Maryann Cusimano Love

Maryann Cusimano Love


Maryann Cusimano has been working with children since she was a teen–as a clown, story-teller, singer, puppeteer, and caregiver. You Are My I Love You arose out of her work with children, especially the PeaceKids group in the Sursum Corda housing project.

Maryann lives in Washington, D.C., with her husband, Rich Love (they are newlyweds). She is an associate professor of international politics at Catholic University. Dr. Maryann Cusimano Love is an award winning international educator and author. Dr. Cusimano Love has spoken to audiences from suburban pre-schoolers to inner city teens to international diplomats. A winner of Harvard University’s Pew Faculty Fellowship for teaching, and Catholic University’s Teacher of the Year Award, Maryann Cusimano Love is an effective presenter who favors participatory techniques.

Maryann Cusimano Love

Maryann Cusimano Love


Maryann Cusimano Love
Illustrator: Maria van Lieshout


How did you become a writer?

I wrote my first books when I was seven years old in the second grade, and I haven’t stopped since. Shortly after I learned how to write straight enough to keep the words in a line on the page, I wrote and illustrated books then bound them myself, sewing the spines with yarn. When I was about ten I asked my mother to drive me an hour away to a children’s book writing workshop at Villanova College in Philadelphia, offered by Jan and Stan Berenstain, authors of The Berenstain Bears books. The classroom was filled with college students and housewives hoping to be writers, and a smattering of actual published authors. I was by far the youngest there, but I loved meeting writers and learning about the craft. When asked “what do you want to be when you grow up?” I always answered “I want to be a writer who lives in New York City and has a white kitten named snowball.” I’ve never lived in New York City or owned a cat, but the rest of the dream has come true!

What do you like most about writing children’s books? How does it compare to the other writing you do?

Children’s writing is like skiing a four diamond slope, rock climbing in Colorado, or scuba diving in Hawaii– as fun as it is demanding. Anything can happen when I sit down to write; that’s exhilarating and freeing and sometimes a bit scary. You aren’t boxed in by facts or chronology, and can follow your imagination. But you have to be able to tell your story in a very brief format. Children’s picture books are 14 double page spreads, no exceptions, no cheating, so it is a very disciplined form of writing. Each word counts. After wrestling with each word and careful pruning, the writing then goes to the artist, whose pictures have to play against your words, adding harmony to your melody. Ironically the books are quite short, but production is long. You Are My I Love You and You Are My Miracle each took over four years from writing to published book. If the book is a hit, it is very shelf-stable, outlasting the day’s headlines as a favorite on the bookshelf for years and many readings.

That’s very different from the adult nonfiction books I write, on themes from terrorism to globalization and ethics. These books can be hundreds of pages long (whereas one thousand words is long for a children’s picture book). But theme and method are very limited. You are restricted to your research, to reporting what has happened more than imagining what could happen. While the research and writing may take years, production takes less than six months, since events start dating the book as soon as you set down your pen.

If it weren’t for the children’s writing, I probably would not be able to continue to write and teach on such heavy topics as trafficking in women and children, refugees, famine and war. While there are some bright spots in international affairs, there is a lot of bad news to deliver. Thirty thousand children a day die from hunger and disease. I shudder whenever I get a phone call for a CNN media appearance, because it means that something terrible has happened somewhere in the world, innocent people are dead and they are looking for someone to explain the bad news. It can wear you out. Children’s writing helps restore the balance, and reminds me of the hope and wonder in life. I also occasionally get to write a story with a happy ending.

Where did you get the idea and/or inspiration for You Are My I Love You?

I was driving in to teach at the University one morning, half awake, and I couldn’t listen to one more minute of the news. I clicked off the radio, and was thinking about the beautiful kids I worked with at the Sursum Corda housing projects in Washington, DC. One in six children in America lives in poverty, and thousands of them live just blocks from the U.S. Capitol Building. They are raised mostly by single moms or grandmothers and aunts, who are working hard to put food on the table, and are short on time and money. The parents feel badly that they cannot afford Christmas gifts or the trendy sneaker or video game for their kids, but what their kids really want is their time. The same was true for the upper income children I served as a child care provider, who were starved for their busy parents’ time and attention. All these kids lit up whenever we spent time doing the simple things, walking outside, reading, baking. As I was thinking all this, on autopilot through Washington traffic, there appeared this lovely verse in my head: “I am your parent; you are my child. I am your quiet place, you are my wild.” I got to the University parking lot and stayed in my car scribbling against the car dashboard. Students gave me odd looks streaming past on their way to class, but I wanted to capture the magic song that was playing in my head about the ying/ yang of the adult/ child relationship, the parent providing stability and constant love, the child bringing mischief and wonder. Later I worked, reworked and refined it, and the book became a hit.

What about for You Are My Miracle?

Growing up in Bethlehem, Pennsylvania, the Christmas City, I was drawn to writing a Christmas book, and my editor Michael Green encouraged a sequel to You Are My I Love You. There was more in my heart on the subject of the parent/ child relationship. The new life of a child is a miracle that we are privileged to be part of, and what better time to reflect on that wonder than Christmas? The holidays can be stressful; everywhere we are bombarded with the message that if we love our families we will buy them lots of stuff. Yet my happiest childhood Christmas memories are not of gifts but of simple time spent together. Television programs on home make-overs and storage solutions, plus the size of our garbage dumps, show we are drowning in stuff. Yet the growth of the simplicity movement, and of Christian groups trying to return to the meaning of the season, show that there are also people who agree with Dr. Seuss that Christmas “doesn’t come in a store. Christmas, perhaps, means a little bit more.”

Does your childhood show up in your picture books?

Absolutely, although my supposed status as a “grown up” hasn’t cured me of blowing dandelion wishes or stomping in puddles. As the child of an educator and a homemaker, we never had much money growing up, but we enjoyed lots of fun that was free, the kinds of activities that make their way into my books. Many people are surprised to learn that my first children’s books were written before I had children. But if you can’t really remember what it felt like to be under four feet tall, you probably shouldn’t be writing for children. Ursula Nordstrom, a famous children’s book editor who edited Maurice Sendak’s Little Bear and Where the Wild Things Are (among other classics), put it well. People asked how she could edit children’s books as she did not have children of her own, and she always replied that she was once a child, and had not forgotten a thing.

What makes you and Satomi Ichikawa such a great team?

Satomi and I both collect dolls and toys. I think it shows neither of us have really grown up, we both are children at heart, and love to play and retain a child’s perspective in our work. Satomi’s work is fresh, warm and engaging. When my editor Michael Green and I were considering perspective artists, there were lots of good folks to choose from, but none that really clicked. We both had the same reaction to Satomi’s work– she’s a terrific artist and this is a wonderful fit.

When you’re not writing, how do you spend

SHOP new year