In only 10 sentences, Maurice Sendak left his mark on children’s literature in 1963 with the release of his picture book, Where the Wild Things Are. Not well received at first, the narrative depicted the imagination of a young boy looking for some control over his own life. Yet, this tale of escape and fantasy resonated with young children, and quickly became an iconic story.

Now, after almost half a decade, Where the Wild Things Are is finally being translated from paper to the big screen. The book has been adapted into a screenplay by Spike Jonze (also the director) and Dave Eggers, who have created a live film from Sendak’s illustrations. With the film adaptation of a classic book, however, always comes a healthy dose of fear and skepticism. Questions arise: Will this depiction stay true to the narrative, or ruin a beloved story?

Today, the Board of Trustees converges on the Hill. If this is news to you, we’re not surprised.

Aside from extending an invitation to a few involved students to attend a dinner here or a forum there, the University has made little effort to inform the community of this weekend’s events.

If you didn’t see the homecoming parade, you’re not the only one. The crowd was anemic for reasons ranging from weather to unawareness. The procession, on the other hand, was as hearty as they come. In tow were 25 student groups displaying, for Cornell, unusual vigor and costume coordination.

The New York City art culture was alive at Cornell University on Tuesday night. New Works on Paper is an art exhibit of Mollie Miller ’10 and Sarah Carpenter ’10, students in the College of Art, Architecture and Planning (Carpenter writes for The Sun). The exhibit opened Tuesday night and will remain so until this Friday at the Olive Tjaden Gallery.

The rush to sign off-campus housing contracts for next year has already hit a lull. For weeks, anxious students have been trying to navigate the murky waters of Collegetown realty, often unaware of the laws meant to protect tenants. And like every year, the scramble has left many unclear of what their lease really means, what they are paying for and what services they have the right to receive.

Starting this past Saturday, Level 2L of the Johnson museum is playing host to an unusual yet thought-provoking film installation. Looking Pretty for God, a documentary by Omer Fast, explores an unlikely relationship: a photo shoot and a funeral home. Fast, an Israeli filmmaker who recently won the 2009 Nationalgalerie Prize for Young Art, challenges conventional media’s portrayal of reality. Toying with the distinction between audio and visual media in Looking Pretty for God, Fast uses interviews with funeral home employees as a means to narrate footage of a photo shoot of children. At the Johnson until Jan. 24, this pseudo-documentary may not impress you at first, but its provocative motivation gradually becomes a fun puzzle to solve.