Anna-Clara Tidholm

Nominated for the 2010 H.C. Andersen Prize by the Swedish Section of IBBY Content

Ulla Rhedin: A child’s perspective a a constant point of departure: Anna-Clara Tidholm and the road to a completely new picture book 3

Birgitta Fransson: Anna-Clara Tid- holm’s previous books 13

Helen Lumholdt: Reading should be non-educational (interview with Anna-Clara Tidholm) 22

Anna-Clara Tidholm: One more time 28

Biography 30

Prizes 30

Bibliography 31

4 A child’s perspective as a constant point of departure: Anna-Clara Tidholm and the road to a completely new picture book

Picture book characters? I have “To catch the child’s perspective”, hardly created a single one, at least says Anna-Clara Tidholm, “is prob- no one of those ‘beloved’ ones as they ably what most preoccupies and usually say about picture book char- inspires me: to try to begin from acters. If there is one it would be that the same level and perspective as little chap with the round hat and a that from a child’s eyes. How do dog called Hej. children perceive their lives? How can I as an adult recreate their perspective?” This theory of ’the child’s perspective’ was developed over nearly 40 years of her own writing and illustrating childrens’ books. This took place about a decade after her debut as an illustrator in the 1970’s My interest in such characters has and a few years after her break- been minimal. The main reason is through with the experimental and in fact that I am so incredibly bad still avant garde picture book “Åke- at drawing a figure that looks the boken” (“The Åke Book”, 1983; text same throughout a whole book. by her husband Thomas Tidholm, Another reason is that it is dull work poet and musician.) drawing the same figure on every page in eighteen books. I have even made children’s books without any characters. And I have a theory that children get more involved in picture books without any people in them at all – I make the child reading a book into the main character, quite simply. (Anna-Clara Tidholm in a letter to the author 2007, transl. by David Isitt)

5 Then already by the beginning ball pools. Then after the children of the 1980’s did they develop their after many adventures and a long joint view of the picture book as journey to “the Other side of the story telling without the need of World” find him to hand him his traditional (adult) dramaturgy, eyeglasses, she chooses the same since children have not acquired composition, the same scenogra- the same literary expectations as phy, to demonstrate how limited adults, they “assemble” a plot on and dependent on reality the imagi- significantly looser grounds, as in nation of children is. this case, scene after scene linked In the parallel image, the chil- together into a rather loose, open dren display the same hesitation as and impressionist construction. in the first picture, the open door In 1987 their book “Resan till behind them and the dog in front of Ugri-la-Brek” was published (“The them, in the same yet slightly differ- Journey to Ugri-la-Brek”, awarded ent room. Their grandfather is sit- with the Deutscher Jugendliteratur- ting in his chair and reassures them preis 1992). Here two children are that he is fine and that he does not looking for their grandfather. need his eyeglasses any more.

They cannot imagine his new existence differently: that grandfather Anna-Clara Tidholm shows how perhaps (probably) is dead is never they, a bit afraid and lost, look into mentioned or shown. This fact has his apartment, the door ajar be- to be concluded by every child who hind them and the dog in front of is prepared to do so. The pictures them in the room, the apartment (as well as text) express their only is empty, his eye glasses still there possible perspective, the child’s per- thus leaving him without the abil- spective, and they are in this sense ity to fill in the form for the foot- profoundly “childological”.

6 Playing, the children work Psychological/existential themes in themselves toward their truth about picture books for pre-school children their grandfather’s disappearance. Anna-Clara Tidholm has repeatedly Anna-Clara Tidholm emphasises returned to difficult and psycho- this perhaps mostly by letting them logically dark and worrying themes wear different clothes: in the fram- in a number of picture books – ing pictures they wear one set of jointly with her husband Thomas clothes while they have different Tidholm in several books that have sets during the travel, their play. become classics, and also in co- While the text demonstrates the operation with other authors. She child’s perspective using children’s has also produced picture books choice of words, syntax, children’s on her own, such as a story about cognitive framework and concepts, psychogical crisis in “Hanna, huset, Anna-Clara Tidholm expands on hunden” (“Hanna, the House, the the child’s perspective through a Dog”), which has attracted wide- “naïve” style: this is how a child might draw. A rather common, typical human portrayal with more en face and camera-looks than pro- files and abbreviations; naïve and unfolded spatial perspectives and simple, rough techniques typical for children. She mainly uses water color for her drawings with clear and soft out lines. Occasionally she resorts to children’s crayons or color pencils of more pale nuances, giving the impression of a spontaneous and naïve formalizing, thus spread attention (nominated for the text and illustration cooperate in a August Prize in 2004). naïve perspective in solidarity with Her third cooperation with the the child. This is an artistic and aes- author Ulf Nilsson for “Adjö, Herr thetic challenge, at the same time Muffin” (“Good bye, Mr. Muf- deliberately close to children’s ways fin” ) which also deals with death, of expressing themselves in words rendered them this very prize in and pictures. 2002. This is a soft and warm story

7 about the last and lonely time of (“Nice Children”, 2007), encoun- an old guinea pig. His family has tered more skepticism among adult been scattered and only his own intermediaries. The story is about thoughts about their past remain. two half sisters who spend their This is a tender story about a good afternoons alone at home after aging process of integration while school. On this particular day both death is unavoidably getting closer. parents are late and the girls have Anna-Clara Tidholm pictures, in a to manage on their own until their rather naturalistic way, a carefully father/stepfather returns. personified guinea pig (not dressed) Basically the story is without living in a relationship with a car- drama, it is a realistic description ing owner/person in a tiny house of life in a modern step family. The with small furniture, a mailbox and children act as a liason between a working mail system. The death the two absent parents, who try process is told on the seven last to direct their lives via cell phones spreads from the moment he is too rather than to cooperate. Anna- weak to rise from his bed until the Clara Tidholm attempted initially funeral is over and the reactions to to illustrate the book with her usual his death begin to show (e.g. in the water color technique but almost at TV-news) in mildly ironical final once turned to her children’s crayon scenes. technique. As in “Åke-boken”, in While “Good bye, Mr. Muffin” the deeply philosophical “Lanas won immediate acclaim also among land” (1996) and in “Hanna, huset, adult readers the most recent book hunden”, there is in “Snälla barn” by the Tidholms, “Snälla barn” something unstated that sets the reader’s imagination in motion. One suspects that this family life is not easy and one does not really know why the mother is late. There is a suggestion that this family perhaps will not stay together. “Crayons and colour pencils al- low for a higher degree of naïvité than water colour”, says Anna-Clara Tidholm. “They reduce the psychological temperature making it less

8 energetic, more everyday and closer to the child.” In spite of this many critics are of the opinion that the book is a painful demonstration of how exposed modern children are. One critic regarded the book as an apocalypse over modern family life, while school children of the same ages as the children in the book without difficulties seem to recog- nize themselves and their modern horseback outside the little cot- technical world where cordless tage in the forest. Natan’s father is telephones, remote controls and annoyed with these modern ideas electronic gadgets compensate and forces Natan to shoot squirrels for absent adults during long and on his way to and from school for lonely afternoons. the boy to be of at least some use. For Natan however the school, the How to to render history live reader and the elegant teacher are a for children decisive light in a tough and moth- Another track in Anna-Clara erless existence. Tidholm’s illustrations concerns the problem of describing the past In a following picture book with in a way possible to understand by a historical motif, “Långa ben” children of today. (“Long legs”, 1999) the Tidholms In their book “Förr i tiden i depict another historical time skogen” (“In the Old Days in the Forest”, nominated for the August Prize 1993) the Tidholms write about the revolution beginning in the middle of the 19th century in a poor Sweden. This is when a comprehensive literacy campaign was launched and compulsory education was introduced for the first time. The book shows how the royal emissary reads a decree sitting on

9 through the eyes of a child. The Lindström. Here we find Swedish unruly and insecure migration history pictured through the lives of period where every day is a struggle seventeen young women from vari- between “us” and “the others” for ous social classes, from the stone survival. The story is told in the age to modern times. This book is voice of an anonymous child. These intended for readers of school age. books render a kind of poetical It is richly illustrated with softly version of how it might have been drawn black and white vignettes as a child at various points in time, with pictures the size of half a page when children frequently were at as well as a number of full page peril – times from which the ex- coloured illustrations by Anna- periences of children had not been Clara Tidholm. sorted out as worthy of attention or depiction. In a current exhibition (still open during the summer season 2009) A similar historical theme is found Anna-Clara Tidholm tries her pic- in a comprehensive fact book, torial story telling in a new kind of “Flickornas historia” (“The Girls exhibition for children, “Hela livet History”, 1997) with text by Kristina förr i tiden” (“Whole Life in the Old Days” at the Hälsingland County Museum). In cooperation with the russian- finnish scenic designer Alexander Reichstein she has created a new, three dimensional exhibition model in which the children walk along a village street between different houses. In a suggestive and living display various stations through life are depicted, from birth to death. The houses are constructed from a light metal and transparent cloth; they are heavily “illustrated” with full scale persons in various activi- ties and furnished with few simple tools and toys from the period.

10 and fascinating object, Anna-Clara Tidholm argues, it can be handled, perused and browsed in various ways. Perhaps the story in and of itself need not be most important? Perhaps a consistent plot is completely unnecessary? Perhaps there is even no need for a leading character? Perhaps the book is primarily an incitement to new worlds of play or pure play? She has told that she approached the browsing, the turning of the When children enter the houses page” as the dramaturgical founda- they are surrounded by the people tion and powerful basic condition there, and there is a strong and of the book. Pages can be opened magical feeling of having been in- and closed like “doors”! Had one vited to take part in the picture. ever made full use of the browsing? A quick exploration of the history Toward the poetics of the picture of the picture book demonstrated book for toddlers that some forerunners had touched The direction mostly associated upon this but there was much left with Ann-Clara Tidholm in Swe- to gain from the specific, physical den is her unique investigation over quality of the book. many years into the poetics of chil- The result was the picture book dren’s books and the exploration for toddlers “Knacka på!” (Knock, of the really young child’s reading knock, knock”, 1992) where the perspective. Is it possible to engage pages on the right are doors in vari- children younger than two years in ous colours to be knocked, so that the interplay with children’s books? the reader is brought into different What would be the purpose of such situations, and new doors in the an early engagement? To provide background lead to new rooms and experience, impulses, stimulate new contexts. The child / reader the imagination or contribute to soon learns to knock on every door an energetic interaction with the and open them in optional order adult? The book is an unknown until she exits the house. One of the

11 secrets with this story is that the guided tours for schoolchildren reader is its main character. began at the wall where the original Once the illustrations were drawings for “Knacka på!” were completed only a simple text was shown. On one occasion while the missing. “My own attempts were art curator was presenting the ori- completely muted, they sounded gins of the book, all the boys (aged like a reader for the first grade.” fourteen) requested “Let us knock! Anna-Clara Tidholm then turned Let us knock!” All Swedish children to her husband Thomas Tidholm, now hold this “first book” in dear who wrote a short, rhythmical, al- memory. most rapping text which turned out The book “Knacka på!” was to be perfect. However he declined followed by three books with to be namned as author; this book similar planning for play (“Ut och was the creation of Anna-Clara, gå!”/“Out Walking” 1993, “Hitta Thomas said. At the end of the på!”/“Find Out” 1993, “Varför book he has been thanked for his då?”/“Tell Me Why” 1994) and a assistance with the text. “Knacka cd-rom which makes it possible for på!” has become a huge success children from age two to play with, not only in Sweden. And this is transform and expand the contents an early, interactive picture book! of the book by pointing at figures Happy parents tell stories about and objects. It may be to put vege- how their 8-9 months old children tables in a pot to prepare a soup for have learned to knock and open the rabbits, to water the old man’s the doors of this book! However plants so they don’t die, put laundry the second secret has unfortunately in the washing machine or discover remained in Sweden: the original what the little bears are dreaming. text which seems so simple is in fact a rhythmic and effective rap text In 1994 Anna-Clara Tidholm had written by a professional poet. In another innovative idea for little many translations to other languag- children’s picture books, “two- es the text has been transformed words-books”, where two titles in into a more traditional educational a long series stand out: “Läsa bok” and altogether too obvious text. and “Apan fin” (“Read Book” and During a large international “Pretty Monkey”, 1999). The former exhibition of picture books at The portrays a mouse boy who has to Nordic Watercolour Museum the remain indoors because of rain.

12 Through the window he watches dishes, cook and walk over to each the scene: wild animals, high other without creating a number of mountains, many trees and finally questions. At the same time she ful- he sits down with a book: “Läsa fils a wish: to produce a traditional bok” (“Read book”)! In “Apan fin” and friendly animal picture book a little girl goes out into the world in the spirit of Beatrix Potter. There and meets a dog, she is scared and are several references especially to brave and returns home – wet but Peter Rabbit. It has been said about unharmed. this book that it is not the rabbit Male and female, yes, but for qualities of Peter Rabbit that are of once passively and meditatively in interest to a child, but the possibil- the first instance, actively and en- ity of recognizing himself in what is terprising in the second! Moreover happening to the rabbit. these two books demonstrate that simple stories of 26 words on 13 Movies spreads may expand the traditional In 2001 the first animated film was children’s book for toddlers with made based on one of the books by respect to choice of words, motifs the Tidholms, “Jims vinter” (“Jim’s and objects in new and unexpected Winter”, 1988).This work stimu- ways. lated thoughts about how to find an appeal and a suitable tempo for Throughout her entire produc- an animated film for toddlers. The tion, especially from the 1990s and result was “Snuttefilm” for small onwards, Anna-Clara Tidholm has children (2008), five stories each of switched between depicting animals five minutes, based on three of her or humans with ease. According to picture books: “Apan fin” (“Pretty her sometimes animals are more Monkey”, 1999) and “Hela natten” suitable, when you look for some- (“All Night Long”, 2002) and “Alla thing common and do not wish to får åka med” (“Everyone Can Ride disturb the story with too many Along”, 2004). The collection also social specifications. One example contains two original manuscripts, is the picture book “En liten stund” “Simons anka” and “Nelly packar” (“A Short While”, 2006) where it (“Simon’s Duck” and “Nelly Packs is more relaxed and permissive to Her Bag”, 2008) which later were portray the children as rabbits; the published as picture books. One children can live alone, wash the model has been the TV-series

13 “Teletubbies”, which has been much prepared for struggle with many discussed among adults in Sweden questions concerning the tradition- for a number of years. Anna-Clara al views of children. Her methods Tidholm defended the series from of exploring the models of other the start because of its perfect tone writers and illustrators, building on with respect to dramaturgy for traditions and concepts, make her small children: the slow tempo, texts rich in symbols of great diver- many repetitions, typified charac- sity. One completely unexpected ters and generalised personalties. intertext can be found in “En liten stund” as a reference to Gillian For a couple of decades Anna-Clara Welch’s “One little song” from the Tidholm has been considered one cd “Soul Journey”! of the foremost picture book artists in Sweden, unique in her approach While Anna-Clara Tidholm has to children and in her constant come from the textual side as a perusal of theoretical questions poet, writer and student of litera- concerning the being of children. ture, she lacks formal art education; Her naïve pictorial style may seem this is both an asset and a deficien- spontaneous and unaffected, but cy, in her own opinion. This fact her background work is considered may explain why she approaches unusually deep and genuine among her assignments the way she does: illustrators. with less focus on the main char- On her lecturing tours in the acters, and the way they look and Nordic countries and in a series of other details, but the more concen- new cultural and debate articles she trated on the reader as well as on reveals deep interests in modern the complexity and depth of the theories of the brain, depth psy- complete work. chology as well as theories about the linguistic and cognitive devel- Ulla Rhedin opment of children. She is a head- Ph.D. strong and independent thinker Picture book critic in the Swedish daily Dagens Nyheter Translated by Marshall Ansell

14 Anna-Clara Tidholm’s previous books

oFor the last thirty-five years Anna- holm in 1946. After matriculation Clara Tidholm has been drawing she studied literature at university for children in a naivistic style not and worked as a journalist and far removed from children’s own author before turning to drawing. way of drawing and with a depth Her first illustrated books were, on and feeling that are also closely the one hand, politically critical in related to child-hood. Her pictures a manner typical of the period and, have become increasingly poetic on the other hand, renarrations with the years. Her midnight blue of fairy-tales such as “Jätten och skies full of stars communicate a ekorren” (The Giant and the Squir- longing for eternity. The bright, rel), “Sagan om osten” (Tale of the happy drawings from the beginning Cheese), “Korven” (The Sausage), of time in “Kasper’s alla dagar” (All “Pojken och hans ulliga får” (The Caspar’s Days,1994) fill the behold- Boy and his Woolly Sheep). er with the joy of life. In 1970 Anna-Clara moved with The subjects that she portrays her family from Stockholm to Häls- range from creation to death and, ingland in northern Sweden where in between, such varied matters as they still live. space trips, everyday life at nursery school, love, the history of the uni- Books in collaboration with verse, getting a sister or brother... Thomas Tidholm She has retold and reillustrated In 1983 “Åkeboken” (Åke’s Book), fables and fairy-tales and she has which Anna-Clara had produced brought new life to books for the in collaboration with her husband, very young with a series of simple, the poet and musician Thomas very colourful and playful books Tidholm, was published. It repre- for infants. The first, called “Knacka sents something new in her creative på!” (“Knock, Knock, Knock!”), was work. published in 1992. Regardless of The text of “Åkeboken” is simple subject and of the intended age of and childlike. What happens in the the readers, Anna-Clara Tidholm is story is seemingly unthreatening always on the side of the child. and common-place but there is an Anna-Clara was born in Stock- un-easiness, an uncanny feeling

15 “Åkeboken” was the first in a series of books by Anna-Clara and Thomas Tidholm dealing with existential problems at children’s level in a way that is both poetic and philosophical and which appeals both to children and adults. “Resan till Ugri-La-Brek” (The Journey to Ugri-La-Brek) is, perhaps, the best known and best loved. It was published in 1987 and “Åkeboken” (Åke’s Book) deals with two children, Hinken under-lying the text. A mood that is and Myran and their dog called rein-forced by the wild, expressive Strunt. The children’s grandfather pictures. Anna-Clara makes use of has disappeared and their parents ink drawings coloured with crayon refuse to say where he is. His flat is and with broad strokes as a frame empty and on the table by his arm- holding the picture together. Åke chair are his glasses and his pools himself is a serious-minded fair- coupon. The children determine to haired young man with a challeng- look for their grandfather and set ing expression and a stripy T-shirt. out on a journey to the other side of A character that reappears in vari- the world. In order to get there they ous guises in several books. have to cross a wide, dark river. On “Not having any artistic training I have to work out my own solu- tions. I have to reduce and simplify and develop my own techniques”, Anna-Clara has explained in con- nection with “Åkeboken”. “Often it is time-demanding, problematic and laborious – my solution has often been to try to imagine how children would draw and then to imitate them. For a nine-year-old nothing is impossible or remark- “Resan till Ugri-La-Brek” (The Journey to able.” Ugri-La-Brek)

16 the other side everything is cold teraturpreis in 1992 and it has been and frozen. But in the little village dramatized and performed by vari- of Ugri-La-Brek (which means “vil- ous theatre groups in Sweden. In lage where the smoke goes straight the autumn of 1995 it was produced up”) they find grandfather who is by the Swedish National Tour- very well. The children can happily ing theatre which performed it in return home. schools and at family performances. Nowhere is it stated that grand- In 1996 it was premiered in Berlin. father is dead. Indeed the reader The book has been translated into does not even have to read the story Danish, Norwegian, German and in that light but can enjoy it as an Japanese. exciting adventure in space and time. “Balladen om Marjan och Rolf” The expressive illustrations use (Ballad of Marian and Rolf), a strong colours and generally spread further collaboration between over the whole page. They are not Anna-Clara and Thomas Tid- framed but Anna-Clara has chosen holm appeared in 1989. This is to make them fill the page or has a modern Robin Hood story as brush strokes out to the edges. The well as a love story which takes perspective has been chosen so that place in the provincial Swedish one can see the earth’s curve and town of Katrineholm. The illustra- can understand that the children really wander “to the other side of the world”. Anna-Clara has explained that: “What is one to do when one gets such an impossible demand from the text that one is obliged to draw the whole world? Nobody can manage that, I think and I get angry at the author. But then I go over to my childlike perspective: a nine- year-old would merely get started. What do you mean impossible? This is what the world looks like!” “Resan till Ugri-La-Brek” was “Balladen om Marjan och Rolf” (Ballad of awarded the Deutsche Jugendli- Marian and Rolf)

17 tions are in subdued colours and framed with powerful water-colour brush-strokes. They are not fully as boundless as the illustrations in the book on Ugri-La-Brek which are perfectly in harmony with the story. In this case the conflict takes place within and between people. The whole world is to be found in Katrineholm. Marjan loves Rolf who is a robber living in the mountains, a wildman who never washes his hair. He is a solitary boy who is “Vill ha syster!” (Want Sister!) without a mother and who has run away from everything. But Marjan’s when he feels most lonely and sad father, who is a policeman, arrests he discovers a house that he has Rolf and locks him up. It is only never seen before. An old man and when Marjan saves Rolf that he can his wife live there and they invite accept that she, a girl, can also be a the boy in. He stays in the chaotic robber in the forest. house for several days. One day is When the hour of liberty chimes green and he can play in the Tivoli for the two children there is no Woods that are in the house. One longer a frame to keep them within day is blue and he bathes in the the picture. They are standing on a Blue Sea. One day is yellow and mountain with an optimistically red he plays alone in the burning sand sky in the background. of the Sunshine Land. Then he feels homesick and, in spite of the “Vill ha syster!” (Want Sister!, protests of his hosts, he leaves them 1991) is more difficult to interpret. and the old man and his wife shrink It deals with a small boy, one of and disappear entirely, as does the Anna-Clara’s round-eyed, serious house. The boy takes a newly laid boy figures in a stripy T-shirt. He bird’s egg with him and goes home has no name but is called “you”. – to discover that he has just got He tells his parents that he wants a little sister. “– I know, you say. a sister and they promise him one It was hard work. But it was very in due course. But time passes and strange and exciting too.” On the

18 “Förr i tiden i skogen” (In the Old Days in the Forest) final page he holds his little sister stand there with the new-born baby tenderly in his grasp. the picture is, once again, filled Anna-Clara’s way of using colour with sunshine. The same hopeful, helps the book to communicate happy sunshine is to be found in how chaotic and difficult the period “Kaspers alla dagar” (All Caspar’s before a brother or sister is born Days, 1994), a story, or rather a can seem. At home with mummy legend from the time when Caspar and daddy the colours are sunny still wandered about in the world. and cheerful while in the chaotic Everything was newly created and house they are strong, glaring and there was no order yet. There are obtrusive; hurtful to the eyes. When obvious allusions to the Bible but the boy flees home again the night the book preaches a gospel of free- is dark blue with only a few stars dom, generosity and child-likeness. and thin strips of light but the sky The pictures too are generous. gets lighter as he gets nearer home They fill the whole spread and, just and when his mother and father like the illustrations to “Resan till

19 Ugri-La-Brek”, they cover the whole including “Glöm inte jordnötterna” world. One sees the mountains (Don’t Forget the Peanuts), “Jims and trees and the sea and houses vinter” (Jim’s Winter) and “Ett jobb and the curve of the earth all at för Jacko” (A Job for Jacko). once – and the world is beautiful Two books for very small chil- and a delight to live in. “Förr i tiden dren appeared in 1995. “Ture blåser i skogen” (In the Old Days in the bort” (Ture Blows Away) and “Ture Forest, 1993) is a completely differ- kokar soppa” (Ture Makes Soup). ent sort of book. It is a story about a These books, with texts by Thomas boy who lived a long time ago when Tidholm that are poetic in a fash- distances between the farms in the ion close to children, are in ’look north were great and words were and say’ format wich Anna-Clara sparse. It was so difficult to say what has used to great effect. When little one meant that people preferred to Ture is presented he takes up only a keep silent and let the one whom small part of the page. On the next they wanted to retain travel on his spread his house, very logically, way. Anna-Clara’s illustrations show fills a larger space and when Ture, the harshness of life and the aus- together with his dog, is borne out terity of human relationships. Her into the wide world by the wind the illustrations are like old-fashioned illustrations are large and gene- school pictures. Indeed, the whole rous, covering the whole page. They book is reminiscent of Swedish are realistic stories with a fabulous picture books, such as those of Elsa Beskow, from an earlier epoque with the text and a black and white illustration on the left-hand side with the right side filled by a colour picture. “Förr i tiden i skogen” has been translated into Danish, Norwegian, French, Japanese and German. Thomas and Anna-Clara Tid- holm have also produced a number of easy readers for slightly older children, books with short chapters and black and white illustrations “Ture blåser bort” (Ture Blows Away)

20 dimension. Perhaps one could class son. The boy and the pony become them as magical realism for the best friends but when the pony very small. does not dare to jump from a high tower into a tiny pool, the circus Collaboration with other authors director gets angry and decides to Anna-Clara Tidholm has also il- send it for slaughter. The star flees lustrated the work of other authors. and experiences numerous danger- Among the most interesting are ous adventures before he is finally “Barnens svenska historia, del 1. reunited with the boy in the happy När människorna kom” (Children’s conclusion. History of Sweden, Part 1. When Anna-Clara’s pictures of the the People Came) by Sonja Hulth. pony are tender and just as loving It begins 70 000 years ago when as are the star and the boy towards it started snowing in Sweden. It each other. The colours are rich snowed and snowed and snowed ... and vibrant and the pictorial solu- Many thousand years were to pass tions unconventional. “Pojken och before spring returned. The book stjärnan” has been dramatized and ends about 1000 AD. Text and il- performed in various theatres in- lustrations show how the ice melts cluding a musical version at Swe- and makes room for animals and den’s National Theatre with a score people, how the people co-operate by Georg Riedel. and start settlements, how they get food, play and organize their lives. Own books The illustrations are poetic and full Among books that Anna-Clara of empathy. It is easy for children Tidholm has both written and il- to identify with their comrades lustrated is “Allihop” (All of Them) far back in history. There are also (1993) which was originally a TV instructive drawings of runes and programme or, rather, a series rock carvings. of programmes. The setting is a play-school and the children at- “Pojken och stjärnan” (The Boy tending it are portrayed in words and the Star) with a text by Barbro and pictures. It shows a section of Lindgren (1991) narrates a sad and Swedish society with the children’s dramatic story set in a circus. The varying social environments as a star is a little pony that is born on background but it is their personali- the same night as the fire-eater’s ties that are important. The reader

21 “Ett fall för “Allihop” (All of Them) Nalle” (A Case for Teddy) meets Frida, who likes things to In 1992 Anna-Clara Tidholm be organized and tidy, Evert who published a book for very small does not enjoy playing and who children, just above the ’look and feels so lonely in the play-school, say’ level, that caused great rejoic- dark-haired Rosita who is much too ing among reviewers – as well as kind, Jonny who is both strong and children. “Knacka på!” (Knock, kind and Britta who has everything Knock, Knock!) in which the child except her mother’s and father’s and the adult go through different time and attention. coloured doors and discover excit- “Allihop” is very popular at ing things behind them. This book nurseries because the children feel was followed in rapid succession that it is about themselves. It is by “Ut och gå!”, “Hitta på!” and generously illustrated with several “Varför då?” (Out Walking, Find pictures on every spread. Out! and Tell Me Why). “A book for “Ett fall för Nalle” (A Case for the very young to rejoice about” the Teddy) (1988) is a detective story periodical Vi Föräldrar wrote. And for small children in thirteen chap- Lärarnas tidning wrote that “She ters, illustrated in black and white. has created a classic on the level of Nalle starts a detective agency and, the predecessor “Nalle” (Teddy). In in the accepted manner of private Opsis Kalopsis Susanna Ekström detectives, he solves one case after wrote : “I believe that Anna-Clara another. “Ett fall för Nalle” was Tidholm has done more than originally a radio series. anyone else to renew picture books for infants in Sweden. Her way

22 In her books for small children Anna-Clara shows how well she is able to empathize with children’s thoughts and feelings, what they find exciting and diverting. The books can be used for stimulating play involving children and adults at the same time as they provide “Knacka på!” (Knock, Knock, Knock!) children with artistic and aesthetic of using colour, of expanding the experiences. Every page is like a pictorial space and introducing painting with rich, cheerful colours unexpected motifs is revolutionary”. specially created for this particular These books have been translated age-group. into Norwegian, Danish, German, Dutch, Finnish, Korean, Japanese. Manifold talents Portuguese, French, Faeroese, Anna-Clara Tidholm has by no Iclandic, Hebrew, Polish, Italian and means restricted herself to picture English. books. She has had several exhibi- tions at which she has shown book illustrations as well as water-colours and oil-paintings. She makes radio and TV programmes and her first publication was a collection of poems for adults (1966). From time to time she participates in public discussion of cultural issues and she visits schools to talk about books and art. Her perspective is the child’s and she constantly maintains her solidarity with the children.

Birgitta Fransson “Varför då?” (Tell Me Why) Translated by William Jewson

23 Reading should be non-educational To have fun, that’s what reading is all about, says Anna-Clara Tidholm, illustrator and writer. All that other talk about how useful and important it is to read, she doesn’t like.

Anna-Clara Tidholm is the author besides, I like “toy-colours”. of picture books like Apan fin (Pret- Talking about the clearness in ty Monkey), Hela natten (All Night the pictures, it is important but that Long) and of course Knacka på! doesn’t mean that she only deal (Knock knock knock!). Books that with reproducing reality. in the highest degree introduced – No, it should be boring. To the and established the genre små- reproducing you must add a feel- barnsböcker (infant books). An in- ing, a tune or an expression. My fant book is meant for children up task is not to be pedagogic. I have to about three years. Infant books no ambition to teach the children must, says Anna-Clara, be very about colours or anything like that. carefully adapted to the lowest ages. My task is to supply adventures, They must be simple and small chil- experiences. dren’s level. The content must limit Anna-Clara tells me about a mis- itself to things that infants are sup- take she has made about the clear- posed to have seen or experienced. ness in her pictures. Like one with And that is a question for both speed-lines. the writing and the pictures. The It is in the book Find out where picture book parts from the “point- a building of toy bricks is falling ing out-book” through its precise down, accompanied with these adapted text (words). words: “Hitta på att rulla buller Hoppa She is working with happy and dunsa Ramla Brak! Faller leksaker strong colours and with pictures ner på golvet med en farlig fart” that are simple, distinct and in clear Among all the things that fall is interplay with the text. a monkey. To mark the enormous – When it comes to colours, I speed, Anna-Clara painted white think you have to overdo it a bit speed-lines. Lines that cover the working with infant books. And arm of the monkey. Reading chil-

24 dren noticed with despair that the And monkeys arm was broken. – I felt very irritated by such a ”Lilla huset mistake. But when the story was to Blåa dörren be reprinted in an anthology. I got Ska vi gå a chance to correct the mistake, so I Och hälsa på?” did. It was a good feeling. (Little house Door blue Shall we go Drop in?)

Books must have a way in, otherwise the supposed reader will be left outside the door, excluded from the bookpages and their content. A carefully formulated text in com- bination with interplaying pictures The picture is the most important can open up the book wide to small in an infant book, but the text is children. also important. The words them- – Sometimes parents write to me selves are not only significant, they and tell me that they have read for form a rhythm, a melody and are example Knock, knock, knock! with by that an entrance to the language, their child. “He is just nine months explains Anna-Clara who very care- old and wow, it works”, they say fully has formulated two-words- with enthusiasm. They are happy sentences like and I am happy. You won’t have that feeling, if the book is on the wrong “Ute regnar level. himmel grå Round Sweden there are a lot of Vara inne reading promotion projects go- Hitta på!” ing on, more or less successful. (Out raining Municipalities that give money for Sky grey reading-projects and give books to Be inside children who enter school or pre- Find out!) school or celebrate one year or are newborn. A well-intentioned work

25 with uncertain results, Anna-Clara Many people yet do it, because they thinks. are so keen. Many read Pippi as – If you want to send out books well – but think about it! It is too to children, you must be aware of difficult for small children. There how and why you do it. You must is a whole world to experience and come in the right time with the understand before you can under- right books. In many places they stand Pippi. are so pleased with having sent out The contents of Pippi, Emil and a book, that they are quite satisfied other wellknown children books are with that. Many of them can not hidden for small children, but nev- see the difference between an infant ertheless the infants world is full of book and a picture book. But a their symbols. It is Pippi dolls, Win- book for a one-year old and a book nie the Pooh on the bib and Laban for a five-year old are quite different the ghost on the feeding bottle. things. And to give an anthology to – Small children’s culture is emp- a newborn child, is totally mean- tied of its content. There is just the ingless. surface left. Therefore the infants books will be of greater importance. There are too many pedagogic They present a substance which the thoughts behind the choice of children can understand, Anna- books, says Anna-Clara. The ones Clara explains. It’s not just about who choose books are turning to the book taking place in an arena the parents more than to the chil- which is familiar to the kid. There dren. are other conditions that are as im- – They don’t put the child in the portant to relate to. She tells about center, in spite of what many pro- a boy who read just an opening in claims they do. her book “Hela natten” (All Night The parents often think the same Long). There was a picture of a for- and emphasize the utility aspect or they are forced by the delight to introduce books that meant a lot to them in their own childhood. Parents start to read books out loud too early. You can’t pick up Astrid Lindgren’s “Emil in Lönneberga” and read it to a two-year old child.

26 est and in the forest there was an planning to do something about it. owl. To him the book became “The They have made a pilot study, but Owl-book”. are preparing for a whole series of My books are on purpose made films under the title “Snuttefilm” in a way that you mustn´t read and they are dealing with both old from the beginning to the end. You and new stories. can start from the middle or read – First I didn’t like the idea, but if only an opening. Infants are simply it is good adapted, I find it okey. But not interested in everything. Don’t I have never thought that my books think that. Reading shall be non- should be used for anything else educational and voluntarily. All that than reading. discussion about the useful reading is a bit stupid and moralizing. Like “read for your children otherwise they will be out of work when they grow up”.

The social interaction in playing and reading together, can the television or other media never compete with, is Anna-Clara’s point. For the rest she thinks that the importance of reading is exaggerated. – Actually, I don’t know why reading should be so much better Together with Ulla Rhedin, PhD in for the children than watching TV, Literature, Anna-Clara some years she says and notices then that also ago was out in the pre-schools talk- infants watch TV and Dvd either ing about infant books. She dis- we find it useful or not. covered then that infant books is a – Well, then you could make relatively new phenomenon. something good instead, which – I used to mention the classics is adapted to them. Besides Tele- “Kattresan” (The Cats Journey) tubbies there are no programs and the story about the little, little specially made for this age-group, old woman. There are not so many says Anna-Clara who now together more books, not in a historical with the animator, Gun Jacobson is perspective. Nowadays there are of

27 course some more but it’s no abun- ing only to the children’s conflicts. dance of them. So I decided to make a book with a Siv Widerberg and Cecilia more positive outlook on life. Torudd have made a book about chairs and one about pillows. The result was “Alla får åka med” – They are funny. And I like He- (Everyone Can Ride Along) where lena Davidsson Neppelbergs books a girl drives a big truck and picks about Vera. Or else there isn’t much up a boy who has tumbled down, to read for the children when they a dog who is freezing and some are small. other lonely and sad existences and Some books have dull texts. everything ends up with eating and Others are badly translated. And a feeling of solidarity in the big there is not so much new thinking house. Linda Skugge named it a in the infant books, says Anna- “progg-book”. She didn’t like it. Clara who is convinced that it is But perhaps it is that sort of books easier to think in new ways if you that are needed in this times, books have a theory as a startingpoint for about solidarity and generosity. your creative work. The theory she has worked from is that small children can not identify with main characters in books. – Most infant books have a Totte, a Max or an Emma, but in my books it is the reader herself who is the main character. I don’t know if I am right, but in my infant books there are no main characters. Eva Eriksson’s and Barbro Lindgren’s books about Max are some of Anna-Clara’s favourites but there Anna-Clara has no new infant are young parents who don’t like book going on. Her publisher tries them at all, she tells. to convince her about long series to – There are those who think sell abroad. that the Max books are boring and – I haven’t agreed to that. I have grumbling and that they give a neg- said that I can make another book ative outlook on life through stick- which in that case will be called

28 “Ingen får åka med” (Nobody can Anna-Clara was, as she describes it Ride Along). But joking apart, “Ev- herself, a hysterically reading child eryone Can Ride Along” has actu- and is very precise with separating ally been sold to several countries, different sorts of reading. Her own she tells, pleased with the thought she calls lonely-reading. that children get access to her and – I used the stories of the books other’s infant books. She has been as escape and fantasy. That is not out touring and talking about this something I will recommend to issue in pre-schools, BVC (children others, she says. care centrals) and libraries. She The other way of reading you wishes that the persons working on could call together-reading. That’s BVCs and at libraries as well as the what small children do, and they parents should get more knowledge should get the chance to do it much about infant books, their meaning more. and offers. – To infants reading is a very – When it comes to teaching in social thing. Children are very open children’s literature at the institutes for interaction and books give them of education, it seems that it more possibilities for that. Many times it’s often takes its startingpoint in the person who reads, who is inter- the literature than in the children esting, more than the book itself. themselves. The pre-school teach- – A good book functions both ers should learn more about which with adults and children. The read- books are suitable for different ages. ing is a superior manner for children Projects about infant books must and adults to have fun together. start from the childrens own basic level. Helen Lumholdt in the magazine Förskolan (The Pre-school) nr. 8/ 2005 Translated by Sven Hallonsten

29 Anna-Clara Tidholm: One more time

Yes, books are outstanding. And of course it is excellent reading books. It is a truth, hard to questioning. In our culture every child needs an adjustment to the world of lan- guages. Children’s books are one of the most important tools in that schooling.

But in despite of my self working with children’s books, I have sometimes problems conforming to the certainty of belief in reading promotion. Librarians, teachers, preschool persons – everybody are go on undisturbed and under the doing a marvellous work, help- protection of adults, mentally close ing those books we are producing but on just sufficiently distance. reaching the children. Without their competence and work we In playing are included all that we would be helpless drifting in the sea put into the conception of culture, of commerce. Where our some- play includes all the forms of art: times curious and not-so-cute music, theatre, architecture, dance, books would drown and sink (to circus, art, language. But on chil- the bottom)! dren’s own conditions and their own chosen levels. Of course children need books – but children need even more fairly The critic of children’s books Mag- stable grownups, clean air, warm nus William-Olsson, who every clothes in winter and a lot of time year writes unpredictably surveys and room and possibilities and in the newspaper Aftonbladet, was freedom to play. Yes. Most of all in one of his texts surprised of the play- because play is the real core absence of play in children’s books. of childhood, when it is allowed to He did not mean descriptions of

30 children playing, but the fact that book doesn’t need to be so finished children’s books so seldom use the – but has to contain a substance, play as starting point and substance. which the child can explore and Both in the books and in our way of experience, play with! Words and using them, adult literary concepts pictures can together make a whole, is in fact dominating. The book a meaning – if the child itself wants shall have action, main characters, it. Some children focus on only a conflict and a distinct ending. one picture, which for them has a Like in books for adults. When we special meaning, that we adults not use a book for children we read it. always understand. Other children Unconsciously we pass our adult love just the thrilling turn over of way of assimilating literature to the pages. children. And feel like good reading-promotioners… In fact everything is possible. And sooner or later the child, if there are When producing books for small books at hand, will get that aha- children I have become aware of experience: the book, the pictures the potential of a picture book to and the words has a meaning, just pass the borders of the literary for me. One more time! concept of the adult. Here you don’t need action! And very few words. Anna-Clara Tidholm I have been able to work with text Artist and author and picture more freely than in my Translated by Britt Isaksson story-telling picture books. The

31 Biography Prizes

Born in Stockholm in 1946 Elsa Beskow plaque 1986

She has worked as Expressen’s Heffaklump 1987 for • a journalist on daily newspa- “Resan till Ugri-La-Brek” pers and a freelancer for radio and television Gävleborg County Cultural Award 1989 • self-taught illustrator (children’s books, animated film, exhibi- Litteraturfrämjandet’s Award for tions, magazines, posters, car- Books for Children and Young toons, etc.)) People 1989

• author (collection of verse 1966, Deutsche Jugendliteraturpreis 1992 children’s books, children’s radio, for “Resan till Ugri-La-Brek” Chronicles in magazines and newspapers) Pier Paolo Vergeri’s Special Men- tion for “Resan till Ugri-La-Brek” Anna-Clara Tidholm lives in Arbrå, Hälsingland in northern Sweden Wettergren’s Barnbokollon 1993 for where she also keeps hens and “Förr i tiden i skogen” sheep The August Prize 2002 for Adjö, herr Muffin (text by Ulf Nilsson)

Anna-Clara Tidholm is entitled to the Guaranteed Author’s Allowance

32 Bibliography GLÖM INTE JORDNÖTTERNA! Don’t forget the peanuts! Text: Thomas Tidholm BOLAGET, PLUTTARNA OCH Ägget 1983 MOSKROGAFOLKET Danish: Glem ikke jordnødderne! Alrune 1993 The Company, the Dots and the Moskroga People Text: Mats Arvidsson & Rahtje Vierth SPÅRLÖST BORTA Bonniers 1970 No trace Text: Ulf Nilsson TILLBAKS TILL NATUREN Bonniers 1984 Back to Nature Danish: Sporløst førsvunnet. Sesam 1985 Bonniers 1970 KANIN MED NEDHÄNGANDE ÖRON VAD BOSSE FICK SE Rabbit with Hanging Ears What Bosse Saw Korpen 1985 Text: Thomas Tidholm Rabén & Sjögren 1971 BARNENS SVENSKA HISTORIA 1, När människorna kom JÄTTEN OCH EKORREN Childrens’ History of Sweden The Giant and the Squirrel – When the People came Ägget 1980 Text: Sonja Hulth Danish: Kaempen, der icke kunne blive maet. Rabén & Sjögren 1986 Sesam 1987 ETT JOBB FÖR JACKO SAGAN OM OSTEN A Job for Jacko OCH ANDRA SAGOR Text: Thomas Tidholm The Tale of the Cheese and other Tales Rabén & Sjögren 1987 Gidlunds 1981 Japanese: Sakasu-nante y Ameta. Iwasaki Shoten 1988 KORVEN, folksaga Danish: Et job til Jacko. Alrune 1992 The Sausage, a folktale Ägget 1982 RESAN TILL UGRI-LA-BREK The Journey to Ugri-La-Brek POJKEN OCH HANS ULLIGA FÅR, Text: Thomas Tidholm folksaga Alfabeta 1987 The Boy and his Woolly Sheep, a folktale Danish: Rejsen til Ugri-la-Brek. Høst&Søn 1995 Rabén & Sjögren 1982 Japanese, Holp Shuppan/EA 1995 Danish: Drengen og hans tottede får. Høst 1983 Dutch, Querido 1995 Norwegian: Reisen til Ugri-la-Brek. Carlsen 1995 ÅKEBOKEN German: Die reise nach Ugri-la-Brek. Beltz Åke’s Book 1995 Text: Thomas Tidholm Ägget 1983

33 ETT FALL FÖR NALLE KNACKA PÅ! A Case for Teddy Knock, Knock, Knock! Alfabeta 1988 Alfabeta 1992 Danish: Bamse klarer alt. Høst 1990 Norwegian: Banke på. Gyldendal 1992, 2006 German: Bruno bär, detektiv. Hanser 1995 Danish: Banke på! Gyldendal 1992 Japanese, Holp Shuppan/EA 1996 Dutch: Klop, klop, klop. Middernacht 1992 German: Klopf an! Hanser 1993 JIMS VINTER Finnish: Koputetaan Schildts 1994 Jim’s Winter French, Albin Michel 1994 Text: Thomas Tidholm Korean, Sakyejul 1994, 2007 Alfabeta 1988 Japanese, Holp Shuppan/EA 1996 Portuguese, Callis (Bra) 1998 UNIVERSUMS HISTORIA Faeroese, Bokadeild 2001 The History of the Universe Hebrew, Agam publishing 2006 Text: Thomas Tidholm Polish, Zakamarki 2008 Morkullan 1988 English, MacKenzie Smiles (US) 2009

SE UPP FÖR ELEFANTERNA SOVA ÖVER Beware of the Elephants! Staying the Night Text: Ulf Nilsson Text: Siv Widerberg Bonniers 1989 Rabén & Sjögren 1992 Finnish: Varokaa norsuja. WSOY 1990 Norwegian: Sove borte. Bokklubbens Barn 1993 Norwegian: Max i dyrebutikken. Damm1990 Danish: Sove sammen. Gyldendal 1993 French: Gare aux éléphants! Kid Pocket 1994 Laplandish: Idjadit. Sami Girjjit 1992 Laplandish: Isjastallat. Sami Girjjit 1992 BALLADEN OM MARJAN OCH ROLF German: Heut schlafe ich bei Fredrik. Maier Ballad of Marian and Rolf 1993 Text: Thomas Tidholm Alfabeta 1989 GUNGA LITE GRANN Danish: Balladen om Marie og Rolf. Høst&Søn Dandle a bit 1991 Songs by Jujja and Tomas Wieslander Japanese, Holp Shuppan/EA 1996 Natur and Kultur 1993

VILL HA SYSTER! ALLIHOP Want Sister! All of Them Text: Thomas Tidholm Rabén & Sjögren 1993 Alfabeta 1991 Norwegian: Alle sammen. De Norske Bokklub- bene 1994 POJKEN OCH STJÄRNAN Norwegian: Alle sammen. Gyldendal Norsk The Boy and the Star 1995 Text: Barbro Lindgren Eriksson & Lindgren 1991 FÖRR I TIDEN I SKOGEN Danish: Drengen og stjernen. Gyldendal 1993 In the Old Days in the Forest Norwegian: Gutten og stjerna. Det Norske Text: Thomas Tidholm Samlaget 1993 Alfabeta 1993 Finnish: Poijka ja tähti. Tammi 1993 Danish: I skoven for laenge siden. Carlsen 1993 French: Moi je veux aller a l’ecole. Mango 1993 34 Japanese, Holp Shuppan/EA 1993 KASPERS ALLA DAGAR Norwegian: Før i tiden i skogen. Aschehoug All Caspar’s Days 1993 Text: Thomas Tidholm German: Als Natan klein var. Beltz 1993 Alfabeta 1994 Danish: Alle Kaspers dager. Høst&Søn 1995 HITTA PÅ! Dutch: De dagen van Caspar. Middernacht 1995 What to Do? Norwegian, Aschehoug 1995 Alfabeta 1993 Norwegian: Finne på. Gyldendal 1992 TURE BLÅSER BORT German: Denk dir was aus! Hanser 1993 Ture Blows Away Dutch: Wil je met me spelen? Middernacht 1993 Text: Thomas Tidholm Danish: Finde på! Gyldendal 1993 Alfabeta 1994 Finnish: Etsitään! Schildts 1994 Danish: Herbert blaeser vaek. Gyldendal 1995 Korean, Sakyejul 1994, 2007 French, Albin Michel 1995 Japanese, Holp Shupan/EA 1996 Japanese, Holp Shuppan/EA 1995 French, Albin Michel 1996 Dutch: Jacob waait weg. Middernacht 1995 Portuguese, Callis (Bra) 1998 German: Ture bläst es fort. Hanser 1995 Hebrew, Agam publishing 2006 Italian, Edizioni EL 2000 Korean, Nurimbo (Momo) 2004 UT OCH GÅ! Out Walking! TURE KOKAR SOPPA Alfabeta 1993 Ture Makes Soup Danish: Ud at gå! Gyldendal 1992 Text: Thomas Tidholm Norwegian: Ut og gå! Gyldendal 1992 Alfabeta 1995 Dutch: Ge je mee naar. Middernacht 1993 Danish: Herbert laver suppe. Gyldendal 1995 Finnish: Seikkai luun! Schildts 1994 French, Albin Michel 1995 Korean, Sakyejul 1994, 2007 Japanese, Holp Shuppan/EA 1995 Japanese, Holp Shuppan/EA 1996 Dutch: Jacob maakt soep. Middernacht 1995 Faeroese, Bokadeild 2001 German: Ture kandt suppe. Hanser 1995 Hebrew, Agam publishing 2006 Korean, Nurimbo (Momo) 2004 Polish, Zakamarki 2008 Italian, Edizioni EL 2000

VARFÖR DÅ? LANAS LAND Why? Lana’s Land Alfabeta 1994 Text: Thomas Tidholm Danish: Hvorfor det? Gyldendal 1994 Alfabeta 1996 Finnish: Miksi noin? Schildts 1994 Danish, Carlsen 1997 Japanese, Holp Shuppan/EA 1994 Norwegian, Aschehoug 1997 Korean, Sakyejul 1994, 2007 Dutch: Waarom? Middernacht 1994 TURE SITTER OCH TITTAR Norwegan: Hvorfor det? Gyldendal 1994 Ture Sits Looking German: Warum? Hanser 1994 Alfabeta 1996 Portuguese, Callis (Bra) 1998 Danish, Gyldendal 1996 Hebrew, Agam publishing 2006 French, Albin Michel 1996 Dutch, Middernacht 1996 Korean, Nurimbo (Momo) 2004

35 TURE SKRÄPAR NER TURE FÅR BESÖK Ture Makes a Mess Ture Has a Visitor Alfabeta 1996 Text: Thomas Tidholm Danish, Gyldendal 1996 Alfabeta 1998 French, Albin Michel 1996 Dutch, Middernacht 1996 TURE BORSTAR TÄNDERNA Italian, Edizioni EL 2000 Ture Brushes his Teeth Korean, Nurimbo (Momo) 2004 Text: Thomas Tidholm Alfabeta 1998 TURE BLIR BLÖT Ture Gets Wet ALLA DJUREN Text: Thomas Tidholm All the Animals Alfabeta 1997 Tidholm, Thomas; Tidholm, Anna-Clara Danish, Gyldendal 1997 Alfabeta 1998 French, Albin Michel 1997 Danish, Gyldendal 1998 Dutch, Middernacht 1997 Korean, Nurimbo (Momo) 2004 LÅNGA BEN TURE SKOTTAR SNÖ Long Legs Text: Thomas Tidholm Ture Shovels Snow Alfabeta 1999 Text: Thomas Tidholm Danish, Carlsen 1999 Alfabeta 1997 Danish, Gyldendal 1997 French, Albin Michel 1997 SE UT: en bok om människor Dutch, Middernacht 1997 How Do You Look: a Book about People Korean, Nurimbo (Momo) 2004 Text: Lisa Berg Ortman Alfabeta 1999 FLICKORNAS HISTORIA: från Igelkotts- flickan på stenåldern till Julia i vår tid KANINEN SOM LÄNGTADE HEM. The rabbit who longed for home The Girl’s History: from the Hedgehog-girl in the Text Lilian Edvall. Stone Age to Julia in Our Time Rabén & Sjögren 1999 Text: Kristina Lindström Alfabeta 1997 APAN FIN EN SVART HUND Pretty Monkey Alfabeta 1999 A Black Dog Danish, Sesam 1999 Text: Thomas Tidholm Italian, Edizioni EL 2000 Alfabeta 1997 Dutch, Zirkoon 2000 German, Annette Betz 2000 NALLE HEJ! Teddy Hello! MERA MAT! Alfabeta 1997 More Food! Danish, Sesam 1997 Alfabeta 2000 Italian, Edizioni EL 2000 Danish, Sesam 2000 German, Annette Betz 2000 Dutch, Zirkoon 2000

36 LILLA GRODAN ADJÖ, HERR MUFFIN Little Frog Good-bye Mr Muffin Alfabeta 2000 Text Ulf Nilsson Danish, Sesam 2000 BonnierCarlsen 2002 Dutch, Zirkoon 2000 German, Annette Betz 2000 FLICKORNAS HISTORIA, EUROPA The Girls History, Europe LÄSA BOK Text Kristina Lindström . Read a Book Rabén & Sjögren 2002 Alfabeta 2000 Danish, Sesam 1999 PAPPAN SOM FÖRSVANN Italian, Edizioni EL 2000 och andra berättelser för barn och vuxna Dutch, Zirkoon 2000 The Daddy Who Disappeared and Other Stories German, Annette Betz 2000 for Children and Adults Alfabeta 2003 FLICKAN SOM BARA VILLE LÄSA ALLA FÅR ÅKA MED The Girl Who Only Wanted to Read Everyone Can Ride Along Text: Sonja Hulth Alfabeta 2004 Alfabeta 2000 Dutch, Hillen 2005 SAGOR FRÅN SKOGEN Norwegian, Gyldendal 2005 German, Hanser 2005 Stories from the Forrest Alfabeta 2001 Japanese, Rutles (Tuttle Mori Agency) 2007 VÄCK INTE DEN BJÖRN SOM SOVER: sagor och sägner JOLANTA Don’t Wake A Sleeping Bear: Stories and Myths Text: Per Gustavsson Jolanta Alfabeta 2004 Text: Thomas Tidholm Alfabeta 2002 HANNA HUSET HUNDEN JAG BEHÖVER LILLBRORSAN Hanna the House the Dog Alfabeta 2004 I Need My Little Brother Text: Solja Krapu Alfabeta 2002 NÄR VI FICK FELIX When We Had Felix HELA NATTEN Text: Thomas Tidholm Alfabeta 2005 All Night Long Alfabeta 2002 Danish, Sesam 2002 EN LITEN STUND A Short While Alfabeta 2006 LITE SJUK Danish, Gyldendal 2006 Somewhat Ill French, Oskar Editions 2006 Alfabeta 2002 Danish, Sesam 2002

37 SNÄLLA BARN CD-ROM Nice Children Text: Thomas Tidholm Knacka på! Alfabeta 2007 Knock! Knock! Knock! Alfabeta Multimedia 1996 SIMONS ANKA Danish: Banke på! EMP 1996 Simon’s Duck German: Klopf an! Terzio 1996 Tidholm, Anna-Clara; Jacobson, Gun Alfabeta 2008 MOVIE / DVD NELLY PACKAR Nelly Packs Her Bag Jims vinter Tidholm, Anna-Clara; Jacobson, Gun Jim’s Winter Alfabeta 2008 Lisbet Gabrielsson Film AB 2001 VAD TÄNKER KNODDEN? Snuttefilm för de små What is Knodden thinking of (together with Gun Jacobson) Text: George Johansson Lisbet Gabrielsson Film AB 2008 Natur & Kultur, 2009 Alfabeta DVD 2008 MIN FAMILJ My Family Olika förlag 2009

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