Albert Whitman (Niles, IL), 1990.
Tomorrow, Up and Away, illustrated by Lynn Munsinger, Houghton (Boston, MA), 1990.
I Am an Artist, illustrated by Robin Brickman, Millbrook Press (Brookfield, CT), 1992.
Don't Tease the Guppies, illustrated by Marylin Hafner, Putnam (New York, NY), 1994.
Come Out, Come Out!, illustrated by Dee Huxley, Philomel (New York, NY), 2004.
FICTION; FOR YOUNG ADULTS
Signs and Wonders, Houghton (Boston, MA), 1999.
Just Imagine, Houghton (Boston, MA), 2001.
The Fattening Hut, Houghton (Boston, MA), 2003.
The River Shares Its Secret (textbook), Houghton (Boston, MA), 1981.
(Illustrator) Isabel Joshlin Glaser, compiler, Dreams of Glory: Poems Starring Girls (poetry anthology), Atheneum (New York, NY), 1995.
The Quiet Woman Wakes Up Shouting (chapbook of poems), Folly Cove Books (Gloucester, MA), 1998.
(And illustrator) Schooner (nonfiction picture book), Commonwealth Editions (Beverly, MA), 2002.
Contributor to Ten Times Round, Ginn (Lexington, MA), 1987; Mystery Sneaker, Ginn (Lexington, MA), 1987; The 1994 Writer's Handbook; and You and Me, Orchard Books (New York, NY), 1997. Contributor to anthologies, including Primavera: An Anthology of Writing by Women, University of Chicago Press (Chicago, IL), 1980. Contributor to periodicals, including Writer, Northshore, Small Pond Review, WIND, California Quarterly, ArtsNorth, Yankee, Cricket, US1 Worksheets, My Own Magazine, Parting Gifts, and Ad Hoc Monadnock. Illustrator of book jackets.
Work in Progress
Poetry and short stories; On the Air, an adult novel; picture books; a historical novel; a poetry collection.
Pat Lowery Collins has written many poems and books for children, but she may be best known for her dramatic novels for young adults. In books such as Signs and Wonders, Just Imagine, and The Fattening Hut, articulate young women grapple with the transition to adulthood in the face of cultural challenges ranging from poverty to female genital mutilation.
Signs and Wonders, Collins' first young adult novel, is about a fourteen year old named Taswell who believes that she is pregnant with "the prophet for the New Millennium." The girl was abandoned by her mother many years ago. Her father has remarried, and her grandmother, Mavis, decides to send her to a convent school because the older woman is too busy to care for her granddaughter. The story is told through the letters that Taswell writes to her grandmother, her father and stepmother, and to her guardian angel, Pim. "The epistolary form allows easy access to the protagonist's thoughts," commented a Publishers Weekly reviewer, "but not necessarily an easy identification with her." Eventually, the reader comes to realize that Taswell is not actually pregnant but has convinced herself that she is as a way of dealing with her feelings of abandonment. This "inevitable discovery that hers is a hysterical pregnancy … is well played," Ilene Cooper wrote in Booklist.
Just Imagine is set in a different time period—the Great Depression of the 1930s—but once again a young girl deals with abandonment through her imagination. Mary Francis's family has been split in two. Her mother and younger brother Leland live in Beverly Hills, California, where Leland is trying to become a child star, while Mary Francis and her father have moved in with the girl's grandmother in New England. Despite Gram's efforts to take good care of Mary Francis, the girl is still traumatized by the constant fighting within the family. Mary Francis has an interest in spiritualism, and she develops the ability to "project" her spirit across the country in an attempt to be closer to her mother and to escape the tensions at home. "Juggled between these vastly different realities" of her mother's seemingly glamorous life in Hollywood and her father's cold, hard struggle to make a living in Massachusetts, "Mary Francis emerges as an endearing and memorable character," Alison Follos wrote in School Library Journal.
Collins' third novel, The Fattening Hut, is written as one long poem. The book's narrator, Helen, is a member of a tribal culture which practices female circumcision (also called female genital mutilation). Now considered old enough to be married, Helen is sent to the fattening hut to be prepared to become a bride. There, she and other young women will eat and eat until they are plump, beautiful, and ready for their arranged marriages. But before they can be married, they must pass through the cutting ceremony. Helen does not know exactly what the cutting ritual entails, but she fears it. Helen is unusually bright and educated for a girl in her culture; her Aunt Margaret was taught to read by the British colonizers of their island, and she passed the skill down to her niece. The woman also encourages the girl in her rebellion, even helping her to escape from the fattening hut. "This is a tough book that expects a lot from its readers," Roxanne Burg commented in School Library Journal. However, the process of female circumcision is presented "carefully, with the meaning clear enough but events not graphically depicted—so middle school readers would be able to handle it," Claire Rosser wrote in Kliatt.
Collins once commented: "As a writer, I'm a poet first and believe that children's picture books are like good poetry in their simplicity and singular vision. Writing them hones my skills for all levels of poetry.
"My work takes other directions as well, into older juvenile fiction, adult fiction, and some nonfiction, and I always have work in progress in many areas. Having the space and time for close observation of the world and people in it is a necessary part of the creative process for me and what I had in mind when writing my book I Am an Artist, which advances the premise that art is more process than product. I will mull over an idea for minutes or months—even years—working it out in my head or on paper. When I'm finally ready to pull a story together, my best writing is done in the morning, and since I always read over and revise what I've written on the computer the day before, there is rarely anything that could be called a first draft.
"I'm also a visual artist and an illustrator. The major link between my painting and writing is my abiding interest in people—how they think, what they feel, their expressions, the things that touch their lives—which I may try to capture at one time with words and at another with paint, pencil, or pastel.
"Coming from a family of writers, I always understood that reading is an integral part of learning to be a writer and that the great writers of the past and present are the best teachers of how to use words well and how to craft compelling stories."
Biographical and Critical Sources
Collins, Pat Lowery, Signs and Wonders, Houghton (Boston, MA), 1999.
Booklist, October 15, 1992, Sheilamae O'Hara, review of I Am an Artist, p. 433; June 1, 1994, Kathryn Broderick, review of Don't Tease the Guppies, p. 1836; October 1, 1999, Ilene Cooper, review of Signs and Wonders, p. 370; April 1, 2001, Karen Simonetti, review of Just Imagine, p. 1481; November 1, 2003, Gillian Engberg, review of The Fattening Hut, p. 490.
Horn Book, November-December, 1990, Martha V. Parravano, review of Waiting for Baby Joe, pp. 738-739; January, 2000, review of Signs and Wonders, p. 74.
Kirkus Reviews, June 15, 2002, review of Schooner, p. 878; September 1, 2003, review of The Fattening Hut, p. 1121.
Kliatt, September, 2003, Claire Rosser, review of The Fattening Hut, pp. 6-7.
Publishers Weekly, November 8, 1999, review of Signs and Wonders, p. 68; October 20, 2003, review of The Fattening Hut, pp. 55-56.
School Library Journal, April, 1981, Nancy Palmer, review of My Friend Andrew, p. 110; March, 1983, A. S. T. Blackburn, review of Tumble, Tumble, Tumbleweed, p. 160; March, 1989, Ellen Dibner, review of Taking Care of Tucker, p. 156; December, 1992, Alexandra Marris, review of I Am an Artist, p. 78; May, 1994, John Sigwald, review of Don't Tease the Guppies, p. 90; December, 1995, Marjorie Lewis, review of Dreams of Glory: Poems Starring Girls, p. 116; October, 1999, Joel Shoemaker, review of Signs and Wonders, p. 148; May, 2001, Alison Follos, review of Just Imagine, p. 148; November, 2003, Roxanne Burg, review of The Fattening Hut, p. 134.
Author Illustrator Source, http://www.author-illustr-source.com/ (January 12, 2004), "Pat Lowery Collins."
Pat Lowery Collins Home Page, http://www.patlowerycollins.com/ (January 12, 2004).
"Collins, Pat(ricia) Lowery 1932-." Something About the Author. . Encyclopedia.com. (March 22, 2019). https://www.encyclopedia.com/children/scholarly-magazines/collins-patricia-lowery-1932
"Collins, Pat(ricia) Lowery 1932-." Something About the Author. . Retrieved March 22, 2019 from Encyclopedia.com: https://www.encyclopedia.com/children/scholarly-magazines/collins-patricia-lowery-1932
Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).
Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.
Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:
Modern Language Association
The Chicago Manual of Style
American Psychological Association
- Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most Encyclopedia.com content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
- In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.