The much-touted movie version of "Where the Wild Things Are" hits theaters on tomorrow. But first, there was the book. Published in 1963, it was Maurice Sendak's first picture book, and it is brilliant.

Just 338 words, it's the story of Max, a boy sent to his room without supper when he misbehaves. Before his eyes, the room changes to a forest, and Max sails to a fantasy land of monsters. He tames these wild things and they accept him as their king.

Sendak, 81, is one of the most important authors and illustrators in children's literature. Now, Spike Jonze's movie is renewing interest in the author and his masterpiece.

I discovered this book when I read it to my young son. It has been one of my favorite children's books ever since. It's one of Gregory Maguire's favorites, too. I recently talked to Maguire — the best-selling author of "Wicked" and "A Lion Among Men" — about the book and why we love it. His newest book is "Making Mischief: A Maurice Sendak Appreciation" (William Morrow; $27.50).

"Where the Wild Things Are," Maguire told me, is "about the voyage of the soul, really." It's about meeting up with things most terrible — and learning to govern them.

At first, there were no monsters. Sendak's initial draft was titled "Where the Wild Horses Are."

But he couldn't really draw horses, so he searched about for other wild animals. He chose wild "things."

"I wanted my wild things to be frightening," he has said. "But why? It was probably at this point that I remembered how I detested my Brooklyn relatives as a small child ... There you'd be, sitting on a kitchen chair, totally helpless, while they cooed over you and pinched your cheeks.

"Or they'd lean way over with their bad teeth and hairy noses, and say something threatening like 'You're so cute I could eat you up.' And I knew if my mother didn't hurry up with the cooking, they probably would. So, on one level at least, you could say that the wild things are Jewish relatives."

Over a long career, Sendak's work has reflected the influences of many artists and writers — William Blake, Marc Chagall, Winslow Homer, to name a few.

In "Where the Wild Things Are," his use of crosshatching to shade and create volume is reminiscent of a style seen in 19-century illustrations and political cartoons, Maguire says.

Sendak's illustration of a wild thing emerging from a cave is nearly identical in composition to a scene from the original "King Kong," a movie he saw as a child. The likeness was accidental, he has said. The image must have imprinted itself on his childhood brain.

When it was published in 1963, some critics worried that fork-wielding children across America might decide to chase the family dog and otherwise ape Max's bad behavior. Or that they might be scared by the monsters.

"It is not a book to be left where a sensitive child may come upon it at twilight," one librarian wrote.

Maguire thinks that's preposterous. "They can be tamed by just staring at them. Any 4-month-old can outstare an adult."

Plus, look at the monsters. Sure, they've got yellow eyes and sharp teeth. But aren't they smiling?

The entire text is a mere nine lyrical sentences. But you can analyze it in many ways.

Maguire sees the wild things as Max's subconscious, his sense of rage. "If you buy that," he told me, "then you realize this is a picture book with only one character. Everyone in it is Max."

Perhaps the book's lesson, says Maguire, is that we should face our monsters, "whether they be inside us or outside, because there's benefit to be gained from it."

When I read "Where the Wild Things Are" to my children some years ago, I noticed how Max, powerless before an angry mom, escapes to a land where he's the guy in control.

At age 3, my son, no stranger to the punishment known as time-out, really loved that part. Max is free of adult rules. He's hanging from a tree like a wild thing. Hooray!

As a mom, my favorite part came when Max returned home. His transgressions were not so serious, his mother realized. Her love was unconditional.

If you read this to a child, make sure the child is nestled in your lap before you begin.

Then, be sure to slow down as you reach the final pages. This is the part where Max longs to return to where someone loves him best of all. He leaves the wild things and sails home ...

back over a year

and in and out of weeks

and through a day

and into the night of his very own room

where he found his supper waiting for him

Turn the page slowly.

Wait a beat.

and it was still hot.