A JOURNAL OF INTERNATIONAL CHILDREN’S LITERATURE

2018, v o l . 56, n o .4 The Journal of IBBY, the International Board on Books for Young People Copyright © 2018 by Bookbird, Inc. Reproduction of articles in Bookbird requires permission in writing from the editor.

Editor: Björn Sundmark, Malmö University, Sweden. Address for submissions and other editorial correspondence: [email protected]. Bookbird’s editorial office is supported by the Faculty of Education, Malmö University, Sweden

Editorial Review Board: Peter E. Cumming, York University (Canada); Debra Dudek, University of Wollongong (Australia); Helene Høyrup, Royal School of Library & Information Science (Denmark); Judith Inggs, University of the Witwatersrand (South Africa); Ingrid Johnston, University of Alberta (Canada); Michelle Martin, University of South Carolina (USA); Beatriz Alcubierre Moya, Universidad Autónoma del Estado de Morelos (Mexico); Lissa Paul, Brock University (Canada); Margaret Zeegers, University of Ballarat (Australia); Lydia Kokkola, Luleå University (Sweden); Roxanne Harde, University of Alberta (Canada), Gargi Gangophadhyay, Ramakrishna Sarada Mission Vivekananda Vidyabhavan (India); Tami al-Hazza, Old Dominion University (USA); Farideh Pourgiv, Shiraz University Center for Children’s Literature Studies (Iran); Anna Kérchy, University of Szeged (Hungary); Andrea Mei Ying Wu, National Cheng kung University (Taiwan); Junko Sakoi, Tucson, AZ, (USA).

Board of Bookbird, Inc. (An Indiana not-for-profit corporation): Valerie Coghlan President; Ellis Vance Treasurer; Junko Yokota Secretary; Hasmig Chahinian; Sylvia Vardell.

Advertising Manager: Ellis Vance ([email protected]) Production: Design and layout by Mats Hedman. Printed by The Sheridan Press, Hanover, Pennsylvania, USA

Bookbird: A Journal of International Children’s Literature (ISSN 0006-7377) issue October 2018 is a refereed journal published quarterly in January, April, July and October by IBBY, the International Board on Books for Young People, and distributed by Johns Hopkins University Press, 2715 N. Charles Street, Baltimore, MD 21218-4363 USA. Periodicals postage paid at Baltimore, Maryland, 21233-9651, and at additional mailing offices. Postmaster: Send address changes to Bookbird, 2715 N. Charles Street, Baltimore, MD 21218-4363 USA.

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IBBY Executive Committee 2018-2020: Mingzhou Zhang (China) President; Anastasia Arkhipova (Russia) Vice President; Carole Bloch (South Africa) Vice President; Hasmig Chahinian (France); Zohreh Ghaeni (Iran); Sophie Hallam (UK); Basarat Midhat Kazim (Pakistan); Ahmad Redza Ahmad Khairuddin (Malaysia); Shereen Kreidieh (Lebanon); Nora Lía Sormani (Argentina); Sylvia Vardell (USA). Non-Voting Members: Junko Yokota (USA) Hans Christian Andersen Jury President; Elizabeth Page (Switzerland) Executive Director; Ellis Vance (USA) Treasurer; Janelle Mathis (USA) and Petros Panaou (USA) Bookbird Editors.

IBBY may be contacted at Nonnenweg 12 Postfach, CH-4009 Basel, Switzerland, tel: +4161 272 29 17 fax: +4161 272 27 57 email: [email protected]

Bookbird is indexed in Library Literature, Library and Information Abstracts (LISA), Children’s Book Review Index, Web of Science, and the MLA International Bibliography.

The cover illustration is from The Four Seasons of the Birds in Taiwan (2010) by Hwa-Jen Ho, published by Star-Moon Publishers, and reproduced by permission. Contents

Editorial by Björn Sundmark 2

Articles Dis/placed in Canada: A Québécois Graphic Novel in Translation Novel by Geneviève Brisson and Theresa Rogers 4 The Changing Treatment of Disability in Children’s Literature in India by Dipavali Debroy 14 The Child’s Death as Punishment or Nonsense? Edward Gorey’s The Gashlycrumb Tinies (1963) and the Cautionary Verse Tradition by Emily Petermann 22 Clashes of Modernity in Chilean Contemporary Young Adult Novels: Al sur de la Alameda. Diario de una toma and Nieve Negra by Luz Santa Maria 31 Charles Dickens and the Child Narrator: Literary and Sociolinguistic Reflections on A Holiday Romance (1868) by Beatrice Moja 38 Into the Dark Woods: A Cross-Cultural Re-Imagination of Home by Marija Todorova 46 The Portrayal of Animals in Two Iranian Picturebooks by Maryam Izadi 53 Family First in Homes Away From Home: Depictions of Refugee Experiences and Flight from War in Picturebooks Published in Sweden 2014–2018 by Åsa Warnqvist 60

Authors and Their Books PJ Lynch by Valerie Coghlan 72

Children and Their Books Creating Nations from Silent Books by Debbie Thomas 76 Grief, Grieving, or Grieved: Michael Rosen’s Sad Book and How to Cope with Grief for Kids and Grown-Ups by Catherine-Laura Tremblay-Dion and Shoshana Magnet 80

Letters A Symphony of Poems and Pictures: Hwa-Jen Ho’s Nonfiction Picturebooks about Wild Birds in Taiwan by Yi-Ching Su 84

Focus IBBY edited by Liz Page 88

Postcards edited by Barbara Lehman 13, 95

IBBY.ORG 1 56.4–2018 Editorial

hat has been achieved during tor. The authors of the fifty-nine published peer-re- Heyman), Indigenous Children’s Literature (Rox- Finally, I would like to thank the designer, Mats these past four years? Bookbird viewed articles come from twenty-five different anne Harde), Child Writers and Illustrators (Peter Hedman, and my copyeditor, Jasmin Salih, for their goes through a two-year pub- countries. Thirty-one of these articles were written Cumming), and Translation and Transmedia (Anna excellent work, as well as the ever supportive Book- lication cycle due to the bien- by authors from the English-speaking world (USA, Kérchy). As single editor, it has been a particular de- bird Board and its president, Valerie Coghlan. My nial Hans Christian Andersen UK, NZ, AU, CAN), while the other twenty-eight light to me to collaborate with guest editors for the warmest thanks also to IBBY director, Liz Page, WAward, which we cover with two special issues. articles were written by authors from the rest of the special themes, including the congress issues (Anna and the IBBY Executive Committee. I have always Every other year, there is also the congress issue to world. If we look at the other texts, the spread is even Jackson and Petros Panaou). I also believe that the felt your encouragement, and I am thankful for the consider. Since the Andersen issues consist of com- better. This diversity of content is a hallmark of Book- special editors play a great role in furthering the friendly and warm support over these four years. missioned material, this was especially problematic bird, and I have worked hard to increase this diversity cause of Bookbird within the academic community. Over and Out, Björn when we ran both Andersen issues in the same year even further. Behind the scenes, I have pruned and An issue that gave me particular joy was the com- because we were likely to publish too few articles in renewed the editorial board. The present board is bined H. C. Andersen and 60 Years Commemora- that year (eight in total in 2016). However, for the pe- considerably less oriented towards North America; tive issue (55.4), since it gave me the opportunity ERRATA We regret that the first print run of 56.2 was affected by a design riod 2017–2018 the two Andersen issues came out it now includes specialists from most parts of the to communicate with my editor predecessors and error, pages 88-91 (in Focus IBBY). The electronic version is correct, however. We also apologize for the fault in the table of contents, issue 56.3, where in different years, which meant that we could pub- world. The only collaboration that, despite efforts, collect their reminiscences in that issue. New Zealand author Joy Cowley is registered under another nationality (US). lish three standard issues per year—with an average has not panned out the way I had hoped is with the of circa fifteen articles per year (see overview below). Bookbird correspondents; here there is room for im- This was an important reform for Bookbird, carried provement. out as part of the successful bid to be included in the Sixteen issues (including the upcoming Novem- SCOPUS journal ranking index, a distinction which ber issue) have been published. Of these, two have will make Bookbird even more attractive to publish in, been congress-themed, one New Zealand-Austra- BJÖRN SUNDMARK is Professor cite from, subscribe to, and download. lia-Oceania themed, and one Greece-Cyprus-Turkey of English Literature in the Faculty As editor, I have striven to develop the collab- themed. Two of them have covered the nominees of Education, Malmö University, oration with the International Youth Library, to for the H. C. Andersen Award, while two have been Sweden. He has published numerous articles on children’s which we have old ties, and have invited IYL to devoted to the H. C. Andersen Award winners and literature, and is the author of the write about their ongoing projects and exhibitions. shortlist. Of the remaining ten, five have been open; study Alice in the Oral-Literary Naturally, they have continued the reviews activity, the other five have been themed. The following Continuum (1999) and co-editor the Books on Books being a long-standing feature. topics have been covered (guest editor in parenthe- of The Nation in Children’s Literature (Routledge 2013). He is I also welcomed a suggestion from the Bookbird sis): Children’s Literature and the Posthuman (Zoe editor of Bookbird–Journal of Board to invite Barbara Lehman as Postcards edi- Jaques), Children’s Nonsense Literature (Michael International Children’s Literature.

BOOKBIRD 2 IBBY.ORG IBBY.ORG 3 56.4–2018 DIS/PLACED IN CANADA: Articles A QUÉBÉCOIS GRAPHIC NOVEL IN TRANSLATION

son and Edward Said, Canadian nationalist practices status and use of the English and French languages have been understood as the product of an imagined within Canadian society” (Official Language Act, community (Reimer). Historically, this imagined commu- Par. 2a). In accordance with this Act, French and En- Dis/placed in Canada: nity included images of the natural landscapes;4 how- glish have a special status in all federal institutions. ever, Mavis Reimer suggested that this imaginary has Many immigrants moving to Vancouver or Toronto recently been “overwritten by culture” (xvii). As she believe they will have to brush up their French skills, A Québécois Graphic Novel argues, understanding literature for children requires only to find out that these two cities are in English an analysis of these cultural discourses that “form Canada—where French is used only at very specific, places and place readers” (xvii). usually official, occasions. One example of the Canadian national imagi- In many ways, this national imaginary of multi- in Translation nary is the commonly-held view among Canadians culturalism within a bilingual frame is unsuccessful that their country is a nation that embraces multi- in acknowledging that literary Canada, perhaps in culturalism. Canadians have enshrined their com- relation to children and young adult readers in par- Geneviève Brisson and Theresa Rogers mitment to multiculturalism not only in statutory ticular, also remains a nation not only of two official legislation but also in the Constitution Act (section languages but also of “two solitudes.” This expres- 27) and in the Canadian Multiculturalism Act. Ac- sion originated in Two Solitudes, a novel published cording to Will Kymlicka, Canadians are unusual in by Hugh MacLennan in 1945. It was meant to sug- the extent to which they have integrated multicul- gest, according to Jane Koustas, a shared perception tural practices into their narratives of nationhood among French and English Canadians. Nowadays, and into their national imaginary. Kymlicka writes, the expression is used both by French and English In this paper, we analyze the award-winning graphic novel Jane, “We [Canadians] tell each other that accommodat- speakers in Canada to express a lack of communica- le renard & moi by Fanny Britt and Isabelle Arsenault, translated ing diversity is an important part of the Canadian tion or misunderstandings between the two linguistic identity; it is a defining feature of the country” (4). groups. In literature, for example, Kousta, citing An- into English as Jane, the Fox & Me by Christelle Morelli and Susan However, the Canadian imaginary of inclusiveness is dré Lamontagne, wrote that the “real confrontation Ouriou. We analyze the representation of distorted body image, often more an ideology than a practice; for instance, with the Other occurs when English Canada looks there has been in the lives of Indigenous citizens and at Quebec writing” (273). Indeed, when discussing bullying, and the resulting cultural displacement in the work, immigrant groups to Canada—who were subjected national children’s literatures, Maria Nikolajeva men- particularly in relation to discourses about Canadian nationality. We to internment, taxation, and other injustices—many tioned Canada as an example of a strange literary sit- atrocities that played out in this country’s past and uation in which “a boundary cuts across the country, do this by examining the challenges of translation and how the text recent history. dividing it into two language areas with two separate travelled from the French to the English contexts. We argue that, Some scholars have linked the idea of multicul- literatures for children” (22). She suggested that the turalism in North America to the 1965 preliminary two literatures appear to exist “independently, hap- in Jane, the Fox & Me, while the sense of place is left largely intact, report of the Canadian Royal Commission of Bilin- pily and consistently ignoring each other” (22). How- domestication of the text (Ritta Oittinen, Translating, “Theory”) is gualism and Biculturalism (Cem Zeytinoglu) meant ever, when Québécois literature for young readers is to support Francophone and Anglophone minority translated to English, as in the case of Jane, The Fox & significant in places. As a result, the translation elides important issues citizens. According to Diane Dagenais, when the Me, we can begin to see how the translated texts can of language difference and history, which we argue are reminiscent Canadian Multiculturalism Act was adopted, one of fail to fully capture the Québécois imaginary. its purposes was to enhance and preserve the use of Only recently, in the last two decades or so, has of a Québécois imaginary of belonging and nationhood. non-official languages in Canada while, at the same there been “significant growth in scholarship on the time, strengthening the use of the French and En- translation of children’s literature” (Haidee Kruger ane, le renard & moi, a coming-of-age graph- ridicule her for being fat. Hélène immerses herself in glish languages and their status as Canada’s official 115). Much of this work focuses on individual books ic novel by Fanny Britt and Isabelle Arse- Charlotte Brontë’s Jane Eyre in order to cope with bul- languages. French/English bilingualism is also en- or series in translation in particular countries (see, for nault, is a poignant representation of the lying. This award-winning2 graphic novel was trans- shrined in the Canadian legislation, and it is another instance, Meta: Translators’ Journal’s special issue on familiar trope of the cruelty of early ado- lated into English in 2013 by Christelle Morelli and example of the Canadian national imaginary. Cana- translation for children in 2003), while monographs lescence and girlhood1. Hélène, the pro- Susan Ouriou and published as Jane, the Fox & Me.3 da’s Official Languages Act5 guarantees respect for often discuss historical perspectives on translations, tagonist—a young Québécoise—appears quite similar We position our analyses of the novel within the Canadian’s official languages, French and English. as well how contexts of translation and translation to the other preteens from her school. However, the theoretical context of a complex sense of place in One of the purposes of this act is to “support the de- strategies influence how readers, critics, and scholars internal monologue depicted by Britt’s text reveals Canadian children’s literature. Referencing cultural velopment of English and French linguistic minority interpret the work in translation. Hélène as a victim of bullying by other girls who and postcolonial theorists such as Benedict Ander- communities and generally advance the equality of Several of these discussions of translation strate-

BOOKBIRD 4 IBBY.ORG IBBY.ORG 5 56.4–2018 DIS/PLACED IN CANADA: DIS/PLACED IN CANADA: A QUÉBÉCOIS GRAPHIC NOVEL IN TRANSLATION A QUÉBÉCOIS GRAPHIC NOVEL IN TRANSLATION gies have informed our work. Drawing on the work lished by André Gagnon in 1987. Gagnon explored Aujourd’hui, c’est sur la porte de la toilette Dans le maillot noir, je suis une saucisse en of Lawrence Venuti, Ritta Oittinen discussed domes- translations from French to English, and from English du deuxième étage qu’elles ont écrit: Hélène deuil. tication and foreignization—two common translation to French, from 1900 to his present (circa 1986). His pèse deux cent seize! Je suis une saucisse. (46–47) strategies that translators (and publishers) may use to survey revealed that the number of English-Cana- Plus bas: elles ont rajouté, …et sent le swing! (12) achieve different goals (Oittinen, Translating). On the dian books translated into French was three to four In the Monaco suit, I’m a ballerina sausage one hand, domestication occurs when changes are times higher than the number of French-Canadian Today they wrote on the stall door in the In the black suit, I’m an undertaker sausage. performed in a text in order to enable target readers books translated into English. The second major second-floor washroom, Hélène weighs 216! I’m a sausage. (46–47) to fully comprehend the text. On the other hand, study was conducted by Cobban, but her focus was And below, She smells like BO! (12) foreignization happens when what is common, dis- solely on translation from French to English in Cana- The illustrations show two faceless sausages wearing tinctive, or unique for the source language and cul- da. Her research outlined publishers’ tendency to fa- Hélène attempts to escape the taunting and result- two different bathing suits. Humorous and sad at the ture (in which the text was originally published) is vor well-known authors over new ones as well as the ing displacement from her social group through lit- same time, the illustrations are in sync with Hélène’s kept even if it is foreign, strange, or unusual in the lack of diversity in translated books. Referring to the erature—much like Mira, who escapes through art, in words. reading context of the new target readers (Darja work of Patsy Aldana, Cobban wrote that, because Pieces of Me by Charlotte Gingras, another Québécois At camp, Hélène ends up in the tent for “out- Mazi-Leskovar). Target readers are readers from an- Canadian publishers are increasingly marketing their young adult novel in translation. Hélène is reading casts”. The composition of this group of “outcasts” other nation or cultural background, with different books to the United States, “books with strong Cana- Charlotte Brontë’s Jane Eyre and is captivated by is another example of how Hélène is displaced from socio-historical experience and cultural background. dian content, including translations, are being down- Jane’s story of growing up to be “brillante et mince et her classmates because of her body and lumped in Oittinen noted that “translation can never fully avoid played in favor of culturally bland, American-style sage” (16, 28, 29), “clever, slender and wise” (16, 28, with other displaced bodies: Lucia Muniz, who does being partly domestication, as the verbal text will stories” (82). Cobban suggested that this trend was 29). Jane Eyre’s story becomes a parallel narrative in not speak French, and Suzanne Lipsky, who is per- always be translated into a new language, for new alarming for French-Canadian children’s literature the text, and the two narratives sometimes intersect haps perceived as different based on her ethnicity. target-language readers with different backgrounds in translation because books chosen for translation in the illustrations. Jane’s story is illustrated in color, These three female bodies are displaced from their from those of the readers of the original” (“Where were the ones that were “culturally neutral enough to creating a striking contrast with Hélène’s dull, black, peers for different reasons, but they are treated alike the Wild Things Are” 129). be accepted in the United States” (82), not the ones and white world. without regard for particularity. Though relegated to Irma Hagfors, however, wrote that the choice of that reflected their French-Canadian origins. One day at school, Hélène and her classmates the social and physical edges of the group, Hélène is translation strategies influences the role a translated In our analysis, we discuss the original French are told that they have received a wonderful gift from still not left alone: the teasing from her former friends children’s literature could play since it “will most version of Jane and its translation into English, focus- the school’s fundraising committee: a four-night na- reaches new heights of verbal violence against her likely set the book’s destiny in its target culture at ing on the representations of a distorted body image, ture camp. In Jane, le renard & moi, the camp is an body. One morning, Geneviève exclaimed that she least until the next translation (if any)” (118). The bullying, and the resulting cultural displacement that English immersion camp. We will further discuss this has stuck a fork in Hélène’s butt, who felt nothing translator’s choice of strategies can serve to either emerge as central tropes in the text. We also explore difference at a later point in the article. The students because she was so fat! At this point in the story, bridge cultural knowledge or obscure cultural differ- the effects of both domestication and foreignization seem thrilled by the nature camp, but Hélène is Hélène hopes for the end of the world to be saved ences. In fact, as translating is a rewriting process, in the process of translation. As our analysis unfolds, completely dismayed. She has no interest in spend- from these verbal assaults. The end of the world does any rewriting always involves issues of ideology and it is closely intertwined with our retelling of the sto- ing four nights and days with her tormentors… but not come, but later that night, as Hélène sits outside power (Lefevere qtd. in Oittinen, Translating). When ry of Jane, the Fox & Me. Our analyses are informed everyone is going: “Même Lucia Muniz qui ne par- her tent reading Jane Eyre, she hears a cracking sound children’s books are foreignized, they can serve to by our respective backgrounds as a Québécoise (Gen- le même pas français parce qu’elle vient d’arriver à and thinks her tormentors have followed her to her bridge cultural differences; when the same books are eviève Brisson) and as an immigrant to English Can- Montréal” (38), “Even Lucia Muniz, who can’t speak tent. But it is a fox. The fox is the first touch of color domesticated, they can obscure cultural differenc- ada from the United States (Theresa Rogers). French yet because she just moved to Montreal” in Hélène’s black and white world. This encounter es. Judith Inggs concurred: “The role of translated (38). Here we witness an explicit acknowledgement is important for the young protagonist because she children’s literature in furthering understanding and Jane, the Fox & Me of the displacement of the Other similar to the ac- sees kindness in the animal’s eyes. She invites the tolerance of other cultures would be defeated if the Jane, the Fox & Me has a double, though intersecting, knowledgements we found in Pieces of Me by Char- fox to come closer, but before she can touch the an- translator attempted to remove all those elements narrative—similar to the intersecting narratives found lotte Gingras and The Road to Chlifa by Michèle Mari- imal, another “outcast” screams and chases the fox specific to the source language culture” (286). Thus, in other graphic novels and picturebooks, such as in neau (Brisson and Rogers). away. Hélène, downcast, recites in her head all the “domestication” of these details may serve the wider American Born Chinese by Gene Luen Yang and Wo n - The complex and negative perception Hélène insults she has been subjected to over the last few adult French-Canadian or Canadian agenda to pro- derstruck by Brian Selznick. As the novel opens, we has of her body is made obvious when she goes months. mote a national imaginary, but at the expense of ob- are introduced to Hélène through the illustrations shopping with her mother to buy a new bathing suit At this point in the story, Hélène looks again to scuring cultural specificity. and her internal dialogue. Hélène is victim of bul- to go to camp. She tries on two bathing suits, and her Jane Eyre for solace, but to little avail. She finds out According to Michelle Cobban, translation of lying from Geneviève, Anne-Julie, Sarah, and Chloé, thoughts on her appearance are both humorous and that Mr. Rochester loves Jane but cannot marry her children’s literature in Canada has received very lit- her former friends. In the text, their taunting focuses heartbreaking: because he already has a wife, who is imprisoned tle specific attention from scholars. There have been on Hélène’s body: the other girls make fun of her in the attic apparently because she is suffering from only two in-depth major studies of translated Cana- weight, using written and verbal assaults. Hélène ex- Dans le maillot Monaco, je suis une saucisse mental illness. For the first time, Arsenault inter- dian children’s literature. The first study was pub- plains, ballerine. weaves Jane and Hélène’s story in her illustrations.

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On the left page of the double spread, we see Mr. fuir les garçons… et les fourchettes. (91–92) one group of outcasts, marginalized, or even verbal- glish books. In the French text, Hélène is listening to Rochester embracing a hopeful Jane. On the right ly abused by the other girls. In spite of addressing “Les Fros” and she imagines herself as a mineworker, page of the double spread, Jane’s and Hélène’s nar- Hélène: A bit on the fat side, though. these difficult issues, and while having many of the whereas in the English version, she is listening to ratives come together in a striking manner through Doctor: No. same cultural preoccupations and representations of “Heart Like a Wheel,” imagining herself as a stub- illustration. We see Hélène/Jane as a sausage in a H: Just a bit. displacement as other Québécois novels, Jane, the Fox born singer: bathing suit, with Mr. Rochester, crestfallen, because Dr.: No. & Me is a coming-of-age graphic novel that seems he has a wife and cannot marry Hélène/Jane/the [a blank rectangle, with Hélène looking to have travelled more successfully across real and From Jane, le renard & moi sausage. Hélène thinks, “Comme dans Jane Eyre, la down, a sad look on her face] imagined boundaries of federation and languages D’une oreille, j’entends leurs voix dans la cuisi- morale de l’histoire serait: n’oublie jamais que tu es H (looking up): Yes! than novels such as The Road to Chlifa and Pieces of Me ne, de l’autre la musique de ma mère qui sort du une misérable saucisse” (83), “Just like in Jane Eyre, Dr.: No. (Brisson and Rogers), initially promising to defy the système de son. Ces temps-ci: Richard Desjar- the moral of the story would be ‘never forget that H: Yes, I’m a sausage, a football, a bottle of separate literatures described by Nikolajeva (above). dins en boucle. you’re nothing but a bad sausage’” (83). Orangina, a piglet, a fork cushion. I drive off While a sense of place in the original French text— “…Enterrez-moé debout la tête dehors au sole- The narrative Hélène has created to this point is both boys… and foxes. (91–92) that is, of being set in Montréal—is preserved in the eeeeil…” (64) interrupted by the possibility of friendship with a girl written text through characters and street names, and named Géraldine, who has been banished from her Hélène’s perception of herself has been distorted in the illustrations through details such as external With one ear, I hear their voices in the kitchen, tent and decided to join the “outcasts.” Géraldine by her classmates’ taunting. When her mother asks winding metal staircases, other details are changed with the other, I hear my mother’s music has something to say or give to Lucia and Suzanne, where she got the idea that she was fat, Hélène re- or domesticated (Oittinen, Translating; “Theory”) in coming from the stereo. These days: Richard but she seems genuinely interested in Hélène. This verts to her internal monologue to enumerate every the English edition. For instance, English Immer- Desjardins, over and over again. theme of friendship as a powerful changing force has space where her bullies have written mean com- sion camp becomes a nature camp, thus requiring “…bury me standing head outside in the a strong parallel to Mira’s story in Pieces of Me, where ments about her weight. Out loud, she only says she a change in Hélène’s sarcastic comments about the suuuun” (translation by G. Brisson). Catherine’s friendship allows Mira to escape isola- was dramatizing. She goes on to say she will be a activities and their relationship to learning English: tion and displacement. With Géraldine, Hélène al- writer and that Géraldine thinks it is a good idea. Quand je l’écoute/ Je me prends pour un mi- lows herself to talk instead of ruminating on her own When her mother asks who Géraldine is, Hélène From Jane, le renard & moi neur de Rouyn-Noranda/ Qui se bat contre les thoughts; she even tells jokes to Géraldine. It has simply says she is her best friend. On the following Je me demande bien en quoi le tir à l’arc peut Anglais/ Je deviens âpre et résineuse comme been months since Hélène has had such a long con- page, Arsenault includes a few touches of color—just nous aider à améliorer notre anglais. une Abitibienne. (65) versation. Arsenault’s illustrations remain in black a few leaves, in the cityscape—in Hélène’s black and and white, but for the first time, Hélène is smiling. white world. On the next page, it is the last day of I wonder how archery can help us improve our When I listen to it [this song]/ I imagine myself After camp, Hélène visits the doctor’s office, school: Hélène is wearing red shoes; she waves at English. (Translation by G. Brisson) a mineworker from Rouyn-Noranda/ Figh- where the scale says that she weighs 88 (pounds). Lucia (from the tent for “outcasts”), and she even ting against the English/ I become rough and Hélène pretends to scream, pulling her hair in horror, waves at Geneviève, who waves back. More leaves Parce que dans ma tête je pense: “How do you resinous as someone from Abitibi [a northern making the doctor laugh. Now that she has a friend, in the trees are greenish and bluish. Hélène is walk- say imbéciles invertébrés in English?” (63) region in Québec] (translation by G. Brisson). Hélène speaks up. She tells the doctor that she is ing, a little smile on her face, thinking she will lend getting bigger. He replies it is normal to gain some her copy of Jane Eyre to her new friend. She has al- In my head, I think: “How do you say inverte- From Jane, the Fox & Me weight when one grows. The ensuing interaction ready told Géraldine the story ends well. If Jane’s brate imbeciles in English?” (translation by G. With one ear, I hear voices in the kitchen, provides a revealing example of Hélène’s uncertain- story ends well, Hélène believes her story can also Brisson) with the other, I hear my mom’s music coming ty about her body and how her classmates’ repeated end well—not because of the book itself or the fox from the stereo. These days it’s Kate and Anna comments have affected her image of herself. but because of her friendship with Géraldine and From Jane, the Fox & Me McGarrigle, over and over again. her imagined future self as a writer, a recurring mo- I wonder how shooting arrows is supposed “Like a wheel” Hélène: Mais un peu grosse, quand même. tif in literary works depicting coming-of-age writers. to help us with anything Docteur: Non. Arsenault’s second to last double spread illustration Listening to them/I imagine myself a gorgeous H: Oui, un peu. shows a black and white Hélène, hands in her pock- As I wonder whether lamebrain or numbskull stubborn singer/Travelling the world with hope D: Non. ets, smiling and walking toward trees that are now suits them best. (63) and a guitar/ Turning as rough and Piney as a [a blank rectangle, with Hélène looking fully colored. Laurentian forest. (55) down, a sad look on her face] We note that in this story there is an unabashed A reference to Richard Desjardins, a Québécois H: Oui! representation of distorted body image so prevalent singer Hélène’s mother likes, along with reference The song “Les Fros” tells the story of migrants from D: Non among preteen and teen girls. At the same time, to events related to Québec’s political history, is also Russia, Ukraine, and Poland who moved to Qué- H: Je suis une saucisse de Toulouse, un bal- this story clearly depicts the mechanisms of cultural elided and replaced by a reference to Kate and Anna bec in the 1930s. They worked in a copper mine lon de football, une bouteille d’Orangina, un displacement at work: the girls who are “fat,” immi- McGarrigle. Hélène’s thoughts, as she listens to the in Abitibi, a northern region of Québec, and their bébé truie, un coussin à fourchettes. Je fais grants, or ethnically different are lumped together as music, are therefore different in the French and En- working conditions were miserable. The name of the

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general manager of the Noranda mine was Mr. H. fective domestication that was most likely made to tion of herself and her body and the ways that shame Brisson, Geneviève, and Theresa Rogers. “Reading Place: L. Roscoe, and Desjardins’ lyrics suggest he was a accommodate target readers; it is ineffective because (here in relation to body) functions among coming- Bodies and Spaces in Québécois Adolescent Litera rich English-speaking man. The decision to replace in the translated text the allusions are not as cultur- of-age peer groups, in this case pre-adolescent girls. ture.” Children’s Literature in Education, vol. 44, no. 2, 2012, pp. 140–155.Canadian Multiculturalism Act, a reference to a Québécois folk song by Richard ally evocative as those in the source text. Moreover, We argue the full-color Jane Eyre narrative acts as a R.S.C., 1985, c. 24 (4th Supp.), http://laws-lois.justice. Desjardins, one that talks about the experiences of eliding the reference to a French-speaking singer is powerful and familiar complement to Hélène’s black gc.ca/eng/acts/C-18.7/page-1.html. Accessed 30 Jan. immigrants within the province, with a reference to an example of the two solitudes, of the misunder- and white story, through themes of loneliness and 2018. Kate and Anna McGarrigle, is an example of domes- standings between the French and English linguistic displacement, and as an inspiring narrative for the Cobban, Michelle. “Bridging the Two Solitudes: Translated French-Canadian Children’s Literature From tication. We can surmise that this change was made groups since, even in translation, the two cultures are young Hélène. 1990 to 2004.” The University of British Columbia, 2006. because target readers most likely do not know seen to be unable to understand each other. While the sense of place is left largely intact, do- Constitution Act, 1982. http://laws-lois.justice.gc.ca/eng/ Richard Desjardins or the song “Les Fros” and, The choice of Jane Eyre as a parallel text to mestication of the text is significant in places. The Const/page-15.html#h-47. Accessed 30 Jan. 2018. therefore, would not have understood the reference Hélène’s story also briefly warrants our attention. translation strategy is not only inconsistent, it also Dagenais, Diane. “Multilingualism in Canada: Policy and Education in Applied Linguistics Research.” Annual to the hardship of immigrant mineworkers. Accord- Instead of viewing the choice of Jane Eyre as awk- elides important issues of language difference and Review of Applied Linguistics, 33, 2013, pp. 286–301. ing to Nikolajeva, “translations of children’s books ward because of its British origin, we argue that this history that we argue are reminiscent of a Québé- Gagnon, André. “French Canadian Picture Books in require not simply the transmission of meaning but literary classic, because it is known internationally, is cois imaginary of belonging and nationhood, in- Translation.”Children’s Literature Association the ability to arouse in the reader the same feelings, part of what Maria Nikolajeva described as the zone cluding more explicit representations of cultural Quarterly, 15.4, 1990, pp. 212–217. Hagfors, Ima. “The Translation of Culture-Bound Elements thoughts, and associations experienced by readers of mutual understanding or translatability. displacement through creative narrative approaches. into Finnish in the Post-War Period.” Meta, vol. 48, of the source text” (28). Therefore, this would be a And while the reception of this book in English was no.1-2, 2003, pp. 115–127. time where the translator made an attempt to find a largely positive, it can still be argued that there is “a Inggs, Judith. “From Harry to Garri: Strategies for the significant equivalent to the cultural element in the lingering solitude” in the way the novel is written Transfer of Culture and Ideology in Russian Translations of Two English Fantasy Stories.” Meta, vol. 48, no.1-2, source text, though an argument could also be made and translated and in the ways it travelled across the 2003, pp. 1–14. for keeping the specificity of the original to preserve “two solitudes.” We would like to call for ongoing Kymlicka, Will. “Canadian Multiculturalism in Historical the depiction of cultural displacement and political complex and close readings/re-readings of the cul- and Comparative Perspective: Is Canada Unique?” struggle in Quebec. tural representations and sensibilities in such works. Forum Constitutionnel, 13.1, 2003, pp. 1–8. Kruger, Haidee. “The Translation of Children’s Literature: The choice of Kate and Anna McGarrigles, Such readings call attention to the ways in which A Reader.” Translation Studies, 5.1, 2012, pp. however, is a more puzzling one since this reference these works travel and how are they received across 114–120. would also be obscure for young Canadians as well boundaries of language and federation—such as Koustas, Jane. “Translations.” University of Toronto as for international readers. If the goal is domesti- French to English in the North American context— Quarterly, 70.1, 2001, pp. 271–287. Lamontagne, André. “Présentation.” Voix et Images, cation for English-Canadian readers, it seems to and how aspects of the cultural imaginary are subtly vol. 24, no.3, 1999, pp. 457–459. miss the target; if the goal is “universal” appeal, it elided or ignored in favor of more universal readings. MacLennan, Hugh. Two Solitudes. Macmillan of Canada, also seems to miss the target since it is likely that 1945. most readers outside Canada would not know the WORK CITED Marshall, Elizabeth. Graphic Girlhoods Visualizing Education and Violence. New York, Routledge, 2018. McGarrigles. Moreover, the topic of “Heart Like a Figure 1. An adaptation of Lotman’s semiotic model CHILDREN’S BOOKS Britt, Fanny. Jane, le renard & moi. Éditions de la Mazi-Leskovar, Darja. “Domestication and Foreignization Wheel”—which talks about love—does not evoke the of communication by Nikolajeva Pastèque, 2012. in Translating American Prose for Slovenian Children.” same response as would “Les Fros.” Following this —. Jane, the Fox & Me. Translated by Christelle Morelli Meta, vol. 48, no.1-2, 2003, pp. 250–265. change, the translator also modified Hélène’s broth- Nikolajeva suggested that there is an overlap of the and Susan Ouriou, Groundwood Books/House of Nikolajeva, Maria. Children’s Literature Comes of Age: Toward a New Aesthetic. New York, Routledge, 1996. ers’ reaction to the song: semiotic space of the source-text reader and the se- Anansi Press, 2013. Gingras, Charlotte. La Liberté? Connais Pas... La Courte Official Languages Act, R.S.C. 1988, c. 31. http:// miotic space of the target-text reader that constitutes Échelle, 1998. laws-lois.justice.gc.ca/eng/acts/O-3.01/. Accessed 23 From Jane, le renard & moi the zone of mutual understanding. In the case of Jane —. Pieces of Me. Translated by Susan Ouriou, Kids Can Jan. 2018. Les frères trouvent ça trop sérieux. Eyre, we believe that references to this novel can be Press, 2009. Oittinen, Ritta. Translating for Children. Garland, 2000. —. “Translating for children: Theory.” International Ils préfèrent The Police. understood by both French and English-Canadian Marineau, Michèle. La Route de Chlifa. Québec Amérique, 1991. companion encyclopedia of children’s literature. readers. —. The Road to Chlifa. Translated by Susan Ouriou, Red Edited by Peter Hunt, 2nd. ed., vol. 2, New York, My brothers think it is too serious. Deer Press, 1995. Routledge, 2004, pp. 901–911. —. “Where the Wild Things Are: Translating Picture They prefer The Police. (Authors’ translation). Representation and Elision across Boundaries Selznick, Brian. Wonderstruck: A Novel in Words and Pictures. Scholastic, 2011. Books.” Meta, vol. 48, no.1-2, 2003, pp. 128–141. of Language and Federation Yang, Gene Luen. American Born Chinese. First Second, Reimer, Mavis. “Discourses of Home in Canadian From Jane, the Fox & Me In Jane, le renard & moi, Britt and Arsenault offer a rep- 2006. Children’s Literature.” Home Words: Discourses of My brothers think the McGarrigle sisters are resentation of difficult issues, such as distorted body Children’s Literature in Canada. Edited by Mavis too sappy. They’d rather listen to The Police. image and bullying, which travels as a cultural theme SECONDARY SOURCES Reimer. Wilfrid Laurier University Press, 2008, pp. xi–xx. Zeytinoglu, Cem. “Multiculturalism.” Encyclopedia of of girlhood. Their representation does not diminish Atwood, Margaret. Survival: A Thematic Guide to Canadi an Literature. House of Anansi, 1972 Identity. Edited by Ronald Jackson and Michael A. These are examples of both inconsistent and inef- the consequences of taunting on Hélène’s percep- Brontë, Charlotte. Jane Eyre. New York, Harper Collins, 2010. Hogg. Thousand Oaks, CA: Sage, 2010, pp. 480–485.

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ENDNOTES

1 We note Elizabeth Marshall’s (2018) argument that this story, and similar portrayals of girlhood, tend to reinforce This delightful counting book is set in Nigeria at a Yoruba normative femininity (i.e., be friendly) through implicit market. Readers follow baby and mother, vicariously shaming of the “mean girls” and portrayals of the protag- experiencing the market through the baby, who sits cozily onist as suffering heroine. on Mama’s back. They also follow the story counting

2 This graphic novel received many awards in 2013: A backwards—starting with five bananas, four oranges, three BOOKBIRD POSTCARDS Grand Prix Lux (Illustration), the Governor-General’s Award chin chins, two sweet corns, and one coconut piece. Bold for Children’s Literature (illustration), two Joe Shuster colorful pictures, often in single- and double-page spreads, Awards (for artist and for writer), and a Bédéis Causa - Prix Réal-Fillion. Jane, le renard & moi was also nominated capture the tropical setting and cultural nuances of that for a number of awards: the Governor-General’s Award market space and complement the engaging story about for Children’s Literature 2013 (text), the 8e Prix du livre baby’s outing. Young readers may savor the irony, since jeunesse des Bibliothèques de Montréal, the Pépites 2013 du Salon du livre et de la presse jeunesse de Montreuil, mother seems stressed throughout the ordeal while baby Baby Goes to Market the Prix TD 2013 de littérature canadienne pour l’enfance is having a swirl of a time. The mother’s surprised look Atinuke et la jeunesse, and the Bédéis Causa 2013 Grand prix de when she notices all the stuff she did not buy, contrasted la ville de Québec. Illus. Angela Brooksbank with the knowing look on baby’s face, is priceless. This title Somerville, MA: Candlewick, 2017. 3 would make a nice addition to any young reader’s library The English version was also nominated, short- and GENEVIÈVE BRISSON is an assistant professor in the Unp. long-listed, and awarded many awards: the New York Faculty of Education at the Simon Fraser University, collection and is one of the few picturebooks that accurately Times Best Illustrated Books (2013, commended), the ISBN: 978-0-7636-9570-5 Canada. Her teaching and research focuses on children’s celebrate West Africa’s communal market culture within a Globe and Mail Best Books (2013), the New York Public literature, literacy practices of Francophones in minority (Picturebook; ages 3–7) Library Books for Reading and Sharing (2013), the YALSA settings, identities and plurilingualism. semi-rural setting. Great Graphic Novels for Teens (2014), the Best American Vivian Yenika-Agbaw Comics (2014 Selection), the Ontario Library Association Best Bets (2014), the Amelia Frances Howard-Gibbon Award (2014, short-listed), the Libris Award for Young Readers Book of the Year (2014, long-listed).

4 See, for instance, Margaret Atwood’ book Survival: A Thematic Guide to Canadian Literature. The stories in this book are presented in two parts: “Bir Varmış” and “Bir Yokmuş.”* The first part, “Bir Varmış,” 5 The first Official Languages Act, in 1969, made English and French the official languages of Canada. A new Offi- is a beautiful dream of childhood: birds heralding the end cial Languages Act was adopted in 1988, and it replaced of drought, children who have dreams, and people getting and repealed Official Languages Act of 1969 (Yalden, along in a language of love without regard for difference 2006). The new Official Languages Act was revised in 2005. such as youth, age, or ability. In the second part, “Bir

Yokmuş,” there is a nightmare with weapons, explosions, BOOKBIRD POSTCARDS BOOKBIRD screaming, and tears. The author portrays a war that ended her childhood. Readers can experience the intense hopelessness of a child in these times of conflict, which resulted in the death of five people. The setting of Arpalik is the neighboring village of the one where the author was born and grew up. THERESA ROGERS is a professor of Language and Literacy Education at the University of British Columbia Children are deeply affected by war and violence; besides Dereden Tepeden Dereliköy where she conducts research and teaches courses on the fear, there is also the anxiety that the unknown and the (From the Village Which Is youth literacies and critical perspectives on children’s and unidentifiable situation brings. Along with Anne Frank’s River Side) young adult literature (see http://lled.educ.ubc.ca.proxy. lib.sfu.ca/profiles/theresa-rogers/). She is also a poet and Diary and John Boyne’s The Boy in the Striped Pajamas, Aysel Gürmen a grandmother. these stories describe violence and war at different levels Istanbul, Turkey: Türkiye, 2014. and are important reading material for young and adult 111 pp. readers. ISBN: 9755871144 Damla Pektaş (Memoir; ages 12+)

BOOKBIRD 12 IBBY.ORG IBBY.ORG 13 56.4–2018 Articles THE CHANGING TREATMENT OF DISABILITY IN CHILDREN’S LITERATURE IN INDIA

Introduction Traditionally in Indian literature, disabled people— the vikalanga or pangu in Sanskrit—have been de- The Changing Treatment picted as a curse upon family and society, if not an incarnation of evil. The attitude toward disability is changing, but slowly. There is even a new term to of Disability in Children’s describe the disabled, namely, divyanga (one with di- vine organs). But it remains a marginalized theme in Indian literature and under the threat of old attitudes. Literature in India This article6 discusses the changing treatment of dis- ability in children’s literature in India. It is in general agreement with the observation Michelle Superle Dipavali Debroy has made that children in India are being depicted in Indian literature as more positive, active, and aspiring today. Of course, the focus here is on the disabled— children and adult—as presented to child readers and to adult ones, and as presented in ancient, medieval, and modern times in India. Here it must be made In modern India, the attitude towards the vikalanga, pangu, or clear that though the focus is on children’s literature disabled, is changing, becoming more sensitive and positive. This in India, there was no such category in ancient or medieval India. Children were brought up on the is getting reflected in literature for children and adults. Traditionally, same material as their elders. Only in the late-eigh- from epic through medieval times, disability had not been treated teenth century, Indian children began to have books specifically produced for them, but these were mere- sympathetically in Indian literature. The Indian epics Ramayana and ly abridged versions of the old epics. In the nine- back or kubja and therefore slow-moving or manthara. Mahabharata represented disability as a curse or an evil. Both contain teenth and early-twentieth centuries, adapted, “re- The name indicates that she may have been gen- told,” adult novels were what children read to begin erally denigrated for her physical disability, perhaps disabled characters in crucial roles, but in most negative ones. This with. Children’s literature as a genre by itself started with comments like “You slow-moving one! Why trend continued in medieval times; it changed only from the late to bloom and grow in the twentieth century, but the can’t you be quicker in fetching and carrying!” She hold of traditional, adult literature remained strong. is described as a cunning creature and the root cause nineteenth century, at least partly because of Western influence, and It should be stated at the outset that this article only of all problems that develop in the epic. She nev- was strengthened during the independence and modernization of provides a small sample, and that the topic deserves er gets any sympathetic treatment by the characters a far deeper and more comprehensive analysis. Liter- in the epic or by its author, Valmiki. Her misshapen India. Finally, in the twenty-first century, in vernaculars as well as in ature in regional languages, for example, needs to be body is mentioned again and again as though it is English, disabled people are being recognized as potentially useful compared and contrasted with the literature written her own fault rather than her misfortune. There is no in Hindi and English. attempt to condone or explain her warped mind be- members of society and represented in such a way in novels, short cause of her bodily suffering and the cruel treatment stories, and even picturebooks. This evolution is what this article The Epics she has to suffer because of it. Later, while roaming The Indian epics, which have shaped Indian think- the forests, Rama comes upon two ferocious demons outlines, with references to the Indian epics, as well as to medieval ing over the centuries, have often associated disabili- named Viradha and Kavandha, who have terribly de- and recent works. It also points out the still marginal attention that ty with evil or malevolence. In the Ramayana, Rama, formed bodies; their deformity is due to a curse that for instance, the personification of all that is good has been cast as punishment for their mischief-mak- disability is receiving in Indian literature and urges a strengthening of and strong and healthy, is much associated with dis- ing. Again, we find that the epics associate deformity the recent positive trend, without sentimentalizing the actual issues abilities and deformities (Kurup). That Rama was with evil rather than treating it with sympathy. It is born at all was due to the curse of a blind couple only through the grace and glory of Rama that the of disability. whose son Rama’s father accidentally happened to handicapped and disabled can be delivered from Keywords: vikalanga, pangu, Sanskrit, Hindi, Bengali, Manthara, kill. On the verge of becoming the crown prince, their accursed existence. Yet another instance of dis- Rama was banished to the forest by the scheming of ability in the Ramayana is that of Sampati, a vulture. Dhritarashtra, Ashtravakra, Manasa, jaanwar, divyanga. a palace maid named Manthara, who was a hunch- He has burnt his wings when flying too close to the

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sun. He is rewarded with new wings only when, after forest, is one tragic instance. Data on disabilities, or “infirmities” as they were long, hard years, he assists in searching out Sita. References to disability are also found in Artha- then called, were first registered in the 1872 Census. In the epic Mahabharata, dated later than the Ra- shastra, the principles of political economy penned This was the first official recognition of the disabled mayana, disability is absolutely crucial to the theme down by Kautilya (also called Chanakya), the great as part of the Indian population and so of the en- (Dipavali Sen). The famous Kurukshetra War takes statesman-cum-scholar who in the third Century tire social fabric. The decennial census operations, place because Dhritarashtra, the first-born prince of B.C. helped Chandragupta Maurya oust the invad- which continue in full vigor even now, were entirely the Kuru dynasty, is born blind and therefore de- ing Greeks from India and found the Maurya Empire the product of British Rule in India. By formally in- prived of his right to the throne. His brother Pandu, (Sen, Chanakya Today). Kautilya considered jeering at cluding the disabled as part of the Indian masses, it, pale and sickly, but without any deformity, becomes the disabled as Vakparushyam, a punishable act of ver- perhaps unwittingly, brought about a new awareness the king. However, Pandu dies early and Dhritarash- bal violence. At the same time, he recommended about this category of people. tra has to take over his responsibilities without ever that royal spies also disguise themselves as dumb, The first sensitive literary references to disabil- getting crowned. The situation ultimately develops deaf, and deformed persons. Thus, ancient Indian ities came in 1877 in the romantic novel Rajani by into a battle of succession between the sons of Dhri- literature is in general unsympathetic and insensitive the great Bengali novelist Bankim Chandra Chatto- tarashtra and those of Pandu, in which countless to the disabled, but it is certainly not unaware or un- padhyay, who was in 1858–1891 a deputy magistrate people lose their lives and the political map of north- recognizing of them. The disabled are seen to exist, and deputy collector in the Government of British ern India is changed forever. Blow by blow, the war is but at the very fringe of actively useful society. That India and therefore open to many Western thoughts reported to Dhritarashtra by a nobleman named San- up to death in the forest fire. Gandhari has, for cen- is the diktat on a vikalanga, whether he is the eldest and practices. In the novel, the author depicts the jaya, blessed with “divine sight.” Much of the epic is turies, been lauded as the example of a truly devoted prince of a powerful dynasty, like Dhritarashtra in plights of a young blind girl named Rajani (meaning in this extraordinary literary form—narration to the wife. But today one can question if her attitude had the Mahabharata, or a mere spy in the Arthashastra. “night,” named so perhaps to connote darkness) who blind prince. To my knowledge, no other major work at all been helpful to her husband or the hundred vends flowers in her neighborhood. She falls in love in world literature is in this form and pays this kind of sons she never saw but lost on the battlefield! The Medieval Works with a rich and handsome young neighbor but suf- attention to the needs of the blind. Mahabharata also contains the happier story of Ashta- The unsympathetic treatment of the disabled con- fers in silence. She feels that poetry for the mute and Even more remarkable is the life of Dhritarash- vakra (Tales from Indian Mythology: Ashtavakra). Ashta- tinued in medieval Indian literature. Valmiki had sim- music for the deaf were merely instruments of their tra’s wife, Gandhari, who blindfolds herself on mar- vakra’s own father, Kahoda, curses him while he is ply described Manthara as sinful and hunchbacked, own torture; their own song was denied to them. riage so as to share in her husband’s misfortune right still in his mother’s womb. Kahoda studies the Vedas but not added any commentary on the link between As Chattopadhyaya himself acknowledges, Rajani’s together with his wife, and the unborn baby picks up the two attributes. In the Ramacharitamanasa, medie- character was partly inspired by that of the blind enough to correct his father’s mispronunciations, a val poet Goswami Tulasidasa goes so far as to say: flower-girl Nydia in The Last Days of Pompeii (1834), a full eight (ashta) times! “The one-eyed, the lame and the hump-backed are novel by Edward Bulwer-Lytton (Ray). Rajani, how- The eighth time this happens, Kahoda curses known to be perverse and wicked, especially when ever, instead of committing suicide like Nydia, suc- and walks away in a huff, eventually getting himself they are women and more especially when they are ceeds in winning wealth and love and in getting her imprisoned in a neighboring kingdom. The baby is servants” (Goswami). In the Mahabharata, the deity eyesight back. born with bones bent (vakra) in eight (ashta) plac- Manasa was simply deserted by her husband for a In 1892, Rabindranath Tagore wrote his poignant es, and he is therefore called Ashtavakra. As with trivial reason but the Mangalakavyas of late 15th cen- short story “Subha,” in which a speech-impaired vil- Manthara, the deformity becomes a name-tag. But tury she is blinded in one eye and taunted as “kani” lage girl, ironically named Subha (“fluent in speech”), here, unlike in Manthara’s case, it does not affect the (one-eyed) (Sukumar Sen). Manasa is a powerful is able to connect well with nature and animals but person within. In spite of his deformity, Ashtavakra but bad-tempered goddess, commanding snakes in not with fellow human beings. Her parents marry her grows up to be a brilliant student and dutiful son. He swampy forests, as if prevented by her handicap from off to city people (from Kolkata) without disclosing frees his father, who rewards him by telling him how being fully benign. As we can see, the attitudes to- the fact of her disability. Within a week, everyone to get his bones straightened. However, he himself wards disabilities of ancient and medieval India were understands that the newly-wedded bride is speech is later provoked to curse a mischievous fellow, none harsh. It is probable, however, that, they were much impaired, or simply “dumb.” Nobody understands other than Kavandha, with deformity. less harsh than those prevailing in ancient Greece that it is not her fault and that she has not deceived The Panchatantra has become famous as chil- and Rome (Brignell). anyone. She finds no one who can understand the dren’s literature of ancient India but is really a course language of silence, and when she no longer sees the in diplomacy for young royalty. The Panchatantra Late Nineteenth Century to Mid-Twentieth familiar faces she has known since her birth, she calls does not have much directly on the subject of dis- Western influence on Indian literature came with the out to God. It is not clear whether Subha is killed, ability, although it does refer to the insecurity and French and the British bringing the technology of commits suicide, or is simply sent back to her par- helplessness of old age. But the pathetic demise of printing as well as new works of art and literature, ents, but the story ends by tersely saying that the Sanjeevaka, who gets torn to pieces by a lion in the and Christian missionary attitudes of compassion husband re-marries, this time making sure that the were also extended towards the infirm and disabled. bride is endowed with the power of speech.

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In the short story “Drishtidaan” (Gift of Sight), for young adults though not exactly for children. In swirling waters with his crutch and climbs to the Tagore shows how disability creats a distance be- the novel, the poisonous chemical fumes from the safety of a tree. What is more, he holds out his crutch tween a married couple. He articulates the poignant factory deform the growth of a normal child, twisting to Girish as he is being washed away (Agarwal). (Il- cry within every disabled—to be treated like a nor- him into a four-footed creature, ridiculed by other lustration E-Book page). “Halo of Love” by E. Shai- mal person. In the 1915 poem “Malini,” Tagore says, kids as Jaanwar or “Animal.” We observe once again laja Nair and “Feeling Good!” by Meera Bhatnagar that a deformity often becomes an identity and gets are also about children coping with crippling acci- One morning in the flower garden a blind associated with supposed malevolence or evil. Final- dents. “The Lyrical Battle” by Ira Saxena presents girl came to offer me a ly, Animal receives the funds for a corrective spinal the sublimation of a hopeless physical state through flower chain in the cover of a lotus leaf. operation in America. But he realizes that an opera- creativity. “Friends” by Manorama Jafa shows how a I put it around my neck, and tears came to tion might enslave him to the wheelchair and curtail girl comes to terms with the sudden revelation that my eyes. whatever freedom of movement he now has. He feels one is a HIV patient. “A Million Memories” by Nita I kissed her and said, “You are blind even as that the funds would be better spent on freeing a Berry contains a short but unforgettable reference to the flowers are. young friend from her life of prostitution. This feel- a “special” child with a speech difficulty. Aman is not You yourself know not how beautiful is ing, even though it does not actually heal him, frees only friendly and cheerful but observant enough to your gift. him from his animal existence. actually help his neighbors trace their missing dog In 1987, The Mental Health Act was passed in after a death in the family. Aman gets down on all In another poem, meant specifically for children and India, ensuring certain rights to the mentally ill. The fours and crawls, saying “Honk honk Bow wow,” included in his primer Sahaj Path, Tagore depicts a Persons with Disabilities (PWD) Act was passed in thus providing the clue that when the hearse has busy scene at a riverside jetty, one in which a dis- 1995, coming into force in 1996. It provided equal gone to the crematorium, the pet of the household abled person plays an important role: “By the busy opportunities for people with disabilities and al- has faithfully followed it. roadside the blind beggar sings. / In the golden sun- lowed their full participation in the nation building. In Hum Tumhe Pyar Karte Hain Anjali (We Love shine his song takes wings.” In 2007, India signed and ratified the United Na- You Anjali) by Nilima Jha, disability is treated sensi- tions Convention on the Rights of Persons with Dis- tively but without sentimentality. Anjali is a girl with Independence (1947) to the Present Dutta, we finally come upon a child heroically over- abilities. It can be added that The Ministry of Social a speech handicap, but she is carefree till she acci- The Factories Act was passed in India in 1948, coming his handicap and being a useful member of Justice and Empowerment deals with Indian chil- dentally learns that she is an adopted child, found making provisions for industrial injuries. The Indian society. Here the visually challenged Ramu goes to dren with disabilities, with some issues being dealt abandoned. Her feelings pile up within her like a Constitution came into effect in 26 January 1950, school, crosses roads with his stick, and manages by the Ministry of Health. brick wall against the family she has known all this applying to every legal citizen of India, disabled all the daily chores by himself. Nevertheless, he is Meanwhile, so far as books on disability were while as her own, but eventually her adopted mother (physically or mentally) or not. The Jaipur Foot, a generally considered a subject of pity. But Ramu’s concerned, in 1999, two delightful tactile books—The gets through to her. Mother is Happy by Girija Rani rubber-based prosthetic leg, was designed and devel- impaired vision has sharpened his hearing and pow- Talkative Tortoise and The Clever Rabbit, both written Asthana treats the theme of Intellectual Disability oped in 1968 and became used increasingly instead ers of observation. One day when he is sitting in his by Vinita Krishna—were brought out by the Khaas and is actually illustrated by a young girl with a dis- of the usual crutch. Although these developments room after school, Ramu is able to witness a murder Kitab Foundation and received mention in IBBY’s ability—a novel way of creating respect for the dis- cannot be directly linked to any immediate literary in the building where he lives. He makes inferences Outstanding Books for Young People with Disabili- abled. Catch That Cat, by Tharini Viswanath and Nan- work, they are indicative of a gradual change in the from what he hears and takes them to the police. ties Catalogue 1999. But such publications are isolat- cy Raj, is a tale of inspiration but told with a very attitude towards disability that began reflecting itself The gang of smugglers who are behind the murder ed instances. Textbooks occasionally carry inspira- light touch. Dip Dip is presented as “the naughtiest in literature. threaten Ramu’s life. But he is able to tackle them tional pieces on real-life coping with disability, such child in school,” swinging on a rubber tire hanging In 1979, in Bhayankor Sundor (The Dreadful Beau- singly as well as with the help of a friend and the as the pieces on Helen Keller and Sudha Chandran, from a rope and going off to look for a missing cat. ty), writer Sunil Gangopadhyaya created the adven- police. He is thus depicted as a competent individu- the dancer with “the Jaipur foot” (Avenues). But no Only further into the story do we see her wheelchair. turous sleuth Kakababu, a crippled government al connecting usefully with society. Even the Braille special book has yet appeared using disability as a Pahiyon ka Jadu (Magic of Wheelchair) by Virbala officer who went on to be a very popular fictional script which Ramu uses for his studies is woven into theme in literature, for adults or for children. Rastogi shows that a wheelchair-bound person need character. Kakababu takes to solving cases that have the story. The victim, who had been Ramu’s neigh- In 2012, the Association of Writers and Illustra- not be cut off from fun and friendship. Why Ducks baffled the Indian Police. To young readers, Kakaba- bor, had picked up Braille from him and left notes in tors (AWIC) organized an International Conference Sleep on One Leg is Santhini Govindan’s rendering of bu with his crutch became a hero (although an adult Braille, which the police come upon and decipher on Book Therapy in Delhi and brought out the col- Vietnamese folklore about (literally) lame ducks. (Il- one) winning over a handicap. In the early 1980s, with Ramu’s help. lection Lighthouse in the Storm containing several short lustration I- Book Cover) The aforementioned four in the Bengali adult fiction Kaalabela, Samaresh Ma- In 1984, there occurred the industrial disaster of stories addressing the issue of disability. “Can any- are picturebooks, showing that it has been realized jumdar depicts undergraduate student Animesh as a gas-leak from a famous multinational plant in Bho- one Do It?” by Deepa Agarwal portrays crippled vil- that sensitization towards disability must start early. rehabilitating himself after being crippled by author- pal. The poisonous fumes killed many people and lage lad Shankar being mocked by classmate Girish If we list the literary pieces cited in this article itarian forces for his political extremism. left many more disabled for life. This tragedy was ad- as langda, or “lame,” for dreaming of playing cricket. with the kind of disability they refer to, we find an In 1983, in The Blind Witness by Arup Kumar dressed later in Animal’s People by Indra Sinha, a book But in a sudden flood, Shankar wades through the overwhelming and continued preoccupation with

BOOKBIRD 18 IBBY.ORG IBBY.ORG 19 56.4–2018 THE CHANGING TREATMENT OF DISABILITY IN CHILDREN’S LITERATURE IN INDIA THE CHANGING TREATMENT OF DISABILITY IN CHILDREN’S LITERATURE IN INDIA

ther, 7.5 per cent of the disabled population (0.1 per This may repeat and reinforce the negative approach —. “Subha.” Mashi and Other Stories. New Delhi, Rupa cent of total number) have speech impairment, and of ancient and medieval times to disabilities. New and Co, 2007, pp. 107–116. 5.8 per cent of the disabled population (0.1 per cent children’s books are needed to counter them by tes- —. “Drishtidan.” Hungry Stones and Other Stories. New Delhi, Rupa, 2002, pp. 99–128. of the total) have hearing impairment. Moreover, 10.3 tifying to the courage and resources of the disabled —. ”Malini.” The Gardener. Macmillan, 1913, pp. 52–53. per cent of the disabled population (0.2 of the total) without getting sentimental or mushy about them or Available also in www.spiritualbee.com/media/ are categorized as having a mental dysfunction, that deifying them as divyanga. tagore-love-poems.pdf is, inclusive of autism and cognitive disorders (“Dis- —. Sahaj Path Dvitiya Bhag. Santiniketan, Visva Bharati Granthana-Vibhaga, 1930. WORKS CITED abled population”). However, in the sampling done Tales from Indian Mythology: Ashtavakra. Anon. Delhi, here, cognitive disability is treated only once. PRIMARY SOURCES Aggarwal, Deepa. “Can Anyone Do It?” Lighthouse in the Macaw Books, 2009. Catch That Cat It must be mentioned here that remarkable films Storm. AWIC and Ponytale Books, 2012, pp. 15–23 Viswanath, Tharini and Nancy Raj. . have also been made in India on various forms of Asthana, Girija Rani. Mother is Happy. Gurgaon, Kotak Chennai, Tulika, 2014. disability: Subha (1964), Anuraag (1972), Barsat ki Ek Mahindra, 2011. Avenues: A Course on Developing English Skills. Course- SECONDARY SOURCES Raat (1980), Khamosh (1985), Khamoshi (1996), Anja- New Statesman book 6. New Delhi, Oxford UP, 2007. Brignell, Victoria. “Ancient world.” , 7 li (1990), 1947: Earth (1998), Black (2005), and Taare Bhatnagar, Meera. “Feeling Good.” Lighthouse in the April, 2008. Children’s Books 2014: An Annotated Catalogue of Select Zameen Par (2007). Although based mostly on literary Storm. AWIC and Ponytale Books, 2012, pp. 149–156 Children’s Book in India. National Centre for Children’s works, they deserve a separate analysis. Berry, Nita. “A Million Memories.” Lighthouse in the Storm. AWIC and Ponytale Books, 2012, pp. 233–249 Books in India New Delhi, National Book Trust, 2014. Bulwer-Lytton, Edward. The Last Days of Pompeii. Richard “Disabled population.” http://censusindia.gov.in/Cen- Concluding Comments Bentley, 1834. sus_And_You/disabled_population.aspx Children’s literature in modern India no longer por- Chattopadhyay, Bankim Chandra. “Rajani.” Bankim “Disability in India.” childlineindia.org.in/children-with-dis- abilities.htm trays disability as the penalty of some sin, and it is no Rachanaboli. Vol.I. Kolkata, Sahitya Sansad, 1977. Dutta, Arup Kumar. The Blind Witness. New Delhi, Ghai, Anita. “Disabled Women: An Excluded Agenda of longer associated with evil or malevolence. Chang- Hypatia Children’s Book Trust, 1983. Indian Feminism.” , vol.17, no.3, 2002, pp. 49–66. Studies in Literary Criticism ing with the changing times, the literature reflects a Gangopadhyay, Sunil. “Bhayankar Sundar.”Anandamela. Ray, Mohit K. . New Delhi, more sensitive and positive attitude, portraying the Kolkata, Ananda,1979. Atlantic Publishers, 2001, p. 174. Bangala Sahityer Itihas —. The Dreadful Beauty. Translated by N. K. Bhattacharjee. Sen, Sukumar. . Vol. I. Kolkata, disabled as contributing members of society to nei- Ananda Publishers, 1991, p. 178. ther to be ostracized nor pitied. This is in line with Kolkata, Ponytale Books, 2010. Govindan, Santhini. Why Ducks Sleep on One Leg. New Superle, Michelle. Contemporary English-language Indian Michelle Superle’s claim that children (in general Delhi, Panda, Unicorn Books, 2010. Children’s Literature: Representations of Nation, Culture, and not specifically disabled) tend to be depicted Goswami, Tulasidasa. Shriramcharitamanasa. Motilal and the New Indian Girl. Routledge, 2011, pp. 5–14, 178–180. in a more positive light—as active and aspiring—in Banarasidass, 1988, p. 258 recent Indian literature in English. Nevertheless, the Jafa, Manorama. “Friends.” Lighthouse in the Storm. AWIC and Ponytale Books, 2012, pp. 220–232. volume of such literature is disappointingly small, as Jha, Nilima. Yahin to Hun Main. Noida, Vrishti Books Café, revealed by a recent catalogue of the National Book 2014. Trust, Government of India (Children’s Books 2014). Krishna, Vinita. The Talkative Tortoise. New Delhi, Khaas In general, the theme of disability is a marginalized Kitab Foundation, 1999. —. The Clever Rabbit. New Delhi, Khaas Kitab one in children’s literature. The overwhelming mass Foundation, 1999. is about the so-called normal children. This is in Kurup, C. G. R., editor and translator. The Ramayana. New visual impairment, followed by that with skeletal de- agreement with Anita Ghai’s observation that even Delhi, Children’s Book Trust, 2002. formity, genetic or acquired, leading to impairment feminism in India has bypassed disabled women Majumdar, Samaresh. Kaalabela. Kolkata, Ananda, 1981. Nair, E, Shailaja. “Halo of Love.” Lighthouse in the of movement. Out of about seventeen pieces cited (Ghai). This is most disturbing, especially since ac- Storm. AWIC and Ponytale Books, 2012, pp. 81–88. (since Rajguru’s Anusandhan is justifiably dropped), cording to a recent UN report there are 2.9 million Rastogi, Virbala. Pahiyon Ka Jadu. AWIC, 2016. seven are about the blind, six about the crippled, and children with disabilities in India and since more Saxena, Ira. “The Lyrical Battle.” Lighthouse in the Storm. three about those with hearing or speech impairment. than 35 per cent of the disabled in India are children AWIC and Ponytale Books, 2012, pp. 61–72. Sen, Dipavali, editor and translator. Jaya Story of the Fiction here is more or less in line with the facts. As according to another estimate (“Disability in India”). Mahabharata. New Delhi, Children’s Book Trust, 2014. per the Census of India 2001, over 21 million people Moreover, there may not be any new books coming —. Chanakya Today Chanakya Arthashastra Chanakya (2.1 per cent of the total population) in India suffer out indicting disabilities as evil, but India is experi- Niti Chanakya Sutra. Unicorn Books, 2016. DIPAVALI (SEN) DEBROY lives in Gurgaon, Haryana, and from disability of one kind or the other. Specifically, encing a continuous proliferation of epics in print, Sharma, Vishnu. The Panchatantra. Translated by Chandra is Associate Professor, Sri Guru Gobind Singh College of Rajan. Penguin Books, 1993. Commerce, Delhi University. A freelancer and Life Mem- 48.5 per cent of the disabled population (1 per cent graphic, digital, and celluloid forms, making for quite Sinha, Indra. Animal’s People. Simon & Schuster, 2007. ber of the Association of Writers and Illustrators, she has of the total population) are visually impaired, and a publishing boom. Manthara and Dhritarashtra, for Tagore, Rabindranath. “Subha” and “Drishtidaan.” authored Storyteller Spirit Vetala 25 (2016), Jaya Story 27.9 per cent of the disabled population (0.6 per cent example, are still depicted there as they used to be, Galpaguchha. Santiniketan, Visva Bharati Granthana- of the Mahabharata (2015), The Mystery of the Ancient of total population) have disability in movement; fur- with no consideration shown for their disabilities. Vibhaga, 1892. Platter(1999), and Kusum (1995).

BOOKBIRD 20 IBBY.ORG IBBY.ORG 21 56.4–2018 THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB Articles TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION

Introduction of destroying the child but of preserving it: “When American graphic artist and writer Edward Gorey is children die in literature, they are assimilated to fix- known for his dark pen-and-ink drawings and maca- ity, usually perishing in ways that make them clean, The Child’s Death as bre yet nonsensical little stories, often in verse and quiet, immobile, and permanent” (3). Though she generally presented in Edwardian settings and cos- is here addressing Victorian literature specifically, tumes. Echoing Lear’s “Nonsense Alphabets” (1871 a similar tendency can be seen in other periods as Punishment or Nonsense? and 1877), Gorey also experimented repeatedly with well. In Puritan children’s literature, a child’s death the form of the abecedarium. He produced seven could be presented as something positive, at least for variants on this theme, from the 1960 book of illus- the pious child who would thus be saved and live in Edward Gorey’s “The trated quatrains “The Fatal Lozenge” (Amphigorey) to heaven always. Death could serve as an admonition the 1994 wordless “Figbash Acrobate” (Amphigorey to good behavior and hope for salvation, for exam- Again). While each sticks closely to the structure of ple in the “joyful deaths” of James Janeway’s A To - Gashlycrumb Tinies” (1963) the alphabet, the content and both textual and vi- ken for Children, being an Exact Account of the Conversion, sual form vary considerably—whether consisting of Holy and Exemplary Lives, and Joyful Deaths of Several twenty-six neologisms as names for fantastical crea- Young Children (1671) or the pious last words of godly and the Cautionary Verse tures (“The Utter Zoo”), twenty-six adverbs (“The children in Cotton Mather’s A Token for the Children of Glorious Nosebleed”), or twenty-six couplets remi- New-England, Or, Some Examples of Children in whom the niscent of the instructional alphabet in The New En- Fear of God was remarkably Budding, before they dyed, in gland Primer (“The Eclectic Abecedarium”; all three several Parts of New-England. Preserved and published for Tradition collected in Amphigorey Also). Best known, however, the Encouragement of Piety in other Children (1700) (see is “The Gashlycrumb Tinies” (1963), consisting of Townshend 21–22).1 Death itself is not regarded as Emily Petermann twenty-six children dying bizarre deaths, from “A is something to be feared; rather, the state of one’s soul for Amy, who fell down the stairs” all the way to “Z at the time of death is the source of anxiety—would is for Zillah who drank too much gin” (Amphigorey). the child be rewarded upon death with eternal life or, Edward Gorey’s alphabet book “The Gashlycrumb Tinies” (1963) can In the following, I argue that this text can be as a child born in sin and not yet brought to the point fruitfully analyzed in terms of a tradition of literary of salvation, be eternally punished? By contrast, be fruitfully analyzed in terms of a tradition of literary representation of representation of children’s deaths and especially death could also be presented as a threatened pun- children’s deaths and especially of cautionary tales and verse. In order of cautionary tales and verse, a connection that has ishment in itself, as would more often be the case in also been observed by Kevin Shortsleeve, though later treatments of childhood death. The New England to show how Gorey’s Gothic nonsense modifies this tradition, this not yet explored in depth (31–32). In order to show Primer, the most widely read text by American chil- paper considers different functions of the child’s death in literature, how Gorey’s Gothic nonsense modifies this tradi- dren apart from the Bible from the late seventeenth tion, I first briefly consider different functions of the century until well into the nineteenth century, con- moving from the moralizing cautionary tales of the seventeenth child’s death in literature and then move from the tains examples of both conceptions of a child’s death. and eighteenth centuries to the more parodic cautionary verse that moralizing cautionary tales of the seventeenth and eighteenth centuries to the more parodic cautionary I In the Burying Place may see emerged in the nineteenth century. Classic examples of cautionary verse that emerged in the nineteenth century. Clas- Graves shorter there than I; verse such as Heinrich Hoffmann’s Struwwelpeter (1845) and sic examples of cautionary verse such as Heinrich From Death’s Arrest no Age is free, Hoffmann’s Struwwelpeter (1845) and Hilaire Belloc’s Young Children too may die; Hilaire Belloc’s Cautionary Tales for Children (1907) can be seen as Cautionary Tales for Children (1907) can be seen as pre- My God, may such an awful sight, precursors of Gorey’s work, while a comparison of selected vignettes cursors of Gorey’s work, while a comparison of se- Awakening be to me! lected vignettes from the three texts will illustrate Oh! that by early Grace I might from the three texts illustrates Gorey’s innovation and the refinement Gorey’s innovation and the refinement of his non- For Death prepared be. of his nonsense. The children’s deaths no longer serve any moral or sense. (The New England Primer, “Verses,” 1737) didactic purpose, producing a tension between the search for such The Child’s Death, Cautionary Tales, These lines do not threaten children with death as a purpose and an apparent meaninglessness. Instead of resulting in and Cautionary Verse punishment but present it as a fact of life, as some- A child’s death in a literary text may serve a num- thing from which “no Age is free,” especially small despair, the Gothic elements of Gorey’s text and images are placed in ber of functions, most obviously as a focal point for children. Death serves as a reminder to be obedient the service of nonsense, which resolves in humor. tragedy or, as Judith Plotz argues, as a means not and good, in order that the child’s inherently sinful

BOOKBIRD 22 IBBY.ORG IBBY.ORG 23 56.4–2018 THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION nature may be overcome before death overtakes him The Oxford Encyclopedia of Children’s Literature de- Hilaire Belloc’s Cautionary Tales for Children, first the child a “dangerous Toy” (Cautionary Tales 70). In or her. fines cautionary tales as follows: published in 1907, clearly continues in the tradition an extreme example, Franklin Hyde is even beaten In contrast, The New England Primer also gestures of exaggerated cautionary verse initiated by Hoff- by an immoral adult: “obedience is shown to pro- toward the later use of death as a punishment for bad Tales of warning, cautionary tales exploit the mann about sixty years earlier. More light-hearted tect the child not merely from adult neglect but from behavior in “A Dialogue between Christ, Youth, and didactic potential of children’s literature by de- in tone, their wit is also directed somewhat differ- actual danger posed by the adults whose role is to the Devil.”2 In this poem with echoes of a medieval scribing naughty, immoral, and foolish characters ently than that of Struwwelpeter. As Jennifer Sattaur protect and nurture” (Sattaur 137). As Sattaur con- morality play, the personified Youth rejects both his and the often cruel punishments they incur. Vic- has argued (see, e.g., 144), Belloc’s tales also serve as cludes, though, child readers can both laugh at the parents’ guidance and the appeals of Christ to follow es such as curiosity, laziness, or stubbornness are injunctions to children to behave properly, though extremity of the parodic stories of punishment and God rather than the Devil, for which Youth is then penalized; docility and obedience to parental au- for an unexpected reason. As in Struwwelpeter, the feel comforted at nonetheless having learned a les- punished when Christ refuses to save him: thority are promoted. (Joosen) punishment only rarely follows logically from the son from them—since the carnivalesque laughter of crime—that is, while falling over and burning to death Belloc’s Cautionary Tales both inverts and reinforces CHRIST “The Giddy Girl” and other tales in The Daisy are are immediate consequences of tipping in one’s chair the system of child education and discipline (147). When I did call, you wouldst not hear, good examples of this mode of moralizing narrative. or playing with matches, respectively, the cutting off As with Struwwelpeter, Cautionary Tales for Children But didst to me turn a deaf ear; Cautionary verse, on the other hand, is defined as of thumbs for thumb-sucking or being dipped in ink also uses nonsense elements primarily as a form of And now in thy calamity, a humorous send-up of such seriously meant cau- as an act of public shaming for laughing at others parody. These stories also invoke the cautionary I will not mind nor hear thy cry; tionary tales: “Comic poetry typically depicting are externally imposed punishments which do not tale tradition and suggest that the children’s injuries (The New England Primer, 1805; 66) children suffering punishment or meeting untimely occur as direct consequences of those actions. For or deaths are meant as punishments for their trans- ends for their disobedience, cautionary verse began example, in Belloc’s Cautionary Tales, Jim runs away gressions. This is clearest in the format of the titles, Indeed, he not only refuses to save the Youth but as a parody of the eighteenth-century moral tale” from his nurse and is subsequently eaten by a lion; which concisely summarize the transgression and actively causes him to die: (Russell). These are “‘over-the-top,’ tongue-in-cheek Rebecca’s habit of slamming doors for fun results in a consequence or punishment of each child—for exam- tales of warning, usually directed at naughty chil- marble bust falling from above the door and crushing ple, “Algernon, Who played with a Loaded Gun, and, CHRIST dren [though] [t]he extremity of the punishment is her; and both the misbehavior and the fate of “Henry on missing his Sister, was reprimanded by his Father” If thou some longer time should live, not meant to be taken seriously” (Styles 212). Be- King, Who chewed bits of String and was early cut and “Rebecca, Who slammed Doors for Fun and Thou wouldst again to folly cleave; ginning with the phenomenal popularity of Heinrich off in Dreadful Agonies” (Cautionary Tales 13) because Perished Miserably.” Yet connections between pun- Therefore to thee I will not give, Hoffmann’s Struwwelpeter (Slovenly Peter) in 1845 the string ties itself into knots in his stomach and ishments and misbehavior are often tenuous at best, One day on earth longer to live. (66) (with the first English-language edition published in kills him, are even more bizarre. as in Rebecca’s case, and the moral judgement of 1848 and hundreds of editions to follow), caution- Sattaur explains that these punishments encour- the children is ironically broken, as when Algernon’s Immediately after, Death comes for the Youth, and ary verse exaggerates the punishments to the point age children to behave properly, not because their story creates ambiguity as to whether his father is the conclusion makes the moral explicit: those of ridiculousness, strains the bonds of causality be- actions themselves are dangerous, but because the scolding him for playing with the gun (a reasonable children who do not obey will not only go to hell tween misdeed and punishment, and encourages as adults in their lives are frighteningly unwilling or un- response) or for failing to shoot his sister (clearly not eventually but may suffer this punishment while still a response not primarily frightened obedience but able to protect them from harm. If a boy runs away a reasonable response). If the punishment can be young: rather amused laughter. Indeed, it is the ambivalence from his nurse, the zookeeper will not be able to keep for the latter case, the father’s judgment is not only of Hoffmann’s stories that inspire their continued the lion in check, the nurse will not catch up in time, called into question but thoroughly ridiculed. Bel- They in their youth shall go to hell, success. The draconian punishments for childish and the child is therefore at risk. It is true that Matil- loc’s verse thus extends the tension found in Struw- Under eternal wrath to dwell! transgressions—with at least two children dying4 and da should not tell lies, but her aunt should also not welpeter between the invocation of a traditional genre And shall not live out half their days, especially with the graphic amputation of thumbs as leave the child home alone in a locked house, where and its conventions and their parodic inversion. For cleaving unto sinful ways. (67) an excessive punishment for Konrad’s mild offense of she burns to death. Belloc’s tales warn children not When we turn to Gorey’s “The Gashlycrumb thumb-sucking—have been criticized as too harshly primarily in order to encourage good behavior for its Tinies” and consider it within the tradition of cau- Death as a warning would become even more explic- enforcing good behavior and instilling a fear of au- own sake; rather they promote appropriate behavior tionary verse started by Hoffmann and Belloc, we it in the cautionary tales of the eighteenth and early thority in children (see, e.g., Freeman).5 Yet other crit- as a means of self-preservation in a world in which find that it more radically modifies the function of nineteenth centuries, such as in Elizabeth Turner’s ics point to nonsense elements in Hoffmann’s poems adults offer little protection: “Jim should behave, not the child’s death and its relationship to conventional “The Giddy Girl” in the 1807 collection The Daisy. and in the interplay between the texts and images as because it is the most moral course of action, but morality than the previous examples. It is the first For ignoring her mother’s instructions to avoid the working to subvert the explicitly didactic message of because it is the safest” (Sattaur 135). In a particu- of what are subtitled as “Three Volumes of Moral well, the girl falls in and is indeed drowned.3 While the book. The very exaggeration of the punishments larly absurd inversion of the cautionary tale format, Instruction” in The Vinegar Works (1963; collected in many such tales use milder punishments such as (as well as the overly literal illustrations), some ar- George receives an injury when his balloon pops, a Amphigorey), thus clearly linked with the cautionary shame, death could indeed be held up as a more gue,6 serves not to heighten the fear but to diminish balloon that he received as a reward for good behavior. tale format. This reference to “Moral Instruction,” extreme warning—a warning that is parodied in the it, by making it ridiculous, in an effective parody of Here, although the title suggests that George is to however, must be taken with a sizeable grain of salt cautionary verse of the nineteenth and twentieth the moralizing tales that viewed children as essen- blame, the behavior that is really in need of correc- since the other two tales completely lack the expect- centuries. tially sinful and in need of punishment (Sattaur 130). tion is that of his grandmother, who errs in giving ed moral tone or message. The second tale, “The In-

BOOKBIRD 24 IBBY.ORG IBBY.ORG 25 56.4–2018 THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION sect God,” culminates in the death of a child, young with her definition of nonsense as “a carefully limit- ed away,” “drowned in the lake,” or “perished by fits.” tale format, but the difference here is that the Tini- Millicent Frastley, but her death is presented as that ed world, controlled and directed by reason, a con- Even when the children are the agents of their own es’ gruesome deaths are removed from any system of of an innocent victim of kidnapping by insect-like struction subject to its own laws” (Sewell 5) and “a deaths—such as “J is for JAMES who took lye by punishment so as to appear utterly arbitrary and thus monsters or aliens rather than as punishment with- game, to which emotion is alien” (129), emotions in mistake”—these incidents seem accidental; there is even more nonsensical. in a system of moral judgement. The third text is the world of nonsense are undermined in the ser- no back story to explain how this came to pass, and “The West Wing,” which apart from its title consists vice of the detachment that is necessary for aesthetic there are certainly no concerned parents either seek- Three Deaths by Fire: A Comparison of solely of images. It summons an atmosphere of fore- control (149). This detachment is often achieved in ing to protect these children or to fear for them in Paulinchen, Matilda, and Rhoda boding through its dark and shadowy architecture, nonsense by means of a sing-song variety of verse their travails. A comparison of three children’s deaths demon- its partially opened doors and isolated objects that that serves to trivialize what may be quite gruesome The illustrations, too, portray these children as strates how the cautionary tale format has shift- seem to bear some mysterious significance, not to content (Shortsleeve 33), as in the dactylic couplets very much alone. They are literally “tiny,” as the title ed in the work of these three authors. Hoffmann’s mention its haunted, ghostly figures; but because of “The Gashlycrumb Tinies.” suggests, dwarfed by their environments, which over- Paulinchen burns to death as a logical, if somewhat its narrative element is at most suggested by the The story of “The Gashlycrumb Tinies” is very whelm them in a literal sense as they are drowned, extreme, consequence of playing with matches. Her sequence of drawings within the book, the reader rudimentary, if it can even be said to be a story at all. assaulted, or otherwise killed. They are depicted parents, as the cats assure us, had explicitly forbidden struggles to make sense of what may or may not be Twenty-six pages—each with an illustration and one- most often in static poses, passive and alone. Facial this behavior and warned her of the expected result: happening in the images, and the emotional effect line caption outlining the cause of death of a child, expressions and gestures evoke a kind of impassive “Die Mutter hat’s verboten! / Miau! Mio! Miau! Mio! hovers somewhere between unsettling and confus- one for each letter of the alphabet—are framed by stillness, as with Ernest, Hector, and Leo; sometimes / Wirf’s weg, sonst brennst du lichterloh!” (Mother ing. “The Gashlycrumb Tinies,” if read as a kind of a title page that depicts twenty-six children presid- a mild curiosity, as in Prue, Titus, and Victor; or else forbade it! Meow! Meo! Meow! Meo! Throw it away cautionary verse, is thus the only one of the three ed over by a tall figure with a death’s head and an a clichéd theatricality of pose, as of Amy, Maud, Su- or you’ll be burnt to a crisp!). The talking cats, as that exploits the parodic potential suggested by the ironically protective umbrella (see Kennedy 189) at san, and Una (The gendering of these postures is a a kind of personification of either Paulinchen’s con- subtitle’s promise of “moral instruction.” I argue that the beginning and a final image of twenty-six grave- topic that deserves an essay of its own.). No adult science or parental authority, are both ineffective, its nonsense not only joins its companion pieces in stones at the end. The narrative, such as it is, is thus figures appear in any of the illustrations: the fight- since Paulinchen ignores their protests entirely, and subverting the Gothic atmosphere suggested in the a trajectory from children’s lives to their deaths, one ers that trample Prue are abstracted as a “brawl” yet ludicrous, crying a literal river of tears, as the illus- text and images, preventing a sense of fear from aris- foreshadowed by the death-like figure at the begin- to occur behind the “saloon bar” door, and even the tration shows. Other ridiculous aspects include the ing, but also offers a twist on the message of previ- ning, and it is as inexorable as the alphabet. This “thug” who kills Hector is only seen as a disembod- way they anthropomorphically throw their paws up ous cautionary verse. While Hoffmann’s and Belloc’s could be the basis for a fearful tale, yet it is instead ied pair of arms emerging from behind a column. in the air in dismay, their black ribbons of mourning cautionary verse mocks the format of the warning nonsense by virtue of, first, its rigid patterning from The only exception is the Grim Reaper figure that and handkerchiefs in the last panel, and the girl’s red to children against bad behavior, they also retain an A to Z that privileges form over content, and second, appears with the twenty-six children on the frontis- shoes that are untouched by the fire although the element of that warning. Gorey’s, on the other hand, by omitting any context that would allow readers piece, who towers over the tiny children. His grin rest of her is reduced to ashes. These are nonsensi- abandons the causality of the earlier examples and to sympathize with, fear for, or mourn the children. and elaborately posed right hand contrast starkly cal exaggerations and literalizations that serve to dis- becomes more fully nonsensical. These children die with causes no more fully ex- with the blank stares of the children and their almost tance readers from the fearful threat of death by fire. Some of the elements that contribute to the plained than the board-game Clue’s “Prof. Plum did it uniform doll-like poses. While the warning is real, it becomes not a source of Gothic atmosphere of Gorey’s work are the dark in the dining room with the lead pipe”; less, in fact, Interestingly, this absence of parental protection anxiety but of humor. drawings and extensive use of shadow; the apparent since the agent of death is impersonalized and most is something Gorey inherits from earlier cautionary Belloc’s “Matilda, Who told Lies, and was helplessness of the characters, who appear primar- often absent, as in “K is for KATE who was struck verse, such as that of Hoffmann and Belloc, though Burned to Death” (17), is likewise punished by burn- ily as victims; and what Victor Kennedy calls his with an axe.” Struck by whom, we never learn, as he takes it a step further. The parents in Hoffmann’s ing to death, though for a less closely related mis- “marked fondness for such portents as cats, bats, the axe is depicted after impact with no perpetra- Struwwelpeter are most often, though not always, ab- deed. The connection between telling lies and the urns, death’s-heads, and devils” (181). Rather than tor in sight. Though there are retreating footprints, sent: while Konrad’s mother initially admonishes fire is established on two levels: first, Matilda is left combining to produce a Gothic atmosphere of fear, the murderer is absent and his or her motives are en- him not to suck his thumb, both this crime and its home alone by her aunt as punishment for lying, and however, they are undercut by the nonsense ele- tirely opaque. “O is for OLIVE run in by an awl” is punishment occur when she is away, and only Phil- second, the firemen disregard her cries for help be- ments of the story, which create a distancing effect. even more bizarre as the awl in question is portrayed ip’s parents are the direct agents of punishment in cause she has become like the boy who cried wolf The reader acknowledges the potentially fearful floating above her, not even pointing in her direction, their disapproval at having their supper table up- and is not believed when she does tell the truth: events yet is not personally disturbed by them. This which conflates the weapon and the murderer, as no set. Parents in Belloc’s Cautionary Tales may be pres- has been identified as a typical function of nonsense, physically probable scenario could cause an awl to ent but are more actively ineffective or neglectful, For every time She shouted ‘Fire!’ for example, by Kevin Shortsleeve, who sees vio- fly through the air from that position and “run in” even to the point of excessively beating a child as They only answered ‘Little Liar’! lence as a central theme of nonsense, even “neces- little Olive. Roughly half the children’s deaths (four- in the case of Franklin Hyde’s uncle. Yet parents And therefore when her Aunt returned, sary to this genre” (27). On nonsense’s characteristic teen of twenty-six) are related by means of passive are missing entirely in “The Gashlycrumb Tinies,” Matilda, and the House, were Burned. detachment from such content, Elizabeth Sewell ac- verbs—“was smothered,” “was done in,” etc.—while along with any other social or moral context for the (Cautionary Tales 23–24) knowledges the way various emotions may threaten even those verbs that are grammatically active are children’s deaths. Gorey arguably draws the germ of to disrupt nonsense’s play; however, in accordance overwhelmingly passive semantically, as with “wast- nonsense from Struwwelpeter as well as its cautionary In contrast to some of his other tales, Belloc here

BOOKBIRD 26 IBBY.ORG IBBY.ORG 27 56.4–2018 THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION

does punish the child for misbehavior, although the replaced by all manners of fears.” Even here, in one is the placement of distorted mirror image WORKS CITED punishment is exaggerated for comic effect, with the of Gorey’s most Gothic narratives, however, the read- against an ‘original’ mirror image. Nonsense is CHILDREN’S BOOKS illustration by B.T.B. (Lord Ian Basil Blackwood) er does not experience the usual Gothic atmosphere that which cannot be seen, or known, or held Anonymous. The Little Boy Who Was Drowned. London, Dean and Co., n.d. (before 1850). The Hockliffe clearly showing Matilda’s honesty in this particular of fear because of an emotional detachment that is onto: the broken mirror, the broken image. Project. http://hockliffe.dmu.ac.uk/items/0163.html. case. The passersby’s stubborn refusal to believe her encouraged by the story’s nonsensical elements. (Shires 268) Accessed 5 March 2018. even when confronted with billowing smoke from Similarly, we do not fear for the children in “The Anonymous. The New England Primer. Boston, T. Fleet, her window is another nonsensical element with the Gashlycrumb Tinies.” We quickly recognize them Whereas Lewis Carroll’s parody of Watts’s “Against 1737. Reprint of The Protestant Tutor by Benjamin Harris and The New England Primer Enlarged. Preface effect of making the situation—and especially the as ciphers, as part of a pattern by which twenty-six Idleness and Mischief” is “the collision of two kinds by Daniel A. Cohen, Garland Publishing, 1977. adults—ridiculous. children will be presented for the sole purpose of il- of discourse—moral and amoral” (Shires 275), “The Anonymous. The New England Primer. Boston: Manning Gorey’s Rhoda, on the other hand, is “consumed lustrating their deaths, and so we are amused at the Jabberwocky” is a case in which nonsense “provides & Loring, ca. 1803. Lilly Library, University of Indiana, by a fire” without having first been seen to commit creative causes of death Gorey concocts for them no context – no metaphoric frame in which to put http://www.indiana.edu/~liblilly/NewEnglandPrimer- Web/text.html. Accessed 5 March 2018. the crime of playing with matches or indeed any ac- rather than concerned for their safety. If we consider the sequence of events. This has the effect, for the Anonymous. The New England Primer. Albany, Whiting, 7 tion at all. We see the girl encompassed by flames, the more usual function of alphabet books in helping reader, anyway, of leaving death hanging in the air” Backus & Whiting, 1805. The Gettysburg College almost entirely white in contrast to the very dark car- children learn to read, the tragedy of these children’s (278). This is what happens in “The Gashlycrumb Special Collections, http://public.gettysburg.edu/ pet, curtain, and large urn in the background. She is deaths is further diminished as they are reduced to a Tinies” as well: To the extent that it is read as a par- ~tshannon/his341/nep1805contents.html. Accessed 5 March 2018. less passive than some of the characters, appearing to list of examples in a learning aid. ody of cautionary tales, it juxtaposes a moral code Belloc, Hilaire. Cautionary Tales for Children. 1907. step forward and wave her hands before her face, yet One could argue, then, that nonsense here is a by which we would read these deaths as punishment Cautionary Tales & Bad Child’s Book of Beasts. the position of her hands over her eyes actually makes means of parodying the Gothic and could be seen in for transgressions with an amoral world in which the Illustrated by B.T.B. (Lord Ian Basil Blackwood). it look as though she has no face at all as we cannot a long tradition of Gothic parody, from Jane Austen’s deaths signify nothing. But because the text leaves Dover, 2008. Gorey, Edward. Amphigorey: Fifteen Books by Edward see a nose or chin below her fingers. Her pose is a bit Northanger Abbey to humorous horror films like Abbott that moral code behind, such that this context for the Gorey. Penguin, 1972. too theatrical to suggest realistic pain, an effect that is and Costello meet Frankenstein (1948) or the Scary Movie deaths is lacking, it moves further away from parody —. Amphigorey Too. Penguin, 1975. strengthened by the heavy curtain pulled to the right franchise (from Scary Movie in 2000 to Scary Movie 5 in to become more fully nonsense. —. Amphigorey Also. Harcourt Brace, 1983. side of the image, as if she were on a stage, performing 2013). Certainly, the humor found in much nonsense If readers do recognize the reference to cau- —. Amphigorey Again. Harcourt, 2007. Hoffmann, Heinrich. Der Struwwelpeter: Lustige a role. Removed from its original context, the figure is related to the same distancing that also happens tionary tales—especially as suggested by the subtitle Geschichten und drollige Bilder (Slovenly Peter: of this child’s death—like so many others in Gorey, as in humorous parody, and exaggeration of familiar Three Volumes of Moral Instruction—they may expect the Funny Stories and Amusing Pictures). 1845. Esslinger Kennedy argues—becomes an ironic commentary on generic conventions is something shared by parody Tinies’ deaths to serve some purpose, such as punish- Verlag, 2014. the very concept of didacticism in children’s literature: and nonsense literature. Cautionary verses such as ment or warning. Because the deaths are presented Lear, Edward. The Complete Nonsense of Edward Lear. Edited by Holbrook Jackson. Faber and Faber, 2001. “Gorey’s denial of the comfort of morally rationalized Hoffmann’s Struwwelpeter do function as parodies of without this context, however, they appear instead Turner, Elizabeth. “The Giddy Girl.” The Daisy: Or death shows instead the violence and brutality of seriously meant moral tales, such as Turner’s “The to be meaningless. This is precisely the tension be- Cautionary Stories. 1807. Project Gutenberg, http:// death. […] [B]y [means of] incongruous juxtaposition Giddy Girl.” Several critics, however, deny that non- tween apparent meaninglessness and the suggestion www.gutenberg.org/files/45082/45082-h/45082-h. of nineteenth century images and icons with twen- sense can have a parodic or satirical function, argu- of meaning that Tigges identifies as a prime charac- htm. Accessed 27 July 2015. tieth century black humor he invites his readers to ing that it must maintain its own neutral detachment teristic of nonsense (47). Readers oscillate between SECONDARY LITERATURE laugh at their own discomfort” (190). rather than taking a position in relation to “reality,” searching for an explanation and being disoriented Freeman, Thomas. “Heinrich Hoffmann’s Struwwelpeter: including to other texts and genres. Peter Köhler or amused by the lack of such an answer. Indeed, this An Inquiry into the Effects of Violence in Children’s is a prime example of this, as he insists upon what apparent meaninglessness could easily tip over into Literature.” Journal of Popular Culture, vol. 10, 1977, Conclusion pp. 808–820. So what is the result of this shift in emphasis and he calls the “Tendenzlosigkeit” (purposelessness) of the existentialism of the theater of the absurd. When Gray, Donald J. “The Uses of Victorian Laughter.” combination of Gothic and nonsensical elements nonsense (24). Similarly, Wim Tigges insists that “it causality and narrative development are proven emp- Victorian Studies, vol. 10, no. 2, 1966, pp. 145–176. in Gorey’s treatment of the child’s death? The is the prime characteristic of nonsense not to make ty, when even the most gruesome of events—like the Joosen, Vanessa. “Cautionary Tales.” The Oxford En- Gothic elements suggest a threat, potentially fear, a ‘point’ or draw a moral, not to satirize, to ridicule brutal death of a child—occurs arbitrarily, it points cyclopedia of Children’s Literature. Edited by Jack Zipes, Oxford UP, 2006, http://www.oxfordreference. but readers are able to maintain their detachment or to parody, and not even primarily to entertain” to the meaninglessness of existence. Yet rather than com/view/10.1093/acref/9780195146561.001.0001/ since nonsense elements serve to ironically under- (50). I disagree, however, and instead follow Linda despairing, Gorey’s characters often cultivate an at- acref-9780195146561-e-0562?rskey=tHgmPP&re- cut those emotions. In “The Gashlycrumb Tinies,” M. Shires in seeing nonsense and parody, as well as titude of detached “ennui”—like “NEVILLE who sult=1. Accessed 5 March 2018. none of the children speak, and the single illustra- fantasy, as linked, as they all “question the status of died of ennui”. For their part, his readers are encour- Kennedy, Victor. “Mystery! Unraveling Edward Gorey’s Tangled Web of Visual Metaphor.” Metaphor and tion for each child does not reveal much about their the real” in their own ways, which may be both dis- aged by the rigid patterning of the nonsense text to Symbolic Activity, vol. 8, no. 3, 1993, pp. 181–193. emotional states. This can be contrasted with “The turbing and pleasurable: react rather with laughter than despair, as they relish Köhler, Peter. Nonsens: Theorie und Geschichte der Insect God,” in which the narrator does comment the randomness of the situation and the inconclu- literarischen Gattung. Winter, 1989. explicitly on characters’ fear by means of expressions Fantasy is the mirror that sucks the body siveness of the narrative to savor Gorey’s particular Metcalf, Eva-Maria. “Civilizing Manners and Mocking 8 Morality: Dr. Heinrich Hoffmann’s Struwwelpeter.” such as “O feelings of horror,” “sick with apprehen- in, as it does Alice in Alice in Wonderland and brand of dark humor. The Lion and the Unicorn, vol. 20, no. 2, 1996, pp. sion,” and “hope started to languish / And soon was literally in Through the Looking Glass. Parody 201–216.

BOOKBIRD 28 IBBY.ORG IBBY.ORG 29 56.4–2018 THE CHILD’S DEATH AS PUNISHMENT OR NONSENSE? EDWARD GOREY’S “THE GASHLYCRUMB TINIES” (1963) AND THE CAUTIONARY VERSE TRADITION Articles

Parrot, Ben. “Aesthetic Tension: The Text-Image Relation- (Flying Robert) can also be assumed to perish, as he flies away with his ship in Heinrich Hoffmann’s Struwwelpeter.” Monat- umbrella in a storm, supposedly never to return, but his death is not shefte thematized as such. The other seven children suffer either injuries or vol. 102, no. 3, 2010, pp. 326–339. some form of embarrassment or shaming. Plotz, Judith. “Literary Ways of Killing a Child: The 19th Clashes of Modernity in Century Practice.” Aspects and Issues in the History of 5 Ben Parrot also cites as representatives of this position artists Sarita Children’s Literature. Ed. Maria Nikolajeva. Green- Vendetta and Bob Staake, as well as critics like Eva-Maria Metcalf and wood, 1995, pp. 1–24. Barbara Smith Chalou (328). Metcalf, however, sees this moralizing only in the text, arguing that the images “push[] Paulinchen or Suppen-Kas- Russell, David L. “Cautionary Verse.” The Oxford par into the realm of the absurd and hyperreal” (207). Two Chilean Encyclopedia of Children’s Literature. Edited by Jack Zipes, Oxford UP, 2006, http://www.oxfordreference. 6 E.g., Bettina Hürlimann (cited in Parrot 328) and Elisabeth Wesseling. com/view/10.1093/acref/9780195146561.001.0001/ Ben Parrot advocates a dialectical reading, in which child readers iden- tify both with the transgressors and the representation of authority and acref-9780195146561-e-0563?rskey=i66CE3& punishment in an oscillating manner. Contemporary Young result=1. Accessed 5 March 2018. Sattaur, Jennifer. Perceptions of Childhood in the Victorian 7 In addition to reading Rhoda as an echo of Paulinchen, I have found Fin-de-Siècle. Cambridge Scholars, 2011. several other references to Struwwelpeter in Gorey’s work. The most explicit reference is the limerick “Augustus for splashing his soup,” from Sewell, Elizabeth. The Field of Nonsense. 1952. Chatto & “The Listing Attic” (Amphigorey)—which can be read as a reference to Adult Novels: Windus, 1970. the 1848 English translation Slovenly Peter (translator unknown), which Shires, Linda M. “Fantasy, Nonsense, Parody, and the translates Hoffmann’s “Suppenkaspar” (Soup Kaspar) as “Augustus who Status of the Real: The Example of Carroll.” Victorian would not have any soup.” Poetry, vol. 26, no. 3, Fall 1988, pp. 267–283. 8 Donald J. Gray makes a similar observation about the tension be- Al sur de la Alameda: Shortsleeve, Kevin. “Edward Gorey, Children’s Literature, tween the serious subject matter of nonsense and its rigid form: “The and Nonsense Verse.” Children’s Literature control and coherence of nonsense must be very firm, its technique Association Quarterly, vol. 27, no. 1, 2002, pp. 27–39. subtle and sure, if it is to hold in play to the very end forces as contin- Styles, Morag. “From the Garden to the Street: The ually present and powerful as these, and resolve the play in laughter rather than in fear or sober reflection” (175). History of Poetry for Children.” Children’s Literature: Diario de una toma and Approaches and Territories. Edited by Janet Maybin and Nicola J. Watson, Palgrave Macmillan, 2009, pp. 202–217. Tigges, Wim. An Anatomy of Literary Nonsense. Nieve Negra Rodopi, 1988. Townsend, John. Written for Children: An Outline of English-Language Children’s Literature. 1965. 2nd revised ed., Kestrel, 1983. Luz Santa Maria Trent, William P. and Benjamin W. Wells, editors. Colonial Prose and Poetry. Volume III: The Growth of the National Spirit, 1710–1775. New York, Thomas Y. Crowell, 1901. Bartleby.com, 2010, www.bartleby. com/163/304/html. Accessed 8 March 2018. Wesseling, Elisabeth. “Visual Narrativity in the Picture Book: Heinrich Hoffmann’s Der Struwwelpeter.” Children’s Literature in Education, vol. 35, no. 4, Dec. This article examines two Chilean contemporary novels for young 2004, pp. 319–345. adults and discusses the notion of modernity embedded in them.

Endnotes First, the article describes both texts with regard to their similarities

1 Though the present analysis concentrates on cautionary verse and its and differences, and then it considers Stuart Hall’s notion about use of a child’s death as an exaggerated punishment for misbehavior, Gorey also parodied the Puritan story of the good death in “The Pious the crisis of the individual. By doing this, I intend to show how Infant,” first published in 1966 and included in the anthology Amphig- DR. EMILY PETERMANN earned her PhD in American orey Too. literature at the University of Konstanz, Germany, in 2012 representations of adolescence in young adult narratives written and has since taught at the Universities of Göttingen and 2 According to Trent and Wells, this dialogue first appeared in the first edition of the Primer (ca. 1687) and nine subsequent ones (http://www. Konstanz. Her book, The Musical Novel: Imitation of Musi- and published currently in Chile mesh with the topics of national bartleby.com/163/304.html), including the 1805 edition currently in the cal Structure, Performance, and Reception, was published Gettysburg Special Collections, though not the 1737 edition printed by in 2014 with Camden House. She has also published on history and cultural identity. National politics and human rights (to T. Fleet in Boston or the ca. 1803 edition in the Lilly Library. a range of topics in Word and Music Studies, on Gothic 3 See also The Little Boy Who Was Drowned, anonymous and not literature, on the film musical, on American children’s education, for instance) and Chile’s history of colonialism and a class- dated, available on the Hockliffe Project, cited by Joosen. poetry, and, last but not least, on nonsense in literature http://hockliffe.dmu.ac.uk/items/0163.html. and in popular music. differentiated society are brought up for discussion. The analysis

4 The only two unequivocal deaths in the ten tales are those of Pau- shows that a crisis of identity often at the heart of these narratives linchen, who burns to ashes when playing with matches, and Kaspar, who refuses to eat his soup and dies of starvation. “Fliegender Robert” gives rise to an incomplete notion of modernity.

BOOKBIRD 30 IBBY.ORG IBBY.ORG 31 56.4–2018 CLASHES OF MODERNITY IN TWO CHILEAN CONTEMPORARY YOUNG CLASHES OF MODERNITY IN TWO CHILEAN CONTEMPORARY YOUNG ADULT NOVELS: AL SUR DE LA ALAMEDA: DIARIO DE UNA TOMA AND NIEVE NEGRA ADULT NOVELS: AL SUR DE LA ALAMEDA: DIARIO DE UNA TOMA AND NIEVE NEGRA

his article discusses the narrative one person’s point of view of a situation and its pretty but insecure and unrooted woman; the apple representation of the modernization process of Chile, modes in which two Chilean young unique context. The concept of particularization (as tree and the mirror are essential from the beginning a process we find is still not completely achieved. adult novels represent the process of in a diary) relates to realism, the modern genre by of the book and are the passageway to the present; The adolescents and their search for identity are modernization of Chile by referring excellence. Nicolás’ narration in first person through the stepmother tries to kill the girl four times, none central to this argument. Here I take my cue from to the past and the present of the the diary is complemented with the graphic narration being successful; and the last attempt to kill her is Anthony Giddens. He defines modern societies in Tcountry. The novels were both published in 2014 and of a witness, Luisa, an elderly woman who used to with a poisoned red apple. These similarities are not opposition to traditional societies in the following have been awarded diverse literary prizes. Al sur de la be a teacher at the school in the 1970s and 1980s gratuitous; they bring together two different types of terms: Alameda: Diario de una toma, which can be translated as and is now a witness to the students’ strike from literature—the fairy tale and the young adult narrative. South from Alameda: A Diary of an Occupation, is a graphic her window, adjacent to the school building. From What emerges is a dual narrative, and two intended In traditional societies, the past is honored novel written by the half-Chilean half-Venezuelan her perspective, the readers are able to understand audiences. We see it already in the plot. The novel and symbols are valued because they Lola Larra and illustrated by the Chilean Vicente things that Nicolás still does not know, for example, is structured in ten chapters, ordered inversely, from contain and perpetuate the experience of Reinamontes. Nieve negra, or Black Snow in English, that the school supported the students’ strikes in ten to one—of which the even numbers correspond generations […] Modernity, by contrast, is a novel by the Chilean author Camila Valenzuela. the years 1985 and 1986. One could argue that this to the story of the teenager of our times and the is not only defined as the experience of To develop the argument of the article, both what double narration—both verbal and visual, as well as uneven numbers to the story of a girl, a stepmother, living with rapid, extensive and continuous these novels have in common and what makes them in perspective—consciously establishes a crossover and a housekeeper sharing a house in Santiago in the change, but is a highly reflexive form of unique will be discussed. perspective. 1600s, at a time when Chile was a Spanish colony. life in which social practices are constantly Getting to know the protagonists is central to Sandra Beckett describes crossover novels In Nieve negra the blurring of borderlines between examined and reformed. (Giddens, qtd. in the discussion: The protagonist of Al sur de la Alameda as fiction that “blurs the borderline between two readerships is even more complex than in Al sur de Hall 277–78) is sixteen year old Nicolás, a student of a secondary traditionally separate readerships: children and la Alameda. It is a young adult novel, as we defined it school located in the center of Santiago, the capital adults” (3). As she clarifies, crossover texts do not before, but as a rewriting of a fairy tale, it presupposes Giddens’ definition of modern societies as opposed of Chile. The school has joined the national necessarily address a dual audience of children a children’s audience. However, here one must of to traditional ones is central for the argument that students’ strike in 2006. Nieve Negra’s main character and adults; some may even seem to target a single course ask to what extent we can decide what is follows about Chile’s incomplete modernity. is a fifteen-year-old girl with an unknown name, who audience of hybrid adult-child readers (3). The children’s literature. Peter Hunt says, Al sur de la Alameda represents the students’ recently moved with her parents into an old and double narration of Nicolás and Luisa in Al sur de mobilization in the 2000s for a better and free mysterious house in a traditional neighborhood in la Alameda, each of them representing a generation texts for children can be declared by the education, and it makes sure the readers know that Santiago. of students fighting for their rights, lets us think author, assumed by the publisher, or … twenty years before, during the Pinochet dictatorship, The primary voice of an adolescent confronting about a double readership: adults and teenagers. assumed either by those who give books similar events happened. In the novel, el Gordo a life-changing event is what lets us characterize these On the one hand, we have Nicolás, Paula, and the to children, or (even more confusingly) by Mellado, one of the leaders of the school strike who texts as young adult novels (Hill 8–9). Such events thirty-three other students experiencing the strike the children themselves. None of these loves history, explains to the others the development allow Nicolás and the adolescent in Nieve negra not from the inside of their school; on the other, there is categories is reliable, even without the of the students’ movement from Paris 1968 until that only to find their identities but also to recover the Luisa witnessing the occupation from her window, problem … of what a child might actually day, positioning their protest in the place of history. memory of the past in order to understand the present bringing back the memory of the three students she be said to be. (Children’s Literature 4, qtd. in We could say, then, that the historical conscience of they live in. Young adult literature in the present can joined during the student demonstrations back in Jacques 67) the text values the diachronic conflict of students be understood as a field that represents adolescents the 1980s: María José (Nicolás’ mother) and Carlos with the educational system, internationally and in the process of questioning their identities. During and Rodrigo, who both disappeared after one of Beverly Lyon Clark adds, “children’s literature especially in Chile. this process, they may want to differentiate from the protests. One of the strike’s participants, Gordo is always written for both children and adults; The character of Paula, a French girl who their peers or belong to a group by defending Mellado, says that Nicolás may be the connection to be published it needs to please at least some arrived at the school two years before, inspires the values such as freedom, dialogue, trust, integration, between the past and the present of the school’s adults” (Kiddie Lit 96, qtd. in Jacques 68). From this strike towards a possible aim: reaching the values education, history, and future. Moreover, the voice mobilization of students, a continuation of what perspective and from what we know about the oral of French education—free, inclusive, and of high of the adolescent manifests itself through experience started twenty years ago. origin of fairy tales, we can also add that Snow White quality. Paula is not only the main reason why represented by actions. The transformations in In contrast to Al sur de la Alameda, Nieve negra is has not always been considered a children’s story; Nicolás is participating in the strike, she is also adolescents’ lives are brought about by a negotiation a very symbolic text that recalls Grimm brothers’ it has only become one through its continuous Luisa’s favorite. With this welfare state ideology of between the adolescent’s experience and the ethical fairy tale Snow White. It has a universalist tone, and rewritings and adaptations. Having said that, in Nieve education in mind, we can easily relate the colors of code of the adult world. none of the characters has a proper name. There are negra we come across a novel intended for a young the illustrations—always blue, white, and red—to the Al sur de la Alameda is a graphic novel structured numerous other similarities between this story and adult reader but which also reaches an adult and a French flag and the Revolution maxims of freedom, in the form of a diary that registers chronologically Snow White. The Chilean girl is described as “white child audience through the generic conventions of equality, and brotherhood. These are the colors what happens inside the school during a strike. The as snow, red as blood, and black as ebony wood” (20) the fairy tale. of the Chilean flag as well. If we hold on to this diary is a subjective genre per definition, hence and is extremely beautiful and pure; her mother died As we announced at the beginning of the argument, the modern values of the Enlightenment completely one-sided and specific; it represents when she was very young, and her father married a article, these two graphic novels can be read as a appear—where the human person as a fully centered

BOOKBIRD 32 IBBY.ORG IBBY.ORG 33 56.4–2018 CLASHES OF MODERNITY IN TWO CHILEAN CONTEMPORARY YOUNG CLASHES OF MODERNITY IN TWO CHILEAN CONTEMPORARY YOUNG ADULT NOVELS: AL SUR DE LA ALAMEDA: DIARIO DE UNA TOMA AND NIEVE NEGRA ADULT NOVELS: AL SUR DE LA ALAMEDA: DIARIO DE UNA TOMA AND NIEVE NEGRA individual developed (Hall). But Nicolás, the main orphan girl, heir of the house; and the stepmother. character, is not a fully centered individual; he “Negra” works here as a synonym to “indigenous.” behaves more like the post-modern subject recalled She is a native of that land, and since the Spanish by Hall—an isolated, de-centered, dislocated occupation, she has become the servant of a white individual. He does not have a clear idea of why he and Catholic family’s house. Magical powers are is participating in the strike; he does not care about attributed to her, and she is highly respected by politics. His schoolmates see him as a kind of tourist, the owners and the other servants of the house. a passer-by who does not get involved with the daily She is completely centered and behaves as the developments of the strike. In Walter Benjamin’s Enlightenment subject proposed by Hall. “La niña,” modern term, he is a flaneur, who in Baudelaire’s which means “the girl,” is a white child of Spanish poetry wanders through the metropolis, “becoming heritage, extremely beautiful and described with one flesh with the crowd” (qtd. in Hall 285). Nicolás the colors of snow, blood, and ebony wood. The becomes one flesh with the crowd of the protest, but stepmother represents the last point of the triangle. he does not find his individual self until the end of We know nothing about her identity because she it, after the whole experience has been lived and the has forgotten her past, her name, and her origin. diary, the registration of that experience, is written. She represents the newborn race, the mestizos, de- His understanding about his affiliation is through the centered from a clear origin, the Chileans that had multitude: just started to exist. Together with two angels, these three women are carved in the mirror that “la negra” I can’t explain it well, but I feel touched gives to the lost woman just as she arrives at the when I think that in this same moment house, suffering from amnesia. there are many others like us, in their When the adolescent of our days finds the mirror schools, locked up some days, protesting buried under the apple tree, she connects with the others, claiming attention about the awful past through her dreams/memories and starts to education the majority receives and that wonder about the figures carved in the mirror. She us, here, although not having such a bad thinks that the angels seem to be good and bad one, are showing solidarity to them … at the same time. An antique expert confirms her That makes me committed. impression, saying also that the mirror combines (Larra 227–28) indigenous and Spanish art:

In the afterword, written a year after the diary, It was probably made as a gift to someone good and bad parts. But the stepmother envies All my life I’ve considered myself not Nicolás evaluates what he learned in those seven close. Someone whose destiny was not the girl too intensely to let her live her pure and superstitious at all. It is one of the things days, how committed he still is with the battle for defined yet. Someone who could rise bright life, so she condemns her to infinite lives of I have in common with my father. For quality education, and how he has accepted himself towards the light (he says touching the dislocation, confusion, and isolation. Finally, it is the me, what does not have logic simply stays and become an owner of the city: “I like its dirty angels’ wings) or fall down into the twenty-first-century adolescent who resolves the out of my radar of possibilities. Today, streets, the graffiti on the walls, the silent parks. I darkness, he says with his fingers against triangle and saves the girl from her sentence by her nevertheless, is the first time I feel the like to walk through the center and wander through their grisly faces. (Valenzuela 42) identification with the girl and her understanding opposite. I have no proof of what I am the old arcades looking for comics” (Larra 282). He of her suffering. Her own fragmented identity as an going to say, but I can’t help feeling I is still a post-modern individual but has found his Another of the theories which in Hall’s perspective adolescent is resolved and together with that the belong more to that reality of dreams, identity by belonging to the students’ crowd and explains the dislocation of the subject in modern identity of a whole race. mirrors, and apple trees than to this one at the same time by differentiating his individuality times is Lacan’s mirror stage: “Identity arises … from It is interesting to notice the secular approach of (90) from theirs. a lack of wholeness which is ‘filled’ from outside us, by the adolescent to the mystery of the mirror and the Nieve Negra has several points worth mentioning the ways we imagine ourselves to be seen by others” house. She is not afraid because she does not believe Modernity involves the secularization of culture. regarding modernity and the identification of the self. (287). This resolves the identity which is initially in magic, superstition, or religion. When the antique Hence the adolescent and her father are presented as First of all, as Díaz Hernández explains, the novel felt as divided and contradictory as, for example, the expert tells her to be careful because the mirror is modern characters rather than traditional. However, presents a mestizo imaginary, eponym for the mixed division of the self into “good” and “bad” parts. From a bad omen, she responds “Lucky me, because I that secular vision is broken by the events of the past race of Spanish colonialists and Latin-American this point of view, we can interpret the mirror carved am not Spanish nor indigenous nor a believer, but into which the adolescent is dragged, resulting in an indigenous people, through the relation of three by “la negra” as a symbolic tool for the mestizos to mestiza and atheist” (Valenzuela 42). Towards the incomplete modernity. characters: “la negra,” the housekeeper; “la niña,” the find their own identity and destiny, which has both end, she says, Throughout these pages, we have looked into

BOOKBIRD 34 IBBY.ORG IBBY.ORG 35 56.4–2018 CLASHES OF MODERNITY IN TWO CHILEAN CONTEMPORARY YOUNG CLASHES OF MODERNITY IN TWO CHILEAN CONTEMPORARY YOUNG ADULT NOVELS: AL SUR DE LA ALAMEDA: DIARIO DE UNA TOMA AND NIEVE NEGRA ADULT NOVELS: AL SUR DE LA ALAMEDA: DIARIO DE UNA TOMA AND NIEVE NEGRA

two Chilean contemporary young adult novels. they are supported by adults who want the same LUZ SANTA MARIA has an MEd from the University The ways in which both of them put modernity as them and share the same values but who base of Western Australia and an MA in Literature from between question marks have been characterized their understanding on the evaluation of past Universidad de Chile. She currently works as a project consultant in education, libraries, and publishing for and discussed. Elements of tradition and old regimes actions. While Nicolás’ counterpart is Luisa, Nieve children and young adults. Previously, she worked for four re-surface and echo from one generation to another, Negra’s adolescent is supported by her father. The years at the School Libraries LRC Program at the Ministry putting the reforming nature of modernity in second transformation of the adolescent character into a of Education of Chile and lectured on reading promotion place. We witness this when students in democracy centered individual entails the possibility of a social and young adult literature. Her research interests cover the areas of teaching, literature for children and youth, continue fighting for the same rights as their parents change in which many actors are involved, not only libraries, and cultural audiences. She is a member of IBBY during an autocratic and military regime, even though the students, and where dialogue among them Chile and IRSCL. some educational reforms have happened in between is important. On the other hand, the adolescent (but not beneficent enough to the students). We character in Nieve Negra and her father represent see the same phenomenon when magic is restored, the experience and the ethic that allow the bond despite generations of secular and rational thinking, between past and present to form and the belief in such a powerful way that it is capable of giving us that understanding history is crucial in order to the answer to our cultural identity. understand the present and the future. This paradox is not random. As a fairly new country that just celebrated two hundred years as an independent republic, Chile faces important WORKS CITED Beckett, Sandra. Crossover Fiction. Routledge, 2009. challenges towards becoming a developed nation. Díaz Hernández, Natalia. “Lo ominoso y la búsqueda del Although the nation has embraced modernity origen en Nieve Negra de Camila Valenzuela.” and change for two hundred years, tradition has Umbral vol.1, no.4, 2015, pp. 13–23. http://cielchile. constantly been pushed out, as well as our history. org/wp-content/uploads/2015/01/Umbral-1.4- abr-2015.pdf But from time to time, it comes back to haunt us for Grimm, Jacob and Wilhelm. “Little Snow White.” our forgetfulness. Tradition and modernity need to Translated by D. L. Ashliman. University of Pittsburgh, be acknowledged by Chilean society as part of its 15 Nov. 2005, http://www.pitt.edu/~dash/grimm053. cultural identity. Fortunately, contemporary young html Hall, Stuart. “The Question of Cultural Identity.” adult literature is posing the debate well enough to Modernity and Its Futures. Edited by Stuart Hall, the new generations. David Held, and Tony McGrew, Polity Press, 1992, pp. Finally, a definition of young adult literature was 273–316. given at the beginning of this article. In both novels, Hill, Crag. “Introduction.” The Critical Merits of Young Adult Literature. Edited by Crag Hill, Routledge, it was possible to find adolescent characters in the 2014, pp. 1–24. process of questioning their identities. Nicolás, Jaques, Zoe. Children’s Literature and the Posthuman. in Al sur de la Alameda, first wanted to belong to a New York: Routledge, 2015. group and then realized that by doing so he was Larra, Lola and Vicente Reinamontes. Al sur de la Alameda: Diario de una toma. Ekaré Sur, 2014. differentiating from his peers. The adolescent in Santa María Muxica, Luz. La discusión sobre el valor en Nieve Negra, by engaging in the events of the past, la literatura juvenil actual: una mirada política. Tesis begins to differentiate increasingly not only from para optar al grado de Magister en Literatura. her peers but also from her family and the times Universidad de Chile, 2015, 158 pp. —. “Discurso y experiencia del ‘yo’ en la narrativa she lives in. In these processes, both characters adolescente-juvenil actual: Al sur de la Alameda. defend the values of justice, education, and freedom Diario de una toma, escrito por Lola Larra e ilustrado of expression, as well as truth, history, and future. por Vicente Reinamontes.” Umbral vol.1, no.3, The voices of the adolescents are manifested 2015, pp. 13–23. through their experiences—the school strike and the Valenzuela León, Camila. Nieve Negra. Ediciones SM, mysterious events at the house. As a counterpart, 2014.

BOOKBIRD 36 IBBY.ORG IBBY.ORG 37 56.4–2018 CHARLES DICKENS AND THE CHILD NARRATOR: Articles LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868)

insomuch as it offers a plausible representation of children during the Victorian age, even according to its author; while writing to his American Charles Dickens and the publisher, Dickens stated, “the writing seemed to me so like children’s, that dull folks … might perhaps rate it accordingly” (Dickens, Letters of Child Narrator: Charles Dickens 402–403).

he works of Charles Dickens (1812– death inspired by night-time stargazing. A Child’s Literary and Sociolinguistic 1870) are remarkable for his metic- History of England (1851–1853) is a non-fiction histo- ulous attention to the polyphony ry book that discusses British history from 50 BC of surrounding society. As suggest- to the contemporary accession of Queen Victoria. Reflections on A Holiday ed by Andrzej Diniejko, Dickens’s “The Child’s Story” (1852) is a short story about hu- TCondition-of-England novels “engage directly with man lifetime from childhood to old age, legitimating the contemporary social and political issues with childhood as an important period in everyone’s life. Romance (1868) a focus on the representation of class, gender, and Named after an ancient children’s game, Tom Tid- labour relations, as well as on social unrest and the dler’s Ground (1861) is a collection of mystery stories growing antagonism between the rich and the poor published as a Christmas issue in Dickens’s maga- Beatrice Moja in England” (Diniejko). As a remarkably alert social zine All the Year Round, and written in collaboration commentator, Dickens uses fiction to criticize the with Willkie Collins (1824–1889). Finally, the no- economic, social, and moral injustices of the Victori- vella A Holiday Romance (1868) is the last text for and The works of Charles Dickens (1812–1870) are remarkable for his an era. With his analysis of social reality, he raises de- about children. bates about moral and social reforms and represents Published simultaneously in Dickens’s magazine meticulous attention to the polyphony of surrounding society. This literary the surrounding world in realistic detail. Discussing All the Year Round and in Our Young Folk as four in- tendency is evident in his Condition-of-England novels, as well as in Dickens’s realism, Marah Gubar comments that the stalments between January and May 1868, A Holiday Dickens’s works aimed at a young readership; in the stories contained in novels of Charles Dickens “also reveal an intense Romance is a collection of four stories fictitiously writ- concern about the vulnerability of children. When ten by four children: the “editor,” William Tinkling; A Holiday Romance (1868), the Victorian writer offers some enlightening Dickens was twelve, his father was imprisoned for the “Lieutenant-Colonel,” Robin Redforth; and reflections on the idea of childhood in Victorian culture. This paper offers debt and he was sent to work in a blacking facto- their “brides,” Miss Nettie Ashford and Miss Alice ry, an incident that haunted him his whole life. His Rainbird. The romantic relationships between these an analysis of the innovative choices that characterize this Dickensian novels are full of neglected, exploited, or abused chil- children represent one of the novelties introduced novella, especially dwelling upon its literary and sociolinguistic features. dren” (Gubar). Perhaps because of his tragic personal by Dickens in A Holiday Romance, inasmuch as young In A Holiday Romance, Dickens depicts four child narrators who express experience as a working child, or thanks to the prac- boys and girls in love with one another had never tical knowledge gained as the father of ten children, been featured in English children’s literature before themselves using a language typically suited to their young age: baby the literary production of Dickens uses the theme of (Avery qtd. in Dickens, “A Holiday Romance” xxv). talk. By using these young narrators, Dickens testifies to the increasing childhood as a lifelong leitmotif. The first part, “Introductory Romance. From Usually mentioned in the literary canon for his the pen of William Tinkling, Esquire (Aged eight.),” importance of children’s voices in the Victorian age—hence, to a social novels, Dickens’s later production also in- introduces the characters of the story, the relation- socio-cultural legitimation of childhood. Inasmuch as this literary and cludes fictions aimed at a young readership, in which ships between them, and their main aim in writing sociolinguistic innovation is limited by the adult author’s perspective on he observes and describes society through a less the collection. William claims to be an objective explicitly pessimistic point of view. This category narrator and invites his readers to give credit to his the issues discussed in the novella, the representation of children in A includes several texts that discuss various themes story. In the account, the children are humiliated by Holiday Romance is stained by the romantic idea of the “innocent child.” and issues and belong to different literary genres. The the adults when their parents interrupt their “seri- Life of Our Lord (1846) is a religious book about the ous” military trial, considering it nothing more than In addition to this, the adult voice implicitly invites young readers to follow life of Jesus Christ, written specifically for Dickens’s a childish play. Therefore, the children have decided the example of naïve and submissive childhood provided in the novella. children and published many years after Dickens’s to write their stories in order to make adult people Despite the criticisms against it, A Holiday Romance is an innovative text, death. “A Child’s Dream of a Star” (1850) is a short aware of the importance and necessity of play and story depicting two children meditating on life and fantasy. This explains the title of the novella and its

BOOKBIRD 38 IBBY.ORG IBBY.ORG 39 56.4–2018 CHARLES DICKENS AND THE CHILD NARRATOR: CHARLES DICKENS AND THE CHILD NARRATOR: LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868) LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868) implied intent: A Holiday Romance is a sort of “holiday” working creatures. However, apart from his experi- or with specific peculiarities of a single group of peo- accounts; the girls playfully recycle the conventions from seriousness. ence as a working child, during his lifetime Dickens ple, for example, according to their gender and age of the fairy tale and of the domestic romance. All The second part, “Romance. From the Pen of had several chances to observe children and to take (Spolsky 93). Baby talk is a double-featured register; the young narrators imitate adult language, and often Miss Alice Rainbird (Aged seven.),” also known as inspiration from what he had seen. For example, as it is used by adults when speaking to children, and it repeat concepts and words, in order to sustain their “The Magic Fishbone,” is a fairy tale, described from a typical prolific Victorian family, Dickens had ten is used by children while talking to each other (44). narrative authority and to gain credibility. The open- the naïve point of view of a young girl. The story children. Another interesting instance is offered by Baby talk was introduced in sociolinguistic studies ing of the collection is the case in point, owning to combines the structure of a typical fairy-tale with the eight years Dickens spent working as a profes- when some researchers discovered the “age grading”: the repetition of the same words: a Victorian, urban, middle-class environment, thus sional recorder and transcriber of speeches, an expe- a phenomenon that testifies to the fact that children producing cheerful and unexpected results. In the rience which testifies to the increasing mimic abili- speak in a different manner than adults and that THIS beginning-part is not made out of any- story, the father, a bourgeois king, grapples with eco- ties gained by the author (Golding and Pieri 1–6). younger children speak in a different manner than body’s head, you know. It’s real. You must be- nomic problems, until his eldest daughter, Princess In addition to these, Dickens’s primary source of in- older children do (79). lieve this beginning-part more than what comes Alicia, succeeds in helping him by using a miracu- spiration might just be surrounding society. Dickens’s As a result of these studies, baby talk is a linguis- after, else you won’t understand how what comes lous fish-bone as a magic tool. In the end of the story, attention toward a young readership testifies to the tic register, characterized by abbreviations, diminutive after came to be written. You must believe it the young girl gets a reward for her resourcefulness: Victorian increasing interest in childhood and chil- suffixes, or repetitions of short sounds that are more all; but you must believe this most, please. I am Alicia marries a young prince and wishes their mar- dren. Indeed, during the long reign of Queen Victo- easily pronounced by young children. The youngest the editor of it. Bob Redforth (he’s my cousin, riage to be prolific with thirty-five children. ria, there is in England an innovative social interest children, when they express themselves, often mispro- and shaking the table on purpose) wanted to be The third story, “Romance. From the Pen of Lieu- in children and their voices. For the first time, the nounce words by missing consonants or uttering the the editor of it; but I said he shouldn’t because tenant-Colonel Robin Redforth (Aged nine.),” also child’s perspective becomes a matter for discussion, beginning or the ending of a word. Inasmuch as chil- he couldn’t. HE has no idea of being an editor. known as “Captain Boldhead and the Latin-gram- and this issue is addressed in many different con- dren, when speaking, are more concerned with the (Dickens, “A Holiday Romance” 399) mar master,” is a detailed account of the sea adven- texts: records, journalistic accounts, and government content than with the formal correctness, they often tures of pirate Boldhead. Thanks to a metafictional reports, as well as literature. Hence, this involvement forget about some grammar rules. Another example is provided by an extract in the strategy, Robin identifies himself with the pirate in caused the implementation of social reforms, as well Baby talk also involves some peculiar paralin- fourth part of the collection. Fictitiously written by his own story; hence, he pursues a life engaged in the as the idealistic representation of childhood and chil- guistic elements, such as a singsong intonation or Nettie Ashford, this story reverses the roles of chil- exploration of new worlds and in fighting against his dren in culture and literature. Some experiments on voice peaks. Finally, speeches addressed to children dren and adults, thus the young main characters talk nemesis, the Latin-grammar master. the use of child narrators develop in this context. Ac- usually offer short and simple sentences, slowly pro- and behave like adult women. Mrs. Orange discusses Finally, in the fourth story, “Romance. From the cording to Marah Gubar, A Holiday Romance is the first nounced, with frequent pauses and repetitions of with Mrs. Lemon the main regulations of the institute Pen of Miss Nettie Ashford (Aged half-past six.),” the recognized instance of this kind (“Our Field” 39). concepts (Gleason 76–79). Of course, all these el- she manages; this school is a peculiar sort of college child narrator describes a hypothetical parallel world In fact, although other English writers had already ements might just be a stereotypical representation where children can leave adults for a while and finally “Where the children have everything their own way. used the first person narrative to tell about the hero’s of the actual linguistic attitude displayed by children enjoy a well-deserved holiday. While engaged in this It is a most delightful country to live in. The grown- early childhood, none of Dickens’s predecessors ad- when speaking; although all children go through conversation, the young girls use polysyndeton, often up people are obliged to obey the children, and are justed the narrative style to the different stages of the similar stages when they acquire language, baby talk resort to exclamation sentences, and repeat insistently never allowed to sit up to supper, except on their characters’ life. Whereas in his most famous novels varies from child to child, according to his or her pe- the word “madam.” birthdays” (Dickens, “A Holiday Romance” 428– Dickens describes the growth of the characters from culiarities and the linguistic environment in which 429). In this unusual location, Mrs. Lemon and Mrs. childhood to the adult age even from a linguistic he or she lives (Gleason and Zaretsky 80). “I have come to the conclusion that my chil- Orange, two girls, despite their young age, behave point of view, in A Holiday Romance the author focuses In A Holiday Romance, Dickens enriches the story- dren,’—O, I forgot to say that they call the like adult women and mothers and complain about on the children’s linguistic behavior. telling of his young narrators with the linguistic dis- grown-up people children in that country!—‘that having to look after their vicious parents, which they In literature, style is always adapted to the aimed tinctive features of baby talk. In each story, Dickens my children are getting positively too much for refer to as “children.” audience (Spolsky 41). Yet, in children’s literature, endows his characters with their own voice and inde- me. Let me see. Two parents, two intimate friends In his literary production, Charles Dickens dis- this is a problematic issue, as the authors must con- pendence, testified by the fantastic adventures they of theirs, one godfather, two godmothers, and an plays an increasing interest in childhood, children, sider the limited linguistic skills of their young read- tell in their stories. These adventures depict fantas- aunt. HAVE you as many as eight vacancies?” and their language, probably because of his per- ers (Ewers 149). In A Holiday Romance, Dickens intro- tic deeds, obviously out of their range, but wholly “I have just eight, ma’am,” said Mrs. Lemon. sonal experience with these issues. The traumatic duces a shrewd ploy to avoid this prickly problem: possible in their imaginary worlds, thanks to their “Most fortunate! Terms moderate, I think?” experience the author faced during his own child- the child narrators in the novella express themselves pretending. The children imitate both the behavior of “Very moderate, ma’am.” hood might have dictated this choice. When he was by using the stylistic rules of baby talk, a sociolin- adult people and the adult storytelling style. The re- “Diet good, I believe?” twelve, his father was sent to prison for debt, and guistic register used by children in real life. sult is comical, inasmuch as they use literary tropes “Excellent ma’am!” young Dickens had to quit his education at school In all human societies, there are several varieties and linguistic registers in an incorrect or exagger- “Unlimited?” and to start working in a blacking factory. As a young of language through which individuals interact with ated fashion. Inspired by the heroic and imperialist “Unlimited.” child, the author suffered this situation; hence, many each other. The differences that characterize each narratives they have read about, William and Robin “Most satisfactory! Corporal punishment of his novels depict children as unhappy and unloved variety may be associated with idiosyncratic factors blunder in using nautical and military jargon in their dispensed with?”

BOOKBIRD 40 IBBY.ORG IBBY.ORG 41 56.4–2018 CHARLES DICKENS AND THE CHILD NARRATOR: CHARLES DICKENS AND THE CHILD NARRATOR: LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868) LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868)

“Why, we do occasionally shake”, said Mrs. In A Holiday Romance, Dickens is happy with the confront the grim Victorian materialism and pragma- the bonds of suffocating education and decide with Lemon, “and we have slapped. But only in language he provides to his young narrators. In a tism. Whereas children would like to play and imag- great enterprise and creativity to challenge the adult extreme cases.” (430) letter dated 25 July 1867, he confided to James T. ine a fantasy world, their teachers and parents always world, exploiting and overturning the literary pat- Fields, the American publisher of the novella, “the bring them back down to earth, throwing a dark pa- terns and modes of behavior that they had learned in The concise and essential set of nouns, adjectives, writing seemed to me so like children’s, that dull tina on their romances. their ‘stultifying’ books” (Bacile di Castiglione 154). and verbs reveals the attention that Dickens paid folks (on any side of any water) might perhaps rate Furthermore, growing up in Victorian society, Another criticism moved against Dickens and to children’s linguistic attitude. At the same time, it accordingly” (Letters of Charles Dickens 402–403). the children in A Holiday Romance are aware of and his child narrators suggests that he is using his char- it also testifies to the constant interest displayed by However, Dickens’s attempt was considered unsatis- involved in Victorian social conventions. An interest- acters as an implicit model for his younger readers. children when listening and observing adult people factory. F. J. Harvey Darton, for example, wrote that ing example is offered by the description of the dolls Since Dickens’s characters are naïve and meek, thus having conversations with one another (Bacile di “the alleged narrators, aged six and a half to nine, in the fourth part of the novella. In the story, the adapting to the adult conception of childhood and Castiglione 162). speak too often with a voice and a mind like those of young girls treat their dolls with care and attention, the children’s proper behavior, the author—according However, the child narrators in A Holiday Romance Charles Dickens being playful in his fifty-sixth year” stating that they prefer their quiet toys to the vicious to some critics—is slyly inviting his young readers to are not simply imitating the language of adults, as in (299). and annoying parents they must look after. Yet, the follow such example. Furthermore, using a child nar- the previous examples. In addition to this linguistic A Holiday Romance was not only criticized for its paradox of Victorian England stains the relationship rator is a sneaky technique to mold and manipulate attitude, while writing their stories, the four children inefficiency in representing the children’s linguistic between girls and toys. The dolls are not described, children, inasmuch as it enables the author to obscure also reproduce the style and the narrative choices behavior. In addition, several critics stated that Dick- as we would expect, as children’s inanimate yet inti- his own presence and purpose(s) in addressing the of adult authors—thus demonstrating a deep knowl- ens’s children in A Holiday Romance were fake in their mate friends. On the contrary, their description high- child, thus facilitating identification. In other words, edge of and familiarity with the culture and social naiveté and meekness, that they were not inspired by lights their manufacturing qualities, even suggesting writers set up the child as a surrogate storyteller in behavior of Victorian adult people. Dickens’s child real children but by the romantic idea of childhood. a rank according to their material value. order to trick young readers into identifying with an narrators are deeply influenced by adult conventions Anna Kérchy discusses this issue in her essay “The image, entirely produced by adults, of what children and shaped by the culture of their time, especially Street Urchin as an Iconic Agent of Childish Imag- Mrs. Orange’s baby was a very fine one, and should be like (Gubar, “Our Filed” 41). Thus, Mavis because of the books they have read: a wide variety ination.” She states that Dickens was inspired by a real wax all over. Mrs. Lemon’s baby was leath- Reimer claims that the act of using a child narrator is of books that in A Holiday Romance are used as inspi- metaphysical-historical source in describing his children, er and bran. However, when Mrs. Lemon came “not simply a coercive domination, but rather a dom- ration and support for their storytelling and that are since he got involved in the prickly problem of the into the drawing-room with her baby in her ination that also manufactures consent” (51). Further, also effective in testifying to Dickens’s own expe- ambiguous meaning of childhood inherited from the arms, Mrs. Orange said politely, “Good-morn- quoting Pierre Bourdieu’s Language and Symbolic Pow- rience as an insatiable reader when he was a child Romantics (73–74). Romanticism overlaid childhood ing. Fine day. How do you do? And how is er, Reimer sustains that “instead of telling the child (Holm Allingham). with the idea of the Noble Savage suggested by the little Tootleumboots?” (Dickens, “A Holiday what he must do” such texts tell “him what he is, and Nevertheless, because of their young age, Dick- philosopher Jean-Jacques Rousseau (1712–1778). Romance” 429) thus lead him to become durably what he has to be” ens’s children narrators are not completely effective Hence, just like uncorrupted savages, children were (Bourdieu qtd. in Reimer 50). in using the literary conventions and registers used believed to enjoy the simple pleasures in life as long Inasmuch as social differences can affect behavior, Probably, Dickens’s work is not blameless in by the novels written by and aimed at adult people. as they were left uncorrupted by human society. we must consider Dickens’s words “however” and front of these criticisms. Indeed, the description A particularly comic effect in the novella is provided Like the English poets William Blake (1757– “politely” in this quote, as they highlight the fact that of his characters is deeply tied to the socio-cultur- by the juxtaposition of different registers when the 1827) and William Wordsworth (1770–1850), Dick- Mrs. Orange is behaving in a polite fashion towards al context in which A Holiday Romance is produced, child narrators use legal, heroic, nautical, poetic, and ens was enthralled by the constructed image of Mrs. Lemon although she owns a cheaper and less hence to the romantic idea of childhood that the fantastic lexis all at once. Furthermore, Dickens’s sto- childhood, saturated with sensibility and savagery refined doll, thus implying that she belongs to an in- author wants to suggest to his audience. As Daniel rytellers often use the different terminologies in an at once. However, contrary to these criticisms, Dick- ferior social rank. Hence, toys become an implicit Kline suggests in his The Child in British Literature, the improper manner, an attitude that these literary char- ens’s description of children—while being an implicit tool to demonstrate the materialism which character- Victorian representation “of children and childhood acters share with real children (Bacile di Castiglione occasion to celebrate childhood and while character- ized the Victorian mind-set—its attention to superfi- reminds us that modern versions of childhood are 156). ized by a certain sentimentalism—is never separated cial ostentation did not exclude even children’s toys. likewise culturally bound” (33). It is interesting to note that children in A Holi- from his typical attention towards surrounding soci- Furthermore, unlike other representations of child- Furthermore, it is important to bear in mind that, day Romance are not just passive victims of the adult ety. Kérchy comments, “Dickens the social realist hood in Dickens’s literary production, children in A except for the first part of the novella, A Holiday Ro- influence. As Marah Gubar suggests, “Since adults novelist was also thoroughly aware that the Cult of Holiday Romance are not simply described as a purer mance depicts romances produced by the imagination have already established their primacy and power as the Child was the product of an era when London, and happier version of adult people, as suggested of the young characters. This way, Dickens is provid- the producers of fiction, the children must use the the most advanced center of civilization in the world, by the Romantic idea, or as the defenseless victims ing them with the opportunity to experiment with tools of the master to dismantle the master’s house” was roamed by a ‘fearful multitude’ of an estimated of Victorian society, as in other works by Dickens. their fantasy, promoting the importance of imagi- (“Our Field” 51). The suggestion is that children are 30,000 naked, filthy, lawless, untutored, delinquent, They are not characterized by a full growth during nation in the lives of both young and adult people. using Victorian literature and social conventions in brutish, little city savages” (74). the development of the plot, nor are they affected by This idea had already appeared in his essay “Frauds order to educate adult people about the importance Indeed, in A Holiday Romance the fantasy world, the sad events that have marked their lives. On the on the Fairies” (1853), when he stated, “In an utili- of imagination. called for by the young protagonists, must constantly contrary, as already observed, children are “free from tarian age, of all other times, it is a matter of grave

BOOKBIRD 42 IBBY.ORG IBBY.ORG 43 56.4–2018 CHARLES DICKENS AND THE CHILD NARRATOR: CHARLES DICKENS AND THE CHILD NARRATOR: LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868) LITERARY AND SOCIOLINGUISTIC REFLECTIONS ON A HOLIDAY ROMANCE (1868)

importance that Fairy tales should be respected.… A WORKS CITED Harvey Darton, F. J. Children’s Books in England: Five nation without fancy, without some romance never Allingham, Philip V. “The Original Illustrations for Dickens’s Centuries of Social Life. Cambridge UP, 2011. did, never can, never will, hold a great place under A Holiday Romance.” The Victorian Web, 24 April Higbie, Robert. “Great Expectations and Our Mutual 2002, http://www.victorianweb.org/art/illustration/ Friend.” Dickens and Imagination. University Press of the sun” (111). Dickens’s call for more attention to holiday/pva204.html. Florida, 1998, pp. 145–158. the importance of imagination testifies to an early Andrews, Malcolm. Dickens and the Grown-up Child. Kérchy, Anna. “The Street Urchin as an Iconic Agent of awareness of a changing attitude in children’s litera- MacMillan, 1994. Childish Imagination in Dickens’s Fiction and Its ture, exemplified by the rise of the so-called Golden Bakhtin, Mikhail. “Heteroglossia in Little Dorrit.” Charles Victorian and Postmodern Visual Adaptation.” Charles Dickens Critical Assessments. Volume III: Dickens’s Dickens 200: Text and Beyond. Edited by Gabriella Age of fantasy—an ideal time of freedom from mo- Later Work: Assessments since 1870. Edited by Hartvig and Andrew C. Rouse. Martonfa, Spechel rality, duty, and the rules everywhere applied during Michael Hollington, Helm Information, 1995, pp. e-dition, 2014, pp. 73–84. the Victorian time (Orestano 365). 392–401. Kline, Daniel T. “‘That child may doon to fadres Thus, Dickens’s use of “manipulative” child nar- Bacile Di Castiglione, Claudia. “‘Holiday Romance’: reverence’: Children and Childhood in Middle Children’s Dreams of Omnipotence in Dickens’s Last English Literature.” The Child in British Literature: rators is justified by the fact that he is not creating Fiction.” Dickens: The Craft of Fiction and the Literary Constructions of Childhood, Medieval to them in order to make his young readers more mal- Challenges of Reading. Edited by Rossana Bonadei, Contemporary. Edited by Adrienne E. Gavin. leable, or to distort their nature; the only behavior Clotilde De Stasio, Carlo Pagetti, and Alessandro Palgrave, 2012, pp. 21–37. he promotes is to be imaginative, a suggestion ad- Vescovi, Unicopli, 2000, pp. 153–165. Holm Allingham, Andrea. “Defending the Imagination: Cunningham, Hugh. “The Development of a Middle-class Charles Dickens, Children’s Literature, and the Fairy dressed to children and adults at once. Indeed, as Ideology of Childhood, 1500–1900.” Children and Tale Wars.” The Victorian Web, 18 November 2000, observed by Malcolm Andrews in his Dickens and the Childhood in Western Society since 1500. 2nd ed., http://www.victorianweb.org/authors/dickens/pva/ Grown-up Child, whereas during the Victorian age “it Routledge, 2005, pp. 41–79. pva25.html. is as if adults can only make holiday excursions to —. “The Victorians.” The Invention of Childhood. BBC Orestano, Francesca. “Dickens’s Vocal Quartet in Holiday Books, 2006, pp. 139–176. Romance and E. Nesbit’s Treasure Seekers: Notes BEATRICE MOJA is a Ph.D. student at the State Universi- childhood as to a zoo, … in Dickens’s view it is always Darton, F. J. Harvey. Children’s Books in England. on Post-Victorian Children’s Literature.” Dickens’s ty in Milan (Italy). Her project is dedicated to it-narratives open to us as adults to live in harmony not only with Cambridge UP, 1982. Signs, Readers’ Designs. Edited by Norbert and toys in Anglophone Children’s Literature and contem- children but also with the vestigial childlike side of Davies, James A. The Textual Life of Dickens’s Characters. Lennartz and Francesca Orestano. Aracne Editrice, porary culture. She has delivered papers on Victorian food our own natures” (173). MacMillan Press, 1989. 2012, pp. 363–387. and fashion, it-narratives in children’s literature, and Calvin Dickens, Charles. “A Holiday Romance” [1868]. A Holiday Reimer, Mavis. “Treasure Seekers and Invaders: E. Nesbit’s and Hobbes. She has written about Barbie Unbound by In conclusion, A Holiday Romance offers some Romance and Other Writings for Children. Edited by Cross-Writing of the Bastables.” Children’s Literature Sarah Strohmeyer, animals and philosophy, children’s interesting sociolinguistic reflections through the Gillain Avery, Everyman, 1995, pp. 397–437. 25, 1997, pp. 50–59. cultural memory, and racism in children’s literature. study of the baby talk Dickens used to give voice to —. “Frauds on the Fairies” [1853]. A Peculiar Gift: Spolsky, Bernard. Sociolinguistics. Oxford University Press, She is also a Milan Greeter, and the editor of the bilingual his narrators. Moreover, this novella presents a deep Nineteenth Century Writing on Books for Children. 1998. (English – Italian) travel section in the Italian cultural Edited by Lance Salway. Kestrel Books, 1976, pp. Stephens, John. “Analysing texts: linguistics and magazine VivaMag.. analysis of the perception of childhood during the 111–118. stylistics.” Understanding Children’s Literature. Edited Victorian age thanks to the author’s innovative lin- —. Letters of Charles Dickens, 12 vols. Edited by by Peter Hunt, 2nd ed., Routledge, 2005, pp. 73–85. guistic and stylistic choice. Madeline House, Graham Storey, and Kathleen Susina, Jan. “Textual Building Blocks: Charles Dickens and Despite its limitations, A Holiday Romance proves Tillotson, vol. 11, Clarendon P, 1999, pp. 185–1867. E. Nesbit’s Literary Borrowings in Five Children and Diniejko, Andrzej. “Condition-of-England Novels.” The It.” E. Nesbit’s Psammead Trilogy: a Children’s Classic to be an extremely innovative work in children’s lit- Victorian Web, 22 February 2010, http: //www.victori- at 100. Edited by Raymond E. Jones. Scarecrow Press, erature. It offers a representation of children during anweb.org/genre/diniejko.html. 2006, pp. 151–168. the Victorian age that, if not authentic, is at least Ewers, Hans-Heino. Fundamental Concept of Children’s Wall, Barbara. The Narrator’s Voice: The Dilemma of plausible. So plausible that in the eyes of young and Literature Research: Literary and Sociological Children’s Fiction. Macmillan, 1991. Approaches. New York: Routledge, 2009. old readers, the words pronounced by William, Al- Gleason, Jean Berko. “Baby Talk, by Adults.” Parenthood ice, Robin, and Nettie may sound like the speeches in America, A-M. Edited by Lawrence Balter, ABC- of a fanciful Victorian child. Clio, 2000, pp. 78–80. Gleason, Jean Berko, and Elena Zaretsky. “Baby Talk, by Children.” Parenthood in America, A-M. Edited by Lawrence Balter. ABC-Clio, 2000, pp. 75–78. Golding, Robert, and Zacharias P. Pieri. Idiolects in Dickens: The Major Techniques and Chronological Development. MacMillan Press, 1985. Gubar, Marah. “‘Our Field’: The Rise of the Child Narrator.” Artful Dodgers: Reconceiving the Golden Age of Children’s Literature. Oxford University Press, 2009, pp. 39–68. —. “The Victorian Child, c. 1837–1901.” Representing Childhood, http://www.representingchildhood.pitt. edu/victorian.htm.

BOOKBIRD 44 IBBY.ORG IBBY.ORG 45 56.4–2018 Articles INTO THE DARK WOODS: A CROSS-CULTURAL RE-IMAGINATION OF HOME

One of the biggest problems of translating and trans- For this reason, my analysis will combine Kress and mediating home in children’s literature is ideology. Van Leeuwen’s approach with that of Nikolajeva and Ideology is woven through the fabric of children’s Scott in order to provide a more informed analysis of Into the Dark Woods: literature as well as through the translations of chil- a literary work where the visual elements are tightly dren’s books. Edward Said observes that “it is in interwoven with the text. culture that we can seek out the range of meaning The house as a representation of home often A Cross-Cultural and ideas conveyed by the phrases belonging to or in a features as a microcosm of the world. As the very place, being at home in a place” (8). Each culture has di- title suggests, the main theme of the text Ježeva kućica verging expectations of its child readers and faces its (Hedgehog’s Little House)1 by Branko Ćopić is exactly own ideological issues. There is a tendency for the the importance of one’s own house and, even more, Re-Imagination of Home translation of children’s texts to follow existing mod- the importance of protecting it against all evil. The els of education and suitability for children in the text of this picturebook, written shortly after the end target culture (Shavit ; Lopez). Children’s literature of WWII, has been often categorized as patriotic. As Marija Todorova has traditionally occupied a “peripheral position,” Sarah Godek writes, which can be seen as providing the right conditions to invite or allow greater liberties for manipulations In the years that followed World War II … In a The focus of this article is on a very popular picturebook from former (Shavit 26–39). social climate where nothing seemed certain, When it comes to the translator’s role in chil- the house becomes … a symbol of stability, or at Yugoslavia that has just recently been translated into English and dren’s literature, there are generally two different least of the appearance of stability…. It should adapted for the stage. The classic picturebook Ježeva kućica by approaches: remain as close as possible to the orig- come as no surprise then, that many postwar inal, or source text, or “produc[e] sameness” (Oit- fantasies use houses as central images. (90) Branko Ćopić (translated into English as Hedgehog’s Home) is one tinen 84–97); or consider the target audience first of the most enduring children’s books from former Yugoslavia; it and “gauge the precise degree of foreignness” (Bell One of the reasons this picturebook had managed to 232–240). However, when it comes to translating survive in Yugoslavia and its succeeding states, over holds very high prominence in the source culture, as well as rather children’s literature, the strategies chosen by transla- almost seven decades and under changing histori- prominent visibility for the target audience in the United Kingdom in tors for children are primarily dictated by their image cal conditions, is surely connected to its ideological of the child (Oittinen). The interconnections be- subtext: being a highly patriotic story helped it feed particular. The analysis in this article will look at how two elements—the tween text and images are just a few of the “delicate nicely into the nationalism of the newly established iconic and the performative—alongside the conventional verbal signs, matters” (Bell 232) that translators have to deal with. post-Yugoslav states. In its recent English translation Illustrations in children books “pose a very special (and subsequent adaptation for the stage) set in a recreate the image of home in this particular picturebook/musical. translation problem, as they convert text into pic- new space and time, however, this patriotic notion of The analysis will compare the images created in the original book tures” (Stolt 78). love towards one’s homeland has been replaced with The meaning of the image is also very much the love and care about the environment and the with the images produced in the translated volume, as well as the culturally dependent and is produced not only by natural habitat, whereas the fight against external en- English language adaptation of the text for the stage. those that make them but also by those who view emies was replaced by the topic of school bullying. them. Primarily designed for the analysis of “multi- The analysis in this article will look at how the icon- Keywords: picturebook, home, Ćopić, translation, adaptation, modal texts,” visual semiotics offers valuable tools for ic and the performative recreate the image of home. culture, performance in-depth analysis of the representation and the con- The analysis will compare the images created in the struction of identity, values, ​​and meaning through original book with the images produced in the trans- visual images. Interestingly, many of the examples lated English volume, as well as the English language Introduction related not only with the physical place where one and sample analyses in Gunter Kress and Theo van adaptation of the text for the stage and the changes The image and metaphor of the home hold a very lives but also to the idea of belonging. Furthermore, Leeuwen’s work come from primary school text- to the cultural images that this stage adaptation en- important place in literature, especially for children. it has been often seen as representing a homeland, books, children’s drawings, and other children relat- tails. But first, let us look at the image of home that is For the child, more than anything else, the home is and a nation (Hage). Closely related to the imagin- ed material. This may be so because literature direct- evoked by the more conventional verbal signs. an extension of the family (Dewan). Very often clas- ing of home, children’s literature is seen as tasked ed to children more often than literature for adults sical children’s novels will, after many adventures with producing good citizens (Reimer). Because of incorporates visual images. One of the most influen- What Is A Home? and challenges, end in a return home and a reunion all these implications of this very complex concept, tial works in terms of picturebooks is by Maria Niko- The genre to which Ćopić’s text belongs is difficult of the family. The meaning of the home, and its it becomes challenging when translating it for target lajeva and Carole Scott, who focus on the interplay to specify precisely, as it combines and at the same closely associated concept of the house, is very often audiences across space and time, and culture. between words and visual images in picturebooks. time plays with different literary genres: poetry, dra-

BOOKBIRD 46 IBBY.ORG IBBY.ORG 47 56.4–2018 INTO THE DARK WOODS: A CROSS-CULTURAL RE-IMAGINATION OF HOME INTO THE DARK WOODS: A CROSS-CULTURAL RE-IMAGINATION OF HOME

ma, fairytales, and fable. The text is presented as a Ah, home is worthless, by my own snout sioned a new illustrator, Zagreb based Sanja Ražćek. glance, the home in the translated book looks more poem, written in rhymed verse, and the whole book For one rotten pear I would give mine out! Ražćek has been working for the worldwide market opulent with a bed, a mat, curtains, a nice chair, a is divided into thirteen sections or songs. Contain- (Hedgehog’s Home, Bear) for the last ten years and has already illustrated more lamp, and a framed portrait. In the source book, the ing more dialogue between characters, with the in- than 100 books all around the world (mostly for the hedgehog’s home is much simpler: the hedgehog lies tention to be read aloud, the text also resembles a His native abode! Oh what foolish pun UK, US, Korean, and Australian markets). Although on a pile of leaves on the ground, while the only ad- dramatic piece. The narrative of Ježeva kućica can be For a plate of food my home could be won! using the text as inspiration, the illustrator says she ditional decoration, the portrait hanging on his wall, classified as a fantasy or, more specifically, a fable. (Hedgehog’s Home, Wild boar) “wanted to give a bit of a modern edge to the illus- does not have a frame. Similar to the structure of a fable, Ježeva kućica takes trations but [she] have also wanted to keep the tradi- Still, the most striking difference in the illustra- place in a wood in which the animals can talk, have These three seem to be a threat to the home of the tional element by using patterns, retro furniture, etc.” tions is offered by the dining scene at the fox’s house. their homes, and spend time together, taking on hu- hedgehog. They are disappointed when they see the (Ražćek, personal communication). The illustrations While in the original we see a very simple but tradi- man characteristics. Again similar to a fable, the text “ordinary” hedgehog’s home. Hedgehog’s response involve anthropomorphized animals, as touched on tional setting from a Serbian household, the dinner ends with a strong moral. The story is at first sight to that invokes the aspects of the house as a place of above, and all the animal characters in the book are illustration in the English translation reflects a more atemporal and not located in a specific place. It may origin and as a privileged private domain: represented with illustrations. traditional British setting, with tea, cookies, and fine happen anywhere and at any time, which gives the In the translated edition, the illustrations are china. None of these features exist in the original il- story its popularity. However, as Godek notes, “fan- Whatever the state of this birth place Not one small detail generally more decorative, more appealing, with lustration. In both pictures, there is wine and meat. tasy, just as much as realism, is a product of and re- I’d want to replace bright and highly saturated colors. It is interesting to However, the original features the wine more promi- sponds to cultural and historical conditions. Fantasy Lowly and simple it does not matter note that six of the eleven double-page spreads can nently on the table. may depict worlds that play with time or seem to Here I am owner, lord of my manor be seen as direct translations of the source (1950) In terms of the counterpoints in space and time, operate outside real times and places, but it is inev- I’m the best hunter here, of that I have proof illustrations, in that they depict the same scenes and the English translation has responded to what is per- itably and inescapably dependent on them” (90). In And happy I’ll live under my own roof… with the same characters and actions. These “inter- ceived as changed cultural imperatives and cultural Ježeva kućica, the image of home can be seen as equal (Hedgehog’s Home, Hedgemond’s answer) textual relations between different sets of illustra- context. For instance, in the source book, the warm to homeland, Yugoslavia to be more specific. tions” (Alvstad 101) create a new set of images which and cozy house and the dark forest provide a strong Home for the hedgehog is a place of origin, a The animals must decide between home and plea- “contain an almost palimpsestic residue of the past counterpoint, emphasizing the culture/nature bina- place of belonging, somewhere to return to, his roots. sures in life (food). Hedgehog’s words become reality: illustrations” (Neather 508). ry. The “bad” animals are painted in black and do The description of the home evokes an image of se- Bear, Wolf, and Boar, who were not concerned about However, there are some very significant chang- not have any clothes (except for the wolf’s boots), curity and coziness. Moreover, the character of the their homes, end in a bad way, while Hedgehog con- es that have been introduced to make the illustra- which serves to accentuate their animalistic (and hedgehog is not only secure in this sheltered loca- tinues to live on modestly, enjoying his freedom. tions more familiar for the picturebook’s target read- non-human) nature, thus marking them visually as tion but also feels content despite the modesty of his The English translation preserves the same form ers, but in this process, they shift the reading of the “negative.” In the target illustrations, the three “bad” home and is willing to sacrifice his life to protect it of narrative story, song, and dialogue, with a significant text and the homeland represented by the house. In animals are more romantic; they are rendered with from the evil. change in the names of the characters. In the original, particular, one that stands out is the rendering of the much rounder lines and frequently focused in close- two of the characters have names: Ježurka Ježićčand forest as a contrast to the peaceful and stable world ups, accentuating the romanticized effect. In the Lord of my own home—now this is the life! Lisica Mica. In the translation, we only learn the of the house, constituting a threat. The forest of the target text, the words and the images used for the To my own dear house I will faithful be name of the main character: Hedgemond Hedgehog. translation is no longer of high-modality and realis- animals create an “ironic counterpoint” (Nikolajeva Never exchange you, not for any fee Changing the name of the main character to Hedge- tic, generally dark with menacing undertones, but is and Scott 24) or ambiguity: while the wolf, boar, and This humble abode is refuge so true mond introduces a similar alliteration with hedgehog instead now either generally absent from the visual bear use very harsh words in their speech, they are To my dying breath I would defend you! as Ježurka does with “ježi” in the source text; however, narrative, reduced to a single tree and some shrubs, illustrated as scared, child-like, and likable creatures. (Ćopić, Hedgehog’s Home, In Front of Hedgemond’s it also imports an English cultural reference not pres- or is a pastel-colored meadow with brightly colored Apart from the inside illustrations, a number of other house) ent in the source text. Additionally, more important flowers. The move in modality from a realistic-look- paratexts help to frame the reader’s approach to the changes in the setting as well as the framing of the sto- ing to an imaginary-looking landscape is also a move book and these show striking differences in the tar- On the other hand, the hedgehog’s love for home is ry and, therefore, its overall suggested implications is from “reality” to one that “accentuates the fantastic get picturebook. To begin with one of several “peri- juxtaposed with the wolf’s, bear’s, and boar’s posi- achieved both by the use of illustrations and paratext. level” (Nikolajeva and Scott 206). texts,” covers are an important part of picturebooks, tion that home is replaceable and is not as important In the following part, we will consider the other two One of the main images in the book is that of for “the narrative of a picturebook starts at the cover” as food. They will easily leave home in exchange for aspects under separate sections. home. The home of the hedgehog is a cozy under- (Nikolajeva and Scott 241). Both covers of the origi- food. They completely reject the joys of home: ground house with a leafy bed and recognizable nal and the translation of Ježeva kućica use as a cover The Home as Image household items, like meat, coffee, and wine. Al- illustration a representation of the hedgehog’s home Ah—home be blasted! Wolf scoffs at the thought Hedgehog’s Home has been published as a picturebook though the illustrations in both the source text and and the hedgehog at ease, relaxed and happy in its I’d swap mine for lamb, I count it at naught! in both the original language and translation. For the the translated one are similar in that the hedgehog is home. They simultaneously complement and em- (Hedgehog’s Home, Wolf) translated book, Istros Books decided not to use any cozily lying in his bed, there are obvious differenc- phasize the main theme of the narrative. But while of the existing illustrators of the original and commis- es in the representation of the home. Even at first in the original we see the whole house, in the transla-

BOOKBIRD 48 IBBY.ORG IBBY.ORG 49 56.4–2018 INTO THE DARK WOODS: A CROSS-CULTURAL RE-IMAGINATION OF HOME INTO THE DARK WOODS: A CROSS-CULTURAL RE-IMAGINATION OF HOME

tion the focus is on the hedgehog—mirroring the shift ent formats. Many modern stage adaptations of the hog represents the British peasant, as member of the hedgehogs were used as a symbol for environmental of focus from the home (country) to the individual. text have tried to break out of the wartime associa- social class of agricultural laborers. activism throughout Europe. Consequently, the En- Moreover, the colors of the two cover illustrations are tions, while still retaining the violent themes but in a These socio-cultural images are further rein- glish text has been framed within this modern take different. In line with its more environmental mes- more contemporary context. Hedgehog’s Home has also forced through the use of music. In terms of the mu- on the image of the hedgehog and diverts away from sage, the English language cover uses more green. been adapted for the stage on two occasions in its sic, every animal has its own distinct music leitmo- the patriotic narrative which the source text is built A further paratext of interest here is the dedication. new British context. The English language transla- tif or theme: the hedgehog’s part is sung in English on, so that the dark forest is not so dark any more. Picturebooks rarely have dedications. However, the tion of the story has been put on stage in the United folk music tempo, the music for the bear is in the The book has been selected for publication by English translation of Hedgehog’s Home is dedicated to Kingdom in two different settings. When translating boogie-woogie style, the boar sings Charleston, and a London-based publisher and translated by a na- Naomi Lewis, “lover of children’s literature and de- the poem into English, “one of the biggest tests of the wolf follows a tango rhythm. There is a highly tive English speaker. Although there are no signifi- fender of animals.” This again serves to accentuate the translation was performing the poem in public” marked class distinction in the images that these dif- cant changes to the text of the translated book, the the environmental character of the translation. (Curtis, personal communication). ferent musical styles create. Whereas the hedgehog images and staging of the text in the translation of The environmental interpretation, or rather Curtis commissioned the Hedgehog’s Home Opera, a is a peasant, a “working class” member, all the other this picturebook offer a new representation of reality, instruction to read this story in this way, is most professional production composed by Emily Leather animals are represented as members of the “aristo- namely the home, based largely in a British cultural prominent in another “less visible but equally pow- and directed by Elinor Jane Moran, with set designer cratic” class, with their music bringing an image of context. Although the target language picturebook erful” paratext on the back cover of the translated Andrew Miller. The director decided to keep two ballroom dances. was illustrated by a native Croatian illustrator, the im- book (Pellatt 2), where the blurb reads, “Hedgehog’s characters from the text, Hedgemond the Hedgehog The musical has a strong environmental theme, ages follow and build on the narrative of placing the House is a story about caring for your natural habitat. Set and Ms. Fox, and introduced the new character of characterizing animals that have been endangered. story in a British social context. The paratexts also in the unspoilt environment of the forest, we find the wild the teacher. The role of the teacher is, among other Another theme in the center of the musical is the prominently place the work within the current narra- creatures arguing about what home means…” (my things, to frame the story within a classroom setting, issue of bullying, violence, and depreciation of oth- tive of environmental protection and natural habitat emphases). as a text read to the children about a country “far ers—a very prominent topic in British society. This protection, which is a priority concern for the mod- The same theme continues throughout all the away.” And the children were also involved in the seems to demonstrate that the themes of violence ern first world societies. In the same line, the staged paratexts of the translated book. One of these is the performance as singers and musicians. The story is and aggression have found a way to be re-injected adaptation also places the work in a specific British endpapers or endpages, “pages glued inside the front preceded with an introduction, which also frames in its musical adaptation, although this time as a cultural context, different in both the time and place and back covers of a book, [which] are thus the first the piece as coming from a country which has seen self-image of the British society. it represents. parts of the interior of the book to be seen when the its fair share of wars—and a recent war where chil- On the other hand, the translation makes a con- book is opened, as well as the last to be seen after dren lost their homes.2 So here, rather than making Conclusion scious attempt to change the cultural images of this the story has been read and the book is about to be cultural adjustments as in the translated text of Hedge- Branko Ćopić’s Ježeva kućica is a post-war patriotic far away and stereotypically violent country and put closed” (Sipe and McGuire 291). As Nikolajeva and hog’s Home, we have a conscious use of the text as a narrative, with a war-influenced language reflective it in a more acceptable, even more “cute” image— Scott emphasize, “endpapers are not merely a deco- foreignizing strategy, within another semiotic medi- of the fact that it was written in 1949. Written by a with the ultimate effect of largely effacing the Balkan ration but convey important additional information” um. Serbian author, it has seen a mixture of negation as cultural images and replacing them with British cul- (248). The marketing message from the back cover However, in another adaptation of the text that well as renewed success in light of the new rising tural images. is further emphasized with the endpapers that repli- took the form of a musical, we again have a reimag- nationalism after the Croatian War of Independence cate the wallpaper-like pattern also used in the back- ined homeland and the environmental topic drawn (1991–1995). As demonstrated above, the English WORKS CITED ground of the fox’s home and all three other animals, to the foreground. The musical scores from the translation of this picturebook tones down the vio- CHILDREN’S BOOKS Ćopić, Branko. Ježeva kućica. Zagreb, Belgrade, Novo which features tree leaves. Hedgehog’s Home Opera was taken by Honeybear Youth lence in the language used; it also moves the nar- pokolenje, 1949. [Ћопић, Бранко. Јежева кућа. Finally, the cover of the original, apart from the Theater, part of Honey-tongued Theatre Produc- rative away from the original patriotic message and Београд, Загреб, Ново поколење, 1949]. title, includes the name of the author in a prominent tions Ltd, and further developed into a fully staged introduces in a new, more acceptable, environmen- —. Hedgehog’s Home. Tr. Susan Curtis London, Istros position. In the translation, the name of the author performance.3 tally conscious narrative about protecting the natural Books, 2011. is omitted (it is featured only on the book spine and Again the setting of the sourced text has been habitat, primarily through the illustrations. Secondary Sources Alvstad, Cecilia. “Illustrations and Ambiguity in Eighteen the back cover but not the front). This might be due changed to represent the culture of the target audi- The selection of the book for publication in En- Illustrated Translations of Hans Christian Andersen’s to the fact that translated literature may be less likely ences. The location of the homeland referred to by glish may be seen as building on the prominence of ‘The Steadfast Tin Soldier.’” Meta, vol. 53, no. 1, to be chosen by parents and caregivers when they the house is changed to the United Kingdom, with hedgehog characters in British children’s literature, 2008, pp. 90–103. buy books for their children. its history and cultural references. The costumes ranging from Beatrix Potter (Mrs. Tiggy-Winkle) to Curtis, Susan. Personal communication, 2012. Dewan, Pauline. The House as Setting, Symbol and used for the characters in the musical give an image Rudyard Kipling, Terry Pratchett, Dick King-Smith, Structural Motif in Children’s Literature. Lewinston, The Home on Stage of English society in the 1920s. The fox is, for ex- and others. This is partly due to the fact that hedge- The Edwin Mellen Press, 2004. Its well-defined characters and dialogue make the ample, dressed in traditional red fox hunting attire, hogs are native to Europe, and as such they have been Genette, Gerard. Paratexts: Thresholds of Interpretation. poem Ježeva ku i a very suitable for dramatic adap- which in contemporary British society stands for a part of European folklore stories. In most European Translated by Jane E. Lewin. Cambridge University ć c Press, 1997. tation. Thus, it has been adapted and performed at controversy and marks the social class of the partici- countries, hedgehogs are believed to be hard-working Godek, Sarah. “Fantasy—Postwar, Postmodern, Post- theatres throughout Yugoslavia many times in differ- pants in the hunt. The costume used for the hedge- no-nonsense animals. During the 1970s and 1980s, colonial: Houses in Postwar Fantasy.” Modern

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Children’s Literature: An Introduction. Edited by Kimberly Reynolds, New York, Palgrave Macmillan, 2005, pp. 89–107. Hage, Ghassan. Against Paranoid Nationalism: Searching The Portrayal of for Hope in a Shrinking Society. Annandale, Pluto Press, 2003. Kress, Gunter and Theo van Leeuwen. Reading Images, Victoria, Deakin University Press, 1990. Animals in Two Iranian —. Multimodal Discourse. London, Arnold, 2001. —. Reading Images: The Grammar of Visual Design. 2nd ed., Routledge, 2006. Reimer, Mavis. “Introduction.” Home Words: Discourses Picturebooks of Children’s Literature in Canada. Edited by Mavis Reimer. Ontario, Wilfrid Laurier University Press, 2008, pp. xi–xx. Neather, Robert. “Visual Paratexts in Literary Translation: Maryam Izadi Intersemiotic Issues in the Translation of Classical Chinese Literature.” A Companion to Translation Studies. Edited by Sandra Bermann and Catherine This article analyzes human-animal relation in two Iranian picture- Porter, John Wiley and Sons, 2014, pp. 504–515. Nikolajeva, Maria and Carole Scott. How Picturebooks books by Taghdis and Keshaie (2004) and Teimurian (2010). From Work. Garland Publishing, 2001. Pellatt, Valerie. “Introduction.” Text, Extratext, Metatext the perspective of critical animal studies, the article discusses how and Paratext in Translation. Edited by Valerie Pellatt, DR MARIJA TODOROVA holds a PhD in Translation Cambridge Scholars Publishing, 2013, pp. 1–6. Studies from the Hong Kong Baptist University on the the displacement of wild animals is depicted in the picturebooks. Rašček, Sanja, Personal Communication, 2014. topic of “The Images of Western Balkan in Literature Said, Edward. The Word, the Text and the Critic. Harvard for Children in English Translation.” She has taken part The analysis is based on a “logic of domination,” which includes University Press, 1984. in the establishment of the Translation Programme of three critical steps: alienation, hierarchy, and domination. Further, it Shavit, Zohar. “Translation of Children’s Literature.” The the University American College Skopje, where she has Translation of Children’s Literature: A Reader. Edited taught in translation, interpretation, and intercultural reveals the kinds of relationships established between human and by Gillian Lathey, Multilingual Matters, 2006, pp. communication. In 2007, she was the recipient of the 25–40. National Translation Award. Marija is an Executive Council animal characters. The analysis shows that, in The Eleventh Step, Sipe, Lawrence and Caroline E. McGuire. “Picturebook member of IATIS. Her research interests include intercul- Endpapers: Resources for Literary and Aestetic Inter- tural education and visual representation in translation. although human domination seemingly remains intact, the animals pretation,” Children’s Literature in Education, vol. 37, She is currently a Postdoctoral Fellow at the Hong Kong no. 4, 2006, pp. 291–304. Polytechnic University. still enjoy subjectivity and make efforts to escape the cage. On the

Endnotes other hand, in Everybody’s Kid, there is no human ultimate domina- 1 This is my more literal translation of the Serbian title. The book has been published in English under the title tion—escape is possible. Hedgehog’s Home. Keywords: Human-Animal Relation, Critical Animal Studies, 2 Full show available as audio at https://audioboo.fm/ Picturebooks, Logic of Domination search?utf8=%E2%9C%93&q=hedgehog%27s+home (accessed 27 July 2014). Introduction great importance. 3 Three scores available at http://hedgehog.honey- We live in an era of environmental crisis. Anthropo- Picturebooks have long been regarded as a signifi- tongued.co.uk/the-musical (accessed 27 July 2014). centric views towards animals have been enormously cant genre in children’s literature. Although there reinforced over time and continue to devalue animals are different definitions, the interplay of verbal text in relation to mankind. In Iran, too, it can be seen and pictures in meaning-making is widely accepted that rare animals are now extinct, and many other as the main feature of picturebooks (Nikolajeva and species are on the brink of extinction. Yet, as Berg- Scott; Nodelman). In terms of Iranian picturebooks, man discusses, “[w]ild animals are endangered in as Morteza Khosronejad, Atieye Firouzmand, and our minds and in our direct experiences, long before Fatemeh Farnia remark, they actually become physically, ecologically endan- gered” (qtd. in Fawcett 260). At this critical point of the meaning of the verbal narrative is not time, the proliferation of a children’s literature that necessarily incomplete if read without reference emphasizes the betterment of animal conditions is of to the pictures. Rather, these books can be

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located on a spectrum which at one extreme as “others” (323). This opposition is followed by the animality is ignored and treated according to human Moreover, vertical wide green bars stretched from features a few books that lose their meaning second stage, hierarchy, where a top-down attitude life standards. This image testifies to the claim that the top to the bottom of the pages appear in various if their pictures are removed and at the other is reinforced toward those “others.” Due to illusive anthropocentric ethics could displace the animals parts of the book (see Figure 2). These bars convey features illustrated books where pictures are distinguishing features, humans regard themselves as and force them to adapt to the conditions totally in- the concept of radical separation between humans merely ornamental. (367) superior to other creatures. Domination, also known vented by humans (Bleakley xiv). and animals since they imply how we have defined as subjectivity, is the third level that emerges based our human-centered identities by expelling animals Children’s literature and specifically anthropomor- on the previous two steps. It gives humans a com- as “others” from nature (Bleakley xiv). To interpret phized animal characters initially played a pedagog- manding power to assert their dominance over the the facial expression of real animals is difficult. How- ical role. Among the first who transferred Lockean “others” and to require their subordination. ever, in the illustration, the lion’s anthropomorphic ethics on kindness to animals into children’s didactic In my analysis of the two picturebooks, I will fol- expression merely represents its captivity and could literature was Sara Trimmer in Fabulous Histories from low the logic of domination by exploring whether not be an expression of a free lion. Add to this the 1786, which underlines the importance of living animals are identified as interconnected or opposed verbal narrative: “There were only ten steps from the in harmony with animals (Ratelle 7). Writing such to humankind. I am going to examine whether the beginning to the end of the cage.” When the cub is books for children prepared the ground for the in- animals’ positions are on the same level or inferior to walking, it always hits its head on the bars. The fact creasing reliance on animals in children’ literature that of the human characters. The question, hence, that the cage length is only ten steps and that the over the recent centuries. Interestingly, as Amy is whether these picturebooks offer subjectivity to lions have to accept it in place of their homes indi- Ratelle points out, children are always encouraged animals or portray them as powerless creatures. The text begins, “A great big lion has given birth to cates that a higher power has imposed such bound- to identify with animal characters, but they are also Accordingly, I intend to compare Taghdis and a very little cub.” It asks child readers “Where? In a aries and reduced the zoo animals to subordinate asked to distinguish their identity from those fiction- Keshaie’s The Eleventh Step and Teimurian’s Every- jungle with a lot of trees? Or In a large cave?” and creatures. al animals (10). body’s Kid to investigate whether there are any dif- then answers “No! It has given birth to its cub in a Looking from a wider perspective, “the notion of The significance of animal issues over the past ferences in how animal-human relationships are cage, in a zoo, and in a crowded city.” The lion, as a a civilized culture depends upon the maintenance of decades drew authors’ attention to take an environ- presented. The sample books are part of a larger wild animal, is often referred to as the king of the jun- a strong boundary between nature and culture, ani- mental perspective on the role of animals in their sto- project,2 which directly or indirectly points to animal gle. Being born in the cage implies a contradiction mal and human” (Bleakley 29). This is borne out by ries. This recent tendency to focus on children’s envi- issues, and have been on the list of the best Iranian between the nature of this animal and what a cage the fact that the lions are passive characters that nei- ronmental literature has received increasing attention picturebooks publicized by SUCCLS in 2016.3 It is imposes. The cage symbolizes confinement and be- ther complain nor try to break this boundary. Their from literary scholars. As Lawrence Buell, Ursula K. noteworthy that both stories could be interpreted ing deprived of power and validity. Importantly, the impotence does not seem too far-fetched as the zoo Heise, and Karen Thornber argue, although animals, from multiple viewpoints, though I work on them cage is set in a zoo, where people enjoy watching environment is effectual enough to gradually remove compared to other parts of nature, have always had according to the three concepts outlined above. and getting close to wild animals. This satisfying the animals’ active resistances and establish a perma- a closer interaction with humans, they are represent- experience is mostly rooted in the opportunity the nent control over them (Armstrong 175). ed in a way that raises boundaries between them and The Eleventh Step zoo provides people with: an opportunity to feel More importantly, the words stating that “urban humankind (430). Accordingly, critical animal studies The first book, The Eleventh Step, revolves around a both safe and even powerful facing caged wildlife. people coming to the zoo to see the lion were sur- (CAS)1 aims to build ethical commitment to the wel- mother lion and her cub living in a zoo. One day The zoo is also located in a crowded city, indicating prised by its actions and laughed” underscore the role fare of all animals and opposes animal discrimination the zookeeper forgets to close the cage door and urban living and its densely populated areas. In fact, the animals play in today’s human life. According to (Best 12). In Iran, too, questions regarding animals the cub leaves the cage. It, however, is afraid to go the author’s answer to the cub’s birthplace functions Giegerich, zoo animals are mentally recognized as have gained more prominence over the last decade, far and falls asleep nearby. Some people feel happy like a director’s camera zooming back from the cage tourist attractions (qtd. in Bleakley 34). Moreover, in not least in Iranian picturebooks. hearing the news of the missing cub, while others to the zoo and then to a crowded city angle of view, this book, entertainment is the only purpose of vis- The current paper is the first to examine animal anxiously search for it. The cub, tracing the smell in which the cub’s voice can no longer be heard. iting the cub in the zoo. Indeed, such a relationship representation in Iranian picturebooks from an envi- of food, returns to the cage shortly thereafter. Over This is how these three man-made spaces become between humans and other species poses fundamen- ronmental viewpoint. Critical animal studies (CAS) the years, other lions are born and continue to live in related to each other throughout the story’s narrative tal questions about the rights and identities of ani- draws attention to a broad range of topics about the cage, but there is one who likes and struggles to movement. mals (or non-humans). It seems that we make them literary animals; here, however, I specifically con- learn about the world outside. confess to not belonging to the wild any longer—and centrate on the kind of relationships established be- Although the title has a symbolic meaning, the to being able to communicate with us through the tween humans and animals in picturebooks. In order cover image helps the reader identify the subject. languages invented by ourselves (Bleakley 23) to adopt a multi-aspect view on the lives of animal The cub is leaning on its mother and both of them In Figure 3 we also notice the zookeeper illus- characters, I base my analysis on Greta Gaard’s logic are standing behind cage bars (see Figure 1). The trated too big to fit into the page frame. His image of domination consisting of three important indica- mother, unlike the closed-eyed cub, seems to be alert emphasizes a top-down viewpoint, showing that the tors: alienation, hierarchy, and domination. In alien- and is staring far beyond the cage bars. The cub, communication between humans and animals is de- ation, the human identifies him- or herself as an “I” interestingly, is sucking a pacifier which is usually ficient. On the other hand, putting the head of the being separated from all other creatures referred to used to calm human babies. In this way, the lion’s zookeeper out of the frame suggests a child-centered

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point of view, which encourages the reader to look cub, and they can define non-human beings and man and nature. Nevertheless, it is noteworthy that animals at first, but they try to communicate with sympathetically at the lion as a child. their rights from different perspectives. Some people one of these cubs constantly strives to come out the newcomer. They, for example, search to find dif- judge the missing-cub situation to be a “bad event and see the outer world (see Figure 5). The author ferent ways to take care of this little bird: The giraffe which will cause chaos in the city.” They fall into might also be trying to convey through this image lets Everybody’s Kid play with its long neck, and the psychological discomfort and seem terrified of the the theme of the story: the situation of zoo animals rhino carries it on its horn. They provide the chick lack of boundary between animal and humans; their does not end here but should be an ongoing concern with whatever it demands. The importance animals reaction can be attributed to their belief that separa- for the readers. place on the bird’s welfare and their passion to help tion must remain stable. Other people call it a “good it as much as they could implies how strongly they event” since the cub, according to them, can under- Everybody’s Kid feel interconnected to each other without paying at- stand the fact that the world is much bigger than a In the second book, Everybody’s Kid, written almost a tention to where they really live. cage. In this viewpoint, the animal’s experience of decade later, a chick is born in a jungle where few an- However, the animals’ behavior is not fully ani- The climactic point of the story is another scene to the outer world matters more maybe due to this imals live. The animals love the bird and call it “Ev- malistic but partly human-like. When the requested note: the zookeeper forgets to lock the cage door group’s belief that this experience will allow the cub erybody’s Kid” although they do not know how to food comes, for instance, the chick is confused about and, hence, the cub takes a step out. It is the first to live a life without any kind of domination. This take care of the bird. Neither are they able to teach how to eat the worms with the spoon and the fork time the story depicts the environment outside the reaction could also underline the point that “animal the bird to fly. As winter approaches, all the animals given to it (see Figure 8). cage. However, the cub is afraid of encountering the agency can never simply oppose human identity, go to their nests while the chick is left outside until it new world since it assumes it may touch the bars and in turn that animal agents are never entirely sep- sees a bird. When that bird is about to fly, Everybody’s again. The cub seems to be confronted with a type arable from human forms or presences” (Mchugh 12). Kid follows it and they both go toward the sun. of world which is far beyond its definition of life. In The second group describes a nature-centered per- To begin with, the cover image shows a red chick the cub’s view, life is only limited to the few steps spective compared to the anthropocentric view of on a black white platform sticking a heart note on its inside the cage. The moment of hesitation is nicely the former group. That is so because the people chest, which could be a sign of love and passion. The followed by the cub’s fear that prevents it from going of the second group feel sorry when they discover title of the book, on the other hand, provokes the ahead. The zookeeper, on the other side, informs the the cub’s return to the small cage, whereas others, question of whether it is possible for someone to be city people once he discovers the lion’s absence (see including the zookeeper, become extremely happy the child of everybody (see Figure 6). Figure 4). that the cub “do[es] not disturb them no longer.” The cub returns to the cage because it is not Additionally, we see the elephant, the fox, the cow, aware of what it has been denied. How could those and the giraffe wearing a hat, a necklace, a scarf, and who have never seen the wild distinguish the natural glasses, respectively, as they play their roles on the home from the cage or another environment? Inter- same black and white platforms. All these visual estingly, the arrival of feeding time plays an import- signs suggest it is not a jungle but a place with con- ant role in the animal’s return. This point may be an tinuous presence of human signs. Indeed, these hu- implicit reference to Philip Armstrong’s words about man elements could potentially refer to the modern zoo animals; he believes animals grow increasingly world which attempts to surround animals, influence dependent on humans in meeting their needs rath- their lifestyles, and give them voices they do not pos- er than involving with specific features of their own Although the text says “One day something circular sess (Bleakley 24). His eyes, in comparison with those of the other man habitats and with other species (175). was found in a jungle,” we again see the black white In terms of the unusual name the animals have next to him, are not visible for child readers. The platform on which a man-made object, a car, is moving. chosen for the chick, the issue of identity gains im- invisible eyes do not necessarily suggest that he is il- The trees around are also not similar to jungle trees; portance by focusing on what we are and what we lustrated without eyes because they may be covered they have checkered crowns instead (see Figure 7). are not. The author’s choice of the chick’s name, under his hat. Neither do they imply that not-seeing Everybody’s Kid, suggests how its own identity is has turned to a permanent feature of the zookeeper’s lost within a restrictive, unfamiliar environment. life in the zoo. Instead, they could be representative The scene in which the chick runs after the sheep of a desire to defend and respect the lions’ wild in- illustrates this problem. We can see that the little stincts, followed by a deep feeling of interconnected- bird, even after a while, is still not able to twitter ness with them. Currently, however, it seems that his and instead, surprisingly, wears the sheep’s clothing vision is impaired, so he is blind to the cub’s welfare. and says “Baa Baa” (see Figure 9). The story again In addition, the emergence of two opposite views In the last pages of the picturebook, the image of encourages the child readers to question whether on the missing cub highlights that not everyone has other cubs having been born behind the green cage the setting is a real jungle. It also implies that this the same perspective on the current situation of the bars shows the perpetuity of the alienation between What is more, the little bird runs away from the other unknown place full of humanistic elements could

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be negatively impacting the little bird’s perception In the last page, however, we see a big clown though the cub goes back to the cage and the conflict Nodelman , Perry. Words about Pictures. University of of “who” it is and, consequently, making the animal sleeping on the ground, with tiny animals on his legs apparently ends in domination, the efforts of the lions Georgia Press, 1988. alienated from its real self. watching the two birds (see Figure 11). Accordingly, continue and their voices are not silenced despite the Ratell, Amy. Animality and Children’s Literature and Film. Palgrave Macmillan, 2015. we understand that all the fictional events may have eventual failure to break out. The second book, too, occurred in a clown’s imagination or in his dream. seems to deprive the chick from experiencing its own NOTES instinctive behaviors. We see a bird who does not have 1 I defended my thesis on An Ecocritical Study of Iranian adaptive capabilities for the unfamiliar environment Picturestory Books in September, 2015. 2 I have chosen to use the term CAS (critical animal stud- and who has to deal with many difficulties. It is true ies) here although there is controversy among scholars that the bird is living under human control, but unlike concerning the name of the field. the lions, it wins its freedom from the dominant sys- 3 Shiraz University Centre for Children’s Literature Studies As the story progresses, older animals decide to tems in the clown’s dream or imagination. (SUCCLS), as a main step in children’s literature of Iran, was established in 2005. The center’s activities have result- teach the chick how to fly, though they repeatedly According to my perception, the publication of ed in publishing a quarterly academic journal of children’s fail. Interestingly enough, all the tools they use (in- such animal stories in Iranian children’s literature literature in 2009 and an MA program in 2010. The center cluding paper, a compass, and a ladder) belong to hu- may suggest a promising future. These initial steps has also organized a biennial conference with a specific man life, not that of the wild. Further, to explain the within children’s literature, though slow, could prove theme each time. bird’s failure to fly, the author states that it had not Given that the anthropomorphic animals and the to be effective in improving children’s understanding ACKNOWLEDGEMENTS: yet seen any other bird. This reasoning indicates the clown come together in the story, one can assume of animals from an environmental perspective. I acknowledge Dr. Morteza Khosronejad for his insightful main cause of such failure, which is living far away that the events are taking place in a circus and the advice during the writing of this article. I would also like to from home. How animals’ winter shelters look also clown may be suffering from his obligatory compan- WORKS CITED thank Dr. Laleh Atashi for her thoughtful feedback on the earlier version of this work. confirms that the bird had not hatched in a real jun- ionship with animals. This is why his dream or imag- CHILDREN’S BOOKS Taghdis, Susan and Masoud Keshmiri. (The gle as they are made according to human architec- ination provides him with the relieving opportunity Eleventh Step). Tehran, Institute for the Intellectual tural principles, not those of their own habitats (see to set the bird free and let it return to its instinctive Development of Children and Young Adults, 2004. Figure 10). Given that these houses are not suitable nature. The clown could also represent a child pre- Teymurian, Anahita. (Everybody’s Kid), Tehran, for animals, one can say “they have been forced into tending to be a clown. In this way, we can say that Institute for the Intellectual Development of Children and Young Adults, 2010. carrying a psychological life wholly invented by hu- all these animal characters have come alive and made mans” (Bleakley 22). a story through the child’s imagination. In this play, SECONDARY SOURCES the clown endeavors to defend the chick, symboliz- Armstrong, Philip. What Animals Mean In The Fiction Of ing children, and to take its own nature back against Modernity. Routledge, 2008. Best, Steve. “The Rise of Critical Animal Studies: Putting other adult-like animals who desire the kid to behave Theory into Action and Animal Liberation into Higher like them. Whether a clown or a child, he is never- Education.” Journal for Critical Animal Studies vol. 7, theless presented in the story as interconnected with no. 1, 2009, pp. 9–52. the other species. Bleakley, Alan. The Animalizing Imagination: Totemism, Textuality and Ecocriticism. Palgrave Macmillan, 2000. Buell, Lawrence, Ursula K. Heise, and Karen Thornber. Conclusion “Literature and Environment.” Annual Review of As stated earlier, Gaard’s “logic of domination” is Environment and Resources, 36, 2011, pp. 417–40. is a an independent researcher and also Ironically enough, the older animals behave as if ev- used as the framework of the study. According to Fawcett, Leesa. “Kinship Imaginaries: Children’s Stories of MARYAM IZADI Wild Friendships, Fear, and Freedom.” Routledge member of picture books research group at Shiraz Univer- erything is fine and there is nothing strange to ques- her, absence of alienation requires a strong interde- Handbook of Human-Animal Studies. Edited by sity Centre for Children’s Literature Studies (SUCCLS). She tion. It is only the chick who is feeling lonely until it pendence between human and animal, destabilizing Garry Marvin and Susan Mchugh, Routledge, 2013, completed her graduate studies in children’s literature at sees a bird and finally learns to fly. It appears that the such a hierarchical standpoint. Lastly, the abolition pp. 259–274. Shiraz University. Her research interests lie specifically in the area of ecocriticism, critical animal studies, and chil- humanistic behaviors of the other animal characters of the first two levels (alienation and hierarchy) Gaard, Greta. “Children’s environmental Literature: from ecocriticism to ecopedagogy.” Neohelicon, vol.36, dren’s picture books. In recent years, Maryam has focused affect the kind of inter-species relationships estab- leaves no gap for oppressive thoughts of domination 2009, pp. 321–334. on early childhood education and works as children’s lished between them throughout the story. It can be (Gaard 323, 327). The two analyzed books describe Khosronejad, Morteza, Atiye Firouzmand, and Fatemeh educator. interpreted that these characters are indeed human human-centered settings which pose some limitations Farnia. “Conception and trends in Iranian picture She presented her article “Silent Creatures: An Ecocrit- ical Study of Iranian PictureStory Books” at International personalities dressed as animals, like many children’s on animals to live freely. In the first book, the zoo li- books.” The Routledge Companion to International Childrens Literature. Edited by John Stephens, Celia Conference on Literature and Linguistics in July 2016. Her fable stories. There could, however, be another in- ons are distanced from their own instincts by being Abicalil Belmiro, Alice Curyy, Li Lifang, and Yasmine S. thesis ranked the first in research festival held by SUCCLS terpretation of the characters we encounter in the forced to live in small cages. The book depicts the Motawy, Routledge, 2017, pp. 366–376. in May 2017. She lectures in Nature and Children’s Liter- story: that they are non-human characters that were cub crashing into the bars and then escaping from the McHugh, Susan. Animal Stories: Narrating Across Species ature at Shiraz University in April 2017. She has recently submitted a paper titled “I did not eat your mother, Can fully animals at first but underwent the process of cage, which suggests the ongoing tension between the Lines. University of Minnesota Press, 2011. Nikolajeva, Maria and Carole Scott. How Picturebooks the Voice of Animals Be Heard in Iranian Picturestory humanization in the course of time. subordinate and subjective positions of the cub. Al- Work. Routledge, 2006. Books?” to Nordic Journal of ChildLit Aesthetics.

BOOKBIRD 58 IBBY.ORG IBBY.ORG 59 56.4–2018 FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND Articles FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018

homelessness and forming affiliations through choice rather than family ties. However, the traditional framework of the refugee sto- Family First in Homes ries does not necessarily make the characters any less mobile than the new mobile child subjects of international children’s and young Away From Home: adult literature. Paradoxically, the very prerequisite for the existence of the traditional pattern in these flight stories is a strongly mobile Depictions of Refugee and free subject. Keywords: children’s literature, picturebooks, refugees, flight from Experiences and war, home, homelessness, family n the past three or four decades, we have seen this article examines how experiences of flight are Flight from War in a rise in the number of children’s and young depicted in twenty-two picturebooks published in adult books internationally that address differ- Sweden between 2014 and 2018, focusing on the ent aspects of fleeing from war and the refu- basic narrative pattern that recurs in these stories as gee experience (cf. Cummins 58–59; Helff 67: well as on how the authors and illustrators address Picturebooks Published in IHope 295–297; Levy 219–220; Nel; Wilkie-Stibbs flight from war as a trauma. The study covers both 1–2, 23–46). These kinds of narratives tend to in- Swedish original stories and translations. The narra- crease in number in times of war and displacement; tive patterns to a large part revolve around families Sweden 2014–2018 consequently, we are experiencing an expansion fleeing their homes and settling in a new country, right now. In recent years, more than sixty million which calls for a closer examination of the notions of people from Syria and other countries have been home, homelessness, and how family and mobility Åsa Warnqvist displaced by war, causing a wave of refugees, partic- is conveyed in these stories. Therefore, this article ularly over Europe. Sweden is one of the countries particularly draws on theories of home and home- that have received a large number of asylum-seeking lessness.1 This article analyzes twenty-two picturebooks published in Sweden refugees in relation to its population. In 2015 alone, Mavis Reimer is one of the leading international 2014–2018 depicting refugee experiences and flight from war. Due more than 160,000 refugees sought asylum in this researchers when it comes to the study of depictions small country with its ten million inhabitants, mak- of home and homelessness in children’s and young to the recent wave of refugees from Syria and other countries, the ing the number of asylum seekers in Sweden that adult literature. Home, Reimer argues, is such a cen- numbers of books for children and young adults where flight from particular year higher than ever before (“Asylsökande tral notion in children’s and young adult literature that … 1984–1999”; “Asylsökande … 2000–2017”). it affects the very discussion within the research field: war and the reception of refugees are depicted have increased in This wave of refugees has made a big impact on Sweden during the past five years, peaking in 2016. The overall strat- the publication of children’s and young adult litera- “Home” is an auratic term in children’s literature ture in Sweden. The number of books for children generally. The primary setting of children’s egy of authors and illustrators in making the flight comprehensible and young adults where flight as well as the everyday books typically is the dwelling in which the for younger children is to focus on stability and traditional values life and reception of refugees are depicted has in- protagonist lives, usually with members of her creased during the past five years—peaking in 2016, or his family. Narrative adventures and misad- and to idealize the recipient country. Most of the twenty-two pic- when about forty books were published where flight ventures that take a child away from home often turebooks follow a conventional narrative pattern and demonstrate from war was the main theme (not counting the are resolved with the child’s return to it, so that numerous books where the refugee experience oc- theorists of children’s literature sometimes use a conservative view on home and family. To some extent, this goes curred as a subplot). The theme has been especially “home” to describe the full narrative closure of against the patterns of refugee stories published in other countries, common in picturebooks and books aimed at small conventional texts for children. (Reimer, “Intro- children (cf. Svenska barnboksinstitutet, Bokprovning duction” xiii) as well as recent scholarship on contemporary children’s and young … 2016 10; Bokprovning … 2017 8). adult books that challenge earlier narrative patterns by choosing In light of this recent increase of refugee stories, As Nodelman and Reimer among others have point-

BOOKBIRD 60 IBBY.ORG IBBY.ORG 61 56.4–2018 FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 ed out, the basic narrative pattern of children’s liter- in Sweden not knowing where his parents are and kom hit på ett litet blad (I came here on a tiny leaf, 2017). Both when it comes to the war-torn country ature uses the home as its starting point (184–217). was sent to live with a Swedish family described as Although flight from war to the recipient country and the recipient country, the location and time are This tradition stems from the folk tale and is often friendly. The story takes place on Christmas Eve, and is the most common narrative pattern, some of these usually not specified. A likely reason is the fact that summarized in the progressive structure home-de- Najib expresses that he “wishes for something that stories focus solely on part of this process. Some, for most picturebooks addressing the theme of war are parture-adventure-return, or even more concisely as will not fit under a tree. He wishes he had his family” instance, take place in a refugee camp—Rania Issa aimed at children between the ages of three and six. home-away-(new) home. The latter emphasizes that (9).2 What Najib does not know is that the foster par- and Sawsan Nourallah’s Det flygande tältet (The tent There is a noticeable tendency to strive for univer- while the home the protagonist returns to may be his ents have managed to track down his parents in his flew away, 2016) and Karen Lynn Williams, Khadra sality in these stories, possibly to make the concept or her original home, it can also be another home (cf., home country, and now he gets to talk to them on the Mohammed and Doug Chavka’s Fyra fötter, två san- of flight more comprehensible for the young read- e.g., Nikolajeva 57–58). phone, promising a physical reunion in the future. daler (Four feet, two sandals, 2016)—thereby only de- er, making the naming of a specific war-torn place Refugee stories for young children generally fol- Najib’s story ends happily, but stories for older picting part of the flight experience by beginning the less relevant. Naming is more common in stories of low the same basic narrative structure; however, the children and young adults can also be more trau- story after the flight has begun and ending it before flight for older children and young adults. Two of reason for leaving home differs from traditional tales, matic. The young adult short story Du och jag mot the characters settle in the recipient country. the books, though, are set during World War II—Ilon where the hero leaves the home for adventure. In the världen (You and me against the world, 2016) by In the picturebooks that follow the home-away- Wikland and Rose Lagercrantz’s Den långa, långa resan refugee stories, the schema is the opposite: the war Zulmir Bečević is one example. At the center, we (new) home pattern, the story ends in a different (The long, long journey, 1995, re-issued in 2015) and forces the protagonist’s family to flee, and a motion find a protagonist in his late teens that has fled to- home or country than where it started in all cases Stark and Wirsén’s Systern från havet. takes place from the tension and chaos that charac- gether with his mother from a war many years ago. but one: Ulf Stark and Stina Wirsén’s Systern från It is usually stated or implied that the main char- terize the situation in the home country to the peace His mental state and his ability to embrace Swedish havet (The sister from the sea, 2015). Despite cir- acter and his or her family have fled their country that the new country offers. The basic structure can society is severely affected by the fact that he does cumstances, the home in the end is construed in the because of an armed conflict, but Hemlig by Rose thus still be described as home-away-(new) home, not know, alternatively does not want to accept, what same manner and almost invariably with the intact Lagercrantz and Tord Nygren (Secret, 2016) offers a but with a different cause for the displacement. happened to his father in their home country. The nuclear family as its center. Here, the Swedish pic- different reason: the family fled their home country story suggests that the father is dead, but neither the turebooks differ greatly from, for instance, Southeast after the father was imprisoned because he “wrote Contemporary Refugee Stories in Sweden protagonist nor the reader finds closure on this point. Asian ones depicting flights from various wars in something that was forbidden.” This picturebook Before approaching the twenty-two picturebooks The books for older children and young adults dis- Vietnam, Laos, and Cambodia. In Southeast Asian also stands out from the rest in that it does not depict that compose the material for this analysis, I would play a stronger focus on the integration process in stories for young readers, complete families are the the flight to the recipient country but rather a flight like to briefly mention some differences in the de- the new country and discuss the problems involved exception, according to Michael M. Levy (222). within the recipient country. Here, too, the flight in- pictions of family and displacement in refugee sto- to a greater extent than the books for small children. The majority of the stories depict the flight of volves a journey across water. The protagonist, Mari- ries aimed at different age groups in Sweden. As the Despite this, however, life in the new country is gen- a single nuclear family, where the protagonist, who am, and her mother flee to an island where they are nuclear family forms the hub of the notions of home erally depicted in a positive light throughout. In fact, often also is the focalizer, is a child in this family. hiding after their application for asylum is refused. presented in almost all stories regardless of the read- much that is discussed in this article applies not only As mentioned above, few picturebooks portray un- The picturebooks examined also include stories ers’ age, the number of depictions of unaccompanied to picturebooks but also to many of the refugee sto- accompanied child refugees—a few exceptions being, linked to themes of flight in a figurative rather than refugee children and the loss of family members are ries aimed at older readers. for example, in Nicola Davis and Rebecca Cobb’s literal sense. In some books—such as Annika Thor significantly larger in stories for older children and Dagen då kriget kom (The day war came, 2018), Pimm and Maria Jönsson’s Flickan från långt borta (The girl young adults. Shattering the nuclear family in this From Chaos to Calm: Overall Narrative van Hest and Aron Dijkstra’s Tänk dig att fly (On the from far away, 2014) or Lena Arro and Sara Gim- manner is unusual in books for the very young— Patterns run, 2018) and Systern från havet. In some cases, the bergsson’s Mille och den stora stormen (Mille and the where a family leaving their home country together In the majority of the picturebooks, the plot revolves family members are separated because a parent (the great storm, 2016)—the war is not explicitly present, usually also arrive in the new country together, and around a journey—travelling from the war-torn coun- father) is left behind in the war-torn country, as is the but the story is about the reception of a person who in the cases of broken families, almost all of them try to eventually settling in the safety of the recipient case in Rose Lagercrantz and Tord Nygren’s Hem- comes from another place, which renders it possible reunite. This signals that the creators of books for country. Fourteen of the twenty-two picturebooks lig (Secret, 2016) and Henrik Wallnäs and Matilda to read them as stories of flight. These stories ad- smaller children are more reluctant to split families follow this pattern, and an additional number lie Ruta’s Åka buss (The bus ride, 2016). In these cases, dress the topic of xenophobia, as does a few others up and portray the difficult sides of war and flight, a very close to it. The flight usually involves a journey the stories end in reunion or at least with the dream that use anthropomorphized animals in the gallery conclusion that the analysis below will support. across the sea (cf. Levy 222), a plot line clearly influ- of reunion. In one case, Francesca Sanna’s Flykten of characters.3 In Pija Lindenbaum’s Pudlar och pom- An example of a story for an older reader about enced by the frequent reporting in Swedish media in (The journey, 2016) it is stated that the war “took” mes (Poodles and fries, 2016), the living conditions an unaccompanied refugee child longing for his fam- 2014 and 2015 of refugees fleeing by boat over the the father, which might imply that he is dead or on an island deteriorate due to a drought, but the ily is the easy to read young adult book En perfekt Mediterranean. Picturebooks that follow this pattern that he has been conscripted for war duty (cf. Nel). plot also suggests an act of war. This story focuses julafton (A perfect Christmas Eve, 2016) by Josefin are, for example, Kirsten Boie and Jan Birck’s Allt There is only one example of a picturebook specifi- on the reception in the new country for three dogs Schygge. The teenaged protagonist, Najib, has fled blir säkert bra igen (Everything will be alright, 2016), cally stating that family members, again the father is fleeing. Lindenbaum brings up integration issues by alone from Kabul in Afghanistan. When his five-year- Marjan Svab and Saga Bergebo’s Stjärnorna ser lika- one of them (Levy 222), have died in the war: Wil- portraying “the mean poodle” and its reluctance to old sister was killed in the war, his parents sold ev- dana ut överallt (The stars look the same wherever you liams et al.’s Fyra fötter. Dead parents are thus very share and to welcome the new dogs to the poodle erything they owned and sent Najib away. He arrived go, 2018), and Sarah Vegna and Maya Jönsson’s Jag uncommon. community.

BOOKBIRD 62 IBBY.ORG IBBY.ORG 63 56.4–2018 FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018

self-published picturebook Flykten: en bok om att tvingas they say. I got a new teddy bear. I got a new found in some of the translated books—in particular, Discourses of Otherness and the lämna allt (The flight: a book about having to leave country. Sanna’s Flykten and Williams, Mohammed and Chav- Romanticized New Country 4 As this overview shows, a key motif in the picture- everything, 2016) by Mia Hellquist Forss, the pro- ka’s Fyra fötter, två sandaler. books is a family leaving the home country in order tagonist Jonas observes the snow with fascination. Little effort is made in Flykten to problematize the As Julia Hope argues, refugee stories have the to build a new life somewhere else. Ulf Boëthius has Jonas’ eventual acceptance of his new life in the re- traumatic journey from war to safety. Neither text potential to function both as a source of hope for the identified the same motifs and the same general plot cipient country is also symbolically tied to wintry nor pictures suggest that the fleeing families miss refugee children and as instructive for the children in line in stories depicting another refugee wave that weather. The picturebook ends with Jonas and his their old home, friends, or relatives. As the excerpt the recipient country (298). The implied readers of made its mark on Swedish children’s literature (20). new-found friends defeating their fear of the cold af- above shows, the parents find work, they learn the the refugee stories studied here are probably first and During World War II, 70,000 Finnish child refugees ter they see a group of children making a snowman new language, they make new friends, and any ma- foremost Swedish children. The focalization strategy were sent to Sweden, and this collective mass evac- outside the window. On the last spread, they, too, terial losses they have suffered are easily fixed. The of a narrative seen from the subject position of the uation of children inspired a number of children’s have gone outside and are busy rolling snowballs. experience of flight is portrayed as a story with a refugee child then promotes empathy for the child and young adult books where the experiences of the In the depictions of the recipient country, there happy ending, and life in the recipient country is ro- refugees; the stories thus get the purpose to develop child refugees are portrayed. Most of them were writ- is a strong tendency to focus on the progression manticized. understanding, and counter racism. What the stories ten in the 1940s, which means they, too, were writ- towards integration, acceptance of life in the new Few picturebooks are as extreme as Flykten in also do, however, is produce a norm for the flight ten in close connection to the events they portrayed. country, and a happy ending. portraying life in the new country, the Other, in a narrative, built on the lowest common denominator One of Boëthius’ conclusions in studying these sto- This is particularly noticeable in the books pub- positive light, but it is a tendency in the material between the Swedish child reader and the refugee ries is that they do not problematize the experience lished via publishing services or self-publishers rath- overall. The reality facing many refugees—long stays child reader, the inhabitants and the newcomers: the of fleeing from war and arriving in a new country to er than by traditional publishers. These publishers in refugee camps, language barriers, the wait for visa longing for a safe haven, a home, and a family. In- any greater extent. Instead, they seek to make the tend to focus on external events regarding what it is or asylum decisions, high unemployment, xenopho- cluded in this norm is the idea of the recipient coun- flight more comprehensible to young readers by em- like to flee and to arrive in a new country as a refu- bia, racism, inner turmoil, and longing for the home try as the best imaginable home. The political im- phasizing the motifs of travel and adventure as well gee. One example of this is Johanna Sandberg’s and country and all that they left behind—is barely ad- plication in this is that the recipient country (which as the happy ending. As the analysis in this section Torsten Larsson’s Flykten (The flight, 2016). Here, dressed in these stories. Again, it differs greatly from is often equivalent to the Swedish nation) has the will show, the same pattern goes through many of the the child lives “a normal life” with his mother and Southeast Asian stories for young readers, where for perfect disposition and need not change to accom- contemporary refugee stories. father in “a country far away” at the beginning of the instance the ties to the old country are strong. The modate newcomers. The refugee or flight story has many similarities book. When the war draws nearer and the bomb- Southeast Asian refugee children depicted “try to with the travelogue and the adventure story, two lit- ing begins, they flee. The plot is driven forward by come to turns with the sadness of what they’ve lost The Symbolism of Flight erary genres with long traditions. Examining a selec- short explanations of every step of the flight—which by remembering the past, by discussing it with oth- In a review of contemporary picturebooks depicting tion of contemporary Swedish children’s books, Piia includes a journey on a crowded boat, where the ers, by carrying out important rituals from the old refugees, Phil Nel appoints the picturebook “the ide- K. Posti has demonstrated how the tradition of travel main character drops his cuddly toy, Habibi, in the country, and, ultimately, by contemplating a return al medium for voicing that unsettling feeling when and adventure fiction influences the depictions of sea. From a camp, they then proceed to Sweden, a to their homelands” (Levy 234). In other words, their something unbelievable suddenly becomes true.” He “otherness” and foreign countries. Posti notes a ten- country where the “people were nice.” On the last attitudes and approaches are depicted as quite the concludes that its “visual metaphors render difficult dency to emphasize the unfamiliar and argues that page, we learn that within a few years the parents got opposite from the refugees in Swedish picturebooks. emotions clearly, and illustrate children’s literature’s these stories thereby can be seen as part of a “dis- jobs in the new county and the boy started going to These differences raise the question, who are ability to express dark realities in the language of the course of otherness.” She also points out that this oth- school. He has learnt the language, got new friends, behind the stories published in Sweden? Paratexts fantastic.” Even if few of the Swedish picturebooks erness needs not necessarily be negative (183–185). and got a new cuddly toy. The text reads, such as book covers and sales information reveal discussed here delve deeper into traumatic experi- In contemporary Swedish picturebooks address- that most of the books are written and illustrated by ences, many of them offer a more complex portrayal ing the theme of flight, this otherness is primarily We had heard of a cold country in the north. Swedes with no personal experience of the events of the experience of war on a symbolical level. This highlighted through the depiction of the recipient Where people were kind. There was no war. they depict, although some of the stories are inspired primarily happens on a metaphorical or metonymous country, which is construed as the Other when the The country we were going to was called by or loosely based on real-life refugees’ experiences level and includes a particular set of recurring signs, refugees assume the observing subject position. In Sweden. (the latter especially applies to the translations and for instance, the sea and birds as representations of their interpretation of the new place and its inhabi- We first saw our new country on a Tuesday in not the Swedish originals). Consequently, the writ- people fleeing or silence and colors as representa- tants, these appear exotic. The recipient country is October. Our journey was finally over. We cried ers’ and illustrators’ background may have influenced tions for strategies to cope with the trauma. not always specified, but depictions of surroundings and laughed. the discourse of otherness—as the recipient country, One example is the picturebook Systern från havet and climate and the choice of names in many cases It felt good but strange. We didn’t understand foreign to the refugees in the stories, is not foreign to by Stark and Wirsén. It depicts the fate of Sirkka, suggest a Swedish or Nordic context. To reinforce the Swedes’ language. They didn’t understand them. This is possibly the reason why these stories one of the Finnish refugee children during World the differences between the home country and the ours. But it was alright, we could still talk. convey such positive images of the recipient coun- War II. Sirkka travels by boat across the Baltic Sea recipient country, the arrival in the new country of- We have been here for a few years now. Mom try and of the situation of the refugees in the new towards her new life in a Swedish family, where she ten takes place during the winter, and the refugees’ and Dad have new jobs and I go to school. I country. A more complex portrayal of the flight, not remains until the end of the war. Mia Österlund has unaccustomedness to the cold is emphasized. In the have many friends and I understand what focusing so much on life in the new country, can be studied the function of the Baltic Sea in the book,

BOOKBIRD 64 IBBY.ORG IBBY.ORG 65 56.4–2018 FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 and her conclusions also apply to the function of writers and illustrators use birds to represent peo- up in the hospital, life seems drained of colors, and ratives form a new trend in Canadian children’s and the sea in the refugee stories in general. Österlund ple fleeing. In Flykten the protagonist flees with her the symbolic lack of color is illustrated by a hospital young adult literature by breaking the basic pattern. writes, mother and a sibling across the sea and then by train. room dominated by white and grey. The recovery Instead, these stories are characterized by new at- During the train journey, the first-person narrator begins when Ilon’s aunt brings her crayons, and as titudes towards home, homelessness, and family. The stories of refugee children are character- herself contemplates the migrating birds in the sky Bodin notes, the text underlines the girl’s need to Homelessness can still be a threat, but also some- ized by a pattern of metonymies, where the part and their symbolic relevance: the birds are “migrat- draw and paint by mentioning all the colors not once thing that can be preferred by the protagonists. In signifies a larger context. This strategy is used ing just like us. And their journey is very long too, but twice (20–21). Through her painting, Ilon is able this self-chosen state of homelessness, new relation- to tone down the traumatic experiences of war but they don’t have to cross any borders. I hope, one to process the experience of war and flight. ships and family constellations are created where the depicted. The dominating metonymy is the day, like these birds, we will find a new home.” Phil Another example of how color is used symboli- sense of community is based on free choice rather sea, and Wirsén uses it to portray the horrors of Nel, quoting the same passage, sees in the birds the cally is Sabelle’s röda klänning (Sabelle’s red dress, 2015) than family ties. Reimer argues that this is a sign of the war, and the girl’s uneasiness about fleeing, message “that all living creatures have the right to by Marina Michaelidou-Kadi and Daniela Stamatia- the times, closely linked to globalization (“Homing separated from her family. (38) travel unimpeded by national borders.” di. Here, colors are used to emphasize the longing and Unhoming”; “No Place Like Home” 1–10). The sea and birds are common elements used for the home country and the grandmother who was Later on, Reimer has widened the material to An example of a similar use of the sea can be found symbolically in the refugee stories, but they are far left behind. When Sabelle flees with her parents, include international children’s and young adult in Sanna’s Flykten, which constitutes an exception from the only examples of how the experience of war she is allowed to bring one thing to the new coun- books (“Mobile Characters, Mobile Texts”; “Home” from the rule of the happy ending in the recipient and flight is explained and processed. As pointed out try, and she chooses a red dress given to her by her 108), concluding that the new millennium “has seen country, as the family’s flight is not over by the end above, a snowy landscape can be presented as the grandmother. She wants to wear it every day. The an increasing number of narratives for young read- of the book. Moreover, this is one of the picture- opposite of the home country. This is the case in Åka pictures consist of black pencil strokes on a white ers internationally that challenge the terms of ear- books inspired by the experiences of real-life refu- buss by Wallnäs and Ruta, for example. In Åka buss, background. Except for the cover and the first and lier pattern.” What unites them is that “the central gees. Here, too, the sea is used to depict the horrors spreads depicting the war and the flight are painted last picture in four-color printing, the red dress is the child characters … find happy endings—or, at least, of war. The use of colors and the play with size and in bright colors, while life in the new, snowy country only element of color throughout the spreads, un- narrative closure—in remaining homeless at the end perspectives are used throughout the book to appeal is portrayed in images evoking a sense of remoteness, derlining its symbolic value. In the story, painting is of their stories” (“Mobile Characters, Mobile Texts” to the reader’s emotions. The first spread of the book painted in toned-down nuances dominated by grey also linked to silence. Sabelle cannot talk about her 2). Reimer claims that “these books set in motion the portrays the family in their home country during a and white. The colors do not return until the father home country or explain to her classmates why she desire to wander” (3), and that they invite the readers weekend visit to the beach. The edge of the sea is has joined mother and child in the new country. It wears the same dress every day. Painting her old sur- to “put on a way of seeing that does not settle, a way depicted in the right corner of the spread, and al- lies close at hand to interpret the changing colors as roundings and her grandmother is what helps her out of being that strains forward toward the new” (1). though the black water only covers a fraction of the a symbolic portrayal of the child’s inner emptiness of the trauma. It is interesting to relate the refugee stories pub- spread, it evokes the feeling that something threat- and longing for the father, but they also correspond Symbolic levels linked to silence also character- lished in Sweden to these tendencies in Canadian ening could come pouring in across the page any with the movement from chaos to calm. ize Stark and Wirsén’s Systern från havet and Viveka and international children’s literature pointed out by second. The text states that something happened In the re-issued picturebook Den långa, långa resan Sjögren’s Om du skulle fråga Micha (If you were to ask Reimer. While the refugee stories undeniably depict last year that would change the family’s life forev- by Wikland and Lagercrantz, threatening elements Micha, 2016). Here silence functions as a form of re- mobile characters—families fleeing—they mostly fol- er. The black waves on the next spread are reaching are portrayed in a toned-down range of colors. The sistance (cf. Boëthius 22; Franck). Initially, Sirkka is low the basic schema of children’s literature and hold across the spread in the shape of fingers. The entire book is based on Wikland’s own flight from Estonia not happy with her new Swedish family, and she re- a new home as the goal. Home is also construed in right side is black, and on the left side, the hands during the Soviet occupation during World War II, fuses to communicate with them despite the fact that the same manner and almost invariably with the nu- are crushing the cityscape that stood intact on the and the use of color reflects the protagonist Ilon’s she speaks the same language. Micha, too, chooses clear family or the longing for the nuclear family as previous spread. The text explains that the war has experience of the war. Life is portrayed as grey on to stay quiet in school in protest of his new situation. its center. Consequently, it is evident that in these begun. Phil Nel, who discusses this particular book spreads depicting the war coming closer through Both, however, step out of their chosen silence in the depictions of war the notion of home is linked to tra- in a review, comments on this spread in the follow- tanks and air raids, just like in the spreads that de- end and find a safe and accepted place in the new ditional values, like stability and the happy ending. ing way: “characters [in picturebooks] typically move pict the flight across the sea and Ilon’s hospital stay country. The stories progress towards this outcome, and with from left to right, but her [Sanna’s] family of four is after the flight. These pictures, drawn mainly with few exceptions, it is achieved. now fleeing off the left edge of the left page. Narra- black crayons on a grey background, stand in sharp Alternative Narratives As the analyses above show, none of the refugee tive progress—like the family’s lives—is out of joint.” contrast to the brighter pictures in which Ilon picks As the analysis above shows, refugee stories tend stories discussed here re-define or challenge the con- The third spread is completely black, barring a few raspberries or plays with her friends (cf. Bodin 9). to follow certain patterns—the basic one being the ventional narrative of children’s literature. There are, lost things floating on the surface of the black sea; In this picturebook, painting also has a redeeming universal home-away-(new) home pattern. Mavis however, a few examples of picturebooks where the among them, a pair of glasses. The only line on the power. As Helena Bodin shows in her analysis of the Reimer has studied stories that break with this narrative structure breaks with the reader’s expec- spread reads, “And one day the war took my father.” book, the girl’s illness after having arrived in Sweden pattern. In her analyses of depictions of what she tations. Among these, two stand out as particularly The use of the sea to depict war and threats is is manifested as a lack of colors: “It was as though the calls “mobile child subjects”—for example, “exiles, interesting: Thor and Jönsson’s Flickan från långt borta used like this repeatedly throughout the story, but world was running out of all the colors,” the narrator refugees, runaways, street kids, and travelers” (“No and Arro and Gimbergsson’s Mille och den stora stor- Sanna’s Flykten can also be used to exemplify how states right before the girl faints. When she wakes Place Like Home” 2)—she has found that the nar- men (Mille and the great storm, 2016). Both stories

BOOKBIRD 66 IBBY.ORG IBBY.ORG 67 56.4–2018 FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 revolve around the reception of a person who comes can be added to the narratives observed by Reimer, ry lacks a traditional closure but finds a new one in flight stories is a strongly mobile and free subject. from somewhere else. In this way, they can be linked where mobile characters create new communities the compensatory function of community. to the theme of flight, albeit in a figurative rather and family constellations of their own. Much like WORKS CITED than literal sense. Here, the actual flight functions as Reimer’s protagonists, Den Gråa and the girl choose Traditional Framings, Mobile Subjects PRIMARY SOURCES a trope. homelessness—thereby also challenging the ideal- In this article, I have shown how the wave of refugees Anrell, Lasse and Anna-Karin Garhamn. Vi och dom andra In Flickan från långt borta, a girl knocks on the ized view of the recipient country. from Syria and other countries in recent years has in- (We and the others). Hippo, 2016. door of “Den Gråa” (The Grey) one snowy evening, Mille och den stora stormen presents yet another fluenced Swedish children’s literature. The number Arro, Lena and Sara Gimbergsson. Mille och den stora stormen (Mille and the great storm). Opal, 2016. asking to be let in to warm herself. It is never stated alternative ending. It tells the story of a girl whose of stories about flight from war and the everyday life Boie, Kirsten and Jan Birck. Allt blir säkert bra igen / where the girl comes from, and her reason for leav- house is blown away by a storm. The storm forces and reception of refugees has increased during the Hatman al-ghad afdal (Everything will be alright). ing is only vaguely described. She says that she was the girl to leave her home and can be interpreted last five years, particularly in 2016 and especially in Translated by Mahmoud Hassanein and Erik Titusson, lonely and that there was no one left to take care of symbolically both as an image of war and as a natural the category picturebooks. Lilla Piratförlaget, 2016. Davies, Nicola and Cobb, Rebecca. Dagen då kriget kom her, which lets the reader imagine several possible disaster. That it is in actual fact a story of encounters The writers and picturebook artists have mainly (The day war came). Translated by Helena Stedman, scenarios, including flight from war. Den Gråa, who between cultures is signaled by the narrator’s de- chosen to depict flight from war as a travel or ad- Speja Förlag, 2018. prefers loneliness and is unaccustomed to company, scription of Mille’s only remaining possessions: three venture story with a happy ending rather than to fo- Hellquist Forss, Mia. Flykten: En bok om att tvingas lämna reluctantly lets the girl stay for the night. A connec- things with unfamiliar names to the reader. They cus on the flight as a trauma. A home together with allt / al-Hurūb: Qiṣṣat an al-iḍṭirār li-tark kull shay (The flight: A book about having to leave everything tion to the child begins to take form, illustrated by indicate otherness, creating a distance between the members of the nuclear family is at the heart of the behind). Translated by Razak Aboud, Mia Hellquist the fact that the red color dominating the girl charac- protagonist and the reader, and can be read as the stories. Consequently, the strategy used to make the Forss, 2014. ter gradually becomes more and more prominent in cultural difference that is revealed in the encounter flight more comprehensible to children is to focus Hest, Pimm van and Aron Dijkstra. Tänk dig att fly (On the the face of Den Gråa. Nonetheless, the girl is not al- between the refugees and the inhabitants of the new on stability and traditional values. Neither the ex- run). Translated by Anna Rosenqvist, Nypon förlag, 2018. Issa, Rania and Sawsan Nourallah. Det flygande tältet: lowed to stay. “This is my house and no one shall live country. Mille knocks on the doors of three different perience of flight nor the arrival in a new country is Drömmar från ett flyktingläger / Li-mma ṭrat al-Khay here but me,” Den Gråa says, and so the girl leaves. houses surrounded by walls or fences, asking if she problematized particularly often. Instead, the norm mah (The tent flew away: dreams from a refugee camp). Realizing the home is no longer the same without can stay with them. Three different monsters open of these refugee stories is to idealize the recipient Translated by Anton Klepke, Bonnier Carlsen, 2016. the girl, Den Gråa hurries after her and tells her she the doors, and all three turn her down. “But we live country—often to be understood as Sweden—as the Kellin, Fredrik. Flyktfåglarna som inte kunde flyga (The flight birds that couldn’t fly). Idus, 2016. can stay. her,” the first monster says. “You don’t look like us. It best imaginable home. The complexity of the refu- Kobald, Irena and Freya Blackwood. Mina två filtar (My Most stories of flight would conclude at this would be best if you went home,” the second mon- gee experience is primarily explored on a metaphor- two blankets). Translated by Horst Schröder et al., point, but Thor and Jönsson’s does not end here. ster says. The third encounter suggests Mille cannot ical, metonymous, or symbolic level, for example, Epix, 2017. The girl talks about the place she comes from in her be let in as she comes from the wrong place. The re- through the use of colors and symbols.5 Lagercrantz, Rose and Tord Nygren. Hemlig (Secret). Opal, 2016. sleep, making Den Gråa long for this place and its jections, then, are based on an evident “us and them” Does the traditional framing of the majority of Lindenbaum, Pija. Pudlar och pommes (Poodles and sense of community. Den Gråa dreams of a place rhetoric. the works discussed here mean that the characters French fries). Lilla Piratförlaget, 2016. where “children played and grownups laughed to- Finding a fourth house, Mille realizes there is of these flight stories are less mobile than the new Michaelidou-Kadi, Marina and Daniela Stamatiadi. gether” and there are “houses that did not look like no point knocking on the door. Instead, she climbs mobile subjects of international children’s literature Sabelles röda klänning (Sabelle’s red dress). Translated by Alexandra Pascalidou, Mirando, 2015. her but still felt like home.” In her dream, she realizes over the wall and falls on top of another monster. who, in the wake of globalization, actively choose Sandberg, Johanna and Torsten Larsson. Flykten (The that she has always longed for this place. The dream But instead of answering her question about whether homelessness and alternative communities? The flight). Whip Media, 2016. “set in motion the desire to wander,” to return to Ma- she can stay, this monster takes an interest in Mille’s answer to this question is no, but the subversive Sanna, Francesca. Flykten (The journey). Translated by Lisa vis Reimer (“Mobile Characters, Mobile Texts” 3), flute-like possession. She explains that it is a musi- potential of their mobility is not displayed in the Bjärbo, Rabén & Sjögren, 2016. Sjögren, Viveka. Om du skulle fråga Micha (If you asked and together the girl and Den Gråa set off on foot cal instrument and that “you play it when you’re sad same way as in the works studied by Mavis Reimer. Micha). Kabusa böcker, 2015. towards the place the girl came from. Here, at the and it makes you happy again.” The monster gives While these depictions of flight may seem naïve in Stark, Ulf and Stina Wirsén. Systern från havet (The sister start of the new journey, the story ends. it a try, makes an awful racket, but is cheered up by their wish to ensure a safe and happy ending, the from the sea). Bonnier Carlsen, 2015. This picturebook also stands out in terms of fo- the music “and that was the whole point after all.” view they convey—that is, that everything not con- Svab, Marjan and Saga Bergebo. Stjärnorna ser likadana ut överallt (The stars look the same wherever you go). calization. Thor makes the unusual choice to depict There, with a dance, the story ends. The ending nected to the nuclear family is interchangeable—is Rabén & Sjögren, 2018. the events of the story from the perspective of Den rounds off the storyline in that the music plays a re- most definitely compatible with Reimer’s notion of Thor, Annika and Maria Jönsson. Flickan från långt borta Gråa—that is, from the perspective of the receiving deeming role and gives rise to an encounter between the mobile character. The characters’ unsentimental (The girl from far away). Bonnier Carlsen, 2014. rather than the arriving character. Rather than focus- different cultures, but Mille is still homeless. We are views on material possessions, on friends as replace- Vegna, Sarah and Maya Jönsson. Jag kom hit på ett litet blad (I came here on a tiny leaf). Kikkuli, 2017. ing on safety, settling in a new country and a new not told whether she can stay at the fourth house or able, and on the home as possible to recreate make Wallnäs, Henrik and Matilda Ruta. Åka buss (The bus ride). home, this story depicts a longing to leave and the not, which was why she began her journey in the them, perhaps, a prime example of genuinely mobile Natur och Kultur, 2016. journey from the safe home towards the unknown. first place. The fact that all parties, including Mille characters. Concluding a story with the characters in Wikland, Ilon and Rose Lagercrantz. Den långa, långa The dream of the place the girl comes from brings herself, appear to be happy with the situation makes a state of mobility is not compatible with the home- resan (The long, long journey). 1995. Bromberg, 2015. Williams, Karen Lynn et al. Fyra fötter, två sandaler (Four feet, with it a promise of new communities, which makes Mille och den stora stormen another example of a story away-(new) home pattern, but paradoxically, the very two sandals). Translated by Anna Braw, Verbum, 2016. this one of very few Swedish refugee stories that that challenges the traditional basic pattern. The sto- prerequisite for the existence of the pattern in these SECONDARY SOURCES

BOOKBIRD 68 IBBY.ORG IBBY.ORG 69 56.4–2018 FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FAMILY FIRST IN HOMES AWAY FROM HOME: DEPICTIONS OF REFUGEE EXPERIENCES AND FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018 FLIGHT FROM WAR IN PICTUREBOOKS PUBLISHED IN SWEDEN 2014–2018

“Asylsökande till Sverige under 1984–1999” (Asylum nr. 2, 1999, pp. 219–237. dokumentation. Årgång 2016: 21 mars–11 maj 2017 literature (cf. Druker 101). In one book, the characters are depicted seekers in Sweden 1984–1999). Migrationsverket, Nel, Phil. “Refugee Stories for Young Readers.” Public (Book tasting at the Swedish Institute for Children’s as scissors (Sjögren), which can be read as an attempt to symboli- https://www.migrationsverket.se/dowload/18.2d998 Books, 23 March 2017, http://www.publicbooks.org/ Books: A report. Volume 2016: 21 March–11 May cally underline the way war tears lives to pieces. ffc151ac3871598171/1485556079445/Asyls%C3%B- refugee-stories-for-young-readers. Accessed 2 Sept. 2017). Svenska barnboksinstitutet, 2017, http://sbi. 4 While many of the picturebooks may not problematize the 6kande%20till%20Sverige%201984-1999.pdf. 2018. kb.se/Documents/Bp17/Bokprovning%202017%20 trauma, this does not mean they do not take the issue of flight Accessed 12 May 2018. Nikolajeva, Maria. Barnbokens byggklossar (The building dokumentation.pdf. Accessed 12 May 2018. seriously. Anna Karlskov Skyggebjerg and Tonje Vold discuss “Asylsökande till Sverige under 2000–2017” (“Asylum blocks of children’s literature). 2nd ed., Student- Thorson, Staffan. Barnbokens invandrare: En motivstudie i Danish and Norwegian stories of war and flight in two articles, seekers in Sweden 2000–2017). Migrationsverket, litteratur, 2004. svensk barn- och ungdomslitteratur 1945–1980 (Im- and they both come to the conclusion that Danish and Norwegian https://www.migrationsverket.se/down Nodelman, Perry & Mavis Reimer. The Pleasures of migrants in books for children: A motif study in writers and picturebook artists explore new ways of depicting war, load/18.4a5a58d51602d141cf41003/1515076326490/ Children’s Literature. 3rd ed., Allyn and Bacon, 2003. Swedish literature for children and young people in particular, by using distancing effects such as irony and satire. Vold, who analyzes picturebooks specifically, notes that this can Asyls%C3%B6kande%20till%20Sverige%202000- Pfister, Linda. “Barn på flykt – temporärt rotlösa men 1945–80). Tre böcker, 1987. also be seen in literature for younger children. With the exception 2017.pdf. Accessed 12 May 2018. aldrig röstlösa: En multimodal textanalys av tre sam- Vold, Tonje. “I krig, på flukt, på eventyr? Norske samtids- of Fredrik Kellin’s Flyktfåglarna som inte kunde flyga (The flight Beckett, Sandra. Crossover Picturebooks: A Genre for All tida svenska bilderböcker” (“Refugee children – bildebøker” (“In war, displaced, on adventure? birds that couldn’t fly, 2016), there are virtually no examples of Ages. Routledge, 2012. temporarily rootless but never voiceless: A multimodal Contemporary Norwegian picturebooks”). På flukt, på this among the picturebooks examined here, neither the Swedish Bodin, Helena. “‘Den kyrkan är vackrast i världen’: Den text analysis of three contemporary Swedish picture vent, på eventyr? Om krige i barne- og ungdoms- originals nor the translations. In Kellin’s book, the birds are used ortodoxa kyrkan och ikonerna i Ilon Wiklands books”). Bachelor thesis, Umeå university, 2016. literatur, edited by Anne Kristin Lande & Sofie allegorically, and the story relies heavily on puns; a central pun is barndomsskildring och bildskapande” (“‘That church Posti, Piia K. “Resor, äventyr och den andre: Exotism Arneberg, Nasjonalbiblioteket, 2015, pp. 20–37. the similarity between the Swedish words flytt (moving) and flykt (fleeing). Apart from this picturebook and a few minor humorous is the most beautiful in the world’: The Orthodox och det främmande i samtida svensk barnlitteratur” Warnqvist, Åsa. “‘Jag fick en ny nalle. Jag fick ett nytt elements, the flight stories published in Sweden tend to opt for a church and icons in the childhood narratives and (“Journeys, adventure and the other: Exoticism land’: Skildringar av flykt från krig i svenska bilder- more somber tone. pictures of Ilon Wikland”). Barnboken – tidskrift and the unfamiliar in contemporary Swedish children’s böcker 2014–2016” (“‘I got a new teddybear. I got a för barnlitteraturforskning, vol. 38, 2015, http://dx. literature”). Mångkulturell barn- och ungdoms- new country’: Depictions of flight from war in 5 Worth mentioning is also that the traditional pattern of the refu- doi.org/10.14811/clr.v38i0.212. Accessed 12 May 2018. litteratur: Analyser, edited by Maria Andersson & Elina Swedish picturebooks 2014–2016”). Tidskrift för gee stories goes against the development of the artistic renewal Boëthius, Ulf. “‘Hemma längtar jag bort, borta längtar jag Druker, Studentlitteratur, 2017, pp. 181–197. litteraturvetenskap, vol. 46, nr. 3–4, 2016, pp. 51–66. of picturebooks in Sweden, where challenging the basic narrative hem’: Andra världskrigets finska krigsbarn i svensk Reimer, Mavis. “Introduction: Discourses of Home in Wilkie-Stibbs, Christine. The Outside Child, In and Out of structure are becoming increasingly common. The Swedish picturebook has for example experienced an artistic renewal in barn- och ungdomslitteratur” (“‘At home I long to Canadian Children’s Literature.” Home Words: the Book. Routledge, 2008. recent years, and this has also influenced narrative structures and go away, when I’m away I long to go home’: Finnish Discourses of Children’s Literature in Canada, edited Österlund, Mia. “Havet som förbinder och skiljer åt: motifs. Today’s picturebook addresses difficult topics, problema- child refugees of the Second World War in Swedish by Mavis Reimer, Wilfrid Laurier University Press, 2008, Inramad tystnad i skildringen av andra världskrigets tizes traditional norms and patterns such as the nuclear family, and literature for children and youth”). Barnboken – pp. xi–xx. finländska krigsbarn” (“The sea that binds and sometimes it even goes against the tradition of happy endings. tidskrift för barnlitteraturforskning, vol. 33, nr. 1, —. “Homing and Unhoming: The Ideological Work of divides: Framed silence in the portrayal of Finnish This forms part of a larger international tendency, observed by 2010, http://dx.doi.org/10.14811/clr.v33i1.10. Canadian Children’s Literature.” Home Words: child refugees of the Second World War”). Tidskrift för Sandra Beckett (2, passim) and others, but the refugee stories are Accessed 12 May 2018. Discourses of Children’s Literature in Canada, edited litteraturvetenskap, vol. 46, nr. 3–4, 2016, pp. 35–49. not part of this movement. Cummings, Amy. “Border Crossings: Undocumented by Mavis Reimer, Wilfrid Laurier University Press, Migration Between Mexico and the United States in 2008, pp. 1–25. Contemporary Young Adult Literature.” Children’s —. “‘No Place Like Home’: The Facts and Figures of 1 There is little previous research on depictions of flight from war Literature in Education, vol. 44, 2013, pp. 57–73, Homelessness in Contemporary Texts for Young in Swedish children’s and young adult literature. Thorson discusses some works linked to flight from war, but he is primarily concerned Nordic Journal of ChildLit Aesthetics https://doi.org/10.1007/s10583-012-9176-1. Accessed People.” , vol. 4, with portrayals of the immigrant’s situation. Apart from his study, 2 Sept. 2018. 2013, pp. 1–32, https://doi.org/10.3402/blft. there is only the occasional article or contribution to an anthology. Druker, Elina. “Berättelser om flykt: Miniatyren som v4i0.20605. Accessed 2 Sept. 2018. Among these, Boëthius is the one that most explicitly focuses on samhällskritik” (“Stories of flight: The miniature as —. “Mobile characters, mobile texts. Homelessness and flight and war, addressing portrayals of Finnish child refugees’ social criticism”). Mångkulturell barn- och ungdoms- intertextuality in contemporary texts for young experiences during World War II in children’s and young adult liter- litteratur: Analyser, edited by Maria Andersson & people.” Barnboken – tidskrift för barnlitteratur- ature. Druker also touches on these issues when she examines the Elina Druker, Studentlitteratur, 2017, pp. 201–216. forskning, vol. 36, 2013, http://dx.doi.org/10.3402/clr. miniature character’s potential for social criticism in four picture- books published 1944–2005, where flight (though not exclusively Dudek, Debra. “Under the Wire: Detainee Activism in v36i0.21583. Accessed 2 Sept. 2018. flight from war) and homelessness are central motifs. The ongoing Australian Children’s Literature.” Papers: Explorations —. “Home.” Keywords for Children’s Literature, edited refugee crisis and its influence on children’s and young adult into Children’s Literature, vol. 16, nr. 2, 2006, pp. 17–21. by Phil Nel and Lissa Paul, New York University Press, literature is only discussed in a few texts: Österlund’s analysis of Ulf Franck, Mia. “Öronbedövande tystnad: Flickskildringen i 2011, pp. 106–109. Stark and Stina Wirsén’s picturebook Systern från havet (The sister Peter Pohls Anette-böcker” (“Deafening silence: Skyggebjerg, Anna Karlskov. “Historieformidling og from the sea, 2015), and my own study of depictions of flight from The portrayal of the girl in Peter Pohl’s Anette books”). fiktion: Contradictio in adjecto” (“Conveying history war in Swedish picturebooks 2014–2016. The results presented Barnlitteraturanalyser, edited by Maria Andersson & and fiction: Contradictio in adjecto”).På flukt, på here are a further development of this article. Also, Pfister in her bachelor thesis discusses three contemporary picturebooks, but as vent, på eventyr? Om krige i barne- og ungdoms- Elina Druker, Studentlitteratur, 2008, pp. 149–161. the thesis applies a linguistic perspective, it is not very relevant for Helff, Sissy. “Children in Detention: Juvenile Authors literatur, edited by Anne Kristin Lande & Sofie my purposes here. Recollect Refugee Stories.” Papers: Explorations into Arneberg, Nasjonalbiblioteket, 2015, pp. 6–19. Children’s Literature, vol. 17, nr. 2, 2007, pp. 67–74. Svenska barnboksinstitutet. Bokprovning på Svenska 2 All the quotes in this article are translated by Hanna Liljeqvist. Hope, Julia. “‘One Day We Had to Run’: The Develop- barnboksinstitutet: En dokumentation. Årgång 2015: The majority of the works examined are unnumbered. In these ment of the Refugee Identity in Children’s Literature 15 mars–21 april 2016 (Book tasting at the Swedish cases, page references are not included in the text. ÅSA WARNQVIST (1975) received her PhD in literature and its Function in Education.” Children’s Literature Institute for Children’s Books: A report. Volume 2015: in 2007. She is the Research Manager and Director of 3 Most of the stories portray human refugees, but the gallery of in Education the Swedish Institute for Children’s Books and affiliated , vol. 39, 2008, pp. 295–304, https://doi. 15 March–21 April 2016). Svenska barnboksins- characters can also include anthropomorphized animals. In several org/10.1007/s10583-008-9072-x. Accessed 2 Sept. 2018. titutet, 2016, http://www.sbi.kb.se/Documents/Public/ books we find a gallery of characters consisting of birds, dogs, with Linneaus University. She is a board member and Levy, Michael M. “Refugees and Immigrants: The South- Bokprovning/Dokumentation/Bokprovning_ and cats, respectively (e.g., Kellin; Lindenbaum; Wallnäs and Ruta). Vice President of the International Research Society for east Asian Experience as Depicted in Recent American Argang_2015.pdf. Accessed 12 May 2018. This is hardly surprising as anthropomorphized animal characters Children’s Literature (IRSCL). Warnqvist is also the editor Children’s Books.” The Lion and the Unicorn, vol. 23, —. Bokprovning på Svenska barnboksinstitutet: En are often used to portray difficult, existential topics in children’s of Barnboken: Journal for Children’s Literature Research.

BOOKBIRD 70 IBBY.ORG IBBY.ORG 71 56.4–2018 Authors & PJ LYNCH: IRELAND’S FOURTH CHILDREN’S LAUREATE Their Books

engaging with children of all ages and the general calm low-key way. public—and added to that, a great deal of stamina, As Laureate na nÓg, PJ. Lynch has shown that patience, and good humor! he has indeed a great deal of importance to say, and PJ Lynch: Ireland’s Fourth All of our laureates to date have had all of these for the past two years, he has tirelessly proclaimed qualities in abundance. While he was still recovering the relevance of bringing children and books to- from his time as Ireland’s Laureate, a few days ago, I gether. He has met thousands of young people on Children’s Laureate had the pleasure of chatting with PJ Lynch about his laureate tours—throughout Ireland and in Australia, experiences in the role and about his next projects. the United States, Europe, and Singapore—and has PJ Lynch grew up in Belfast, Northern Ireland, and talked to many groups of teachers, librarians, and Valerie Coghlan studied at Brighton College of Art, where Raymond children’s book fans in Ireland and internationally. Briggs was one of his tutors. He did not set out to However, he does not just speak about books and become a picturebook artist; however, winning the reading; in the best tradition of literature, visual and Mother Goose Award (now discontinued)—present- verbal, he shows as well as tells. Presentations are ed to the most exciting newcomer to British chil- accompanied by demonstrations of the artist at work, dren’s book illustration—for his pen-and-ink draw- and when children are his audience, they are set to ings accompanying Alan Garner’s text for A Bag of work too with scribble pads, crayons and pencils, Moonshine, persuaded him to think of a future as an il- and giant rolls of paper. lustrator. In the 1990s he illustrated a number of clas- “The Big Picture” was the overarching title of sic and traditional tales—including stories by Hans Lynch’s laureate term. Building on the practice es- Christian Andersen, W.B. Yeats, E. Nesbit, and Bren- tablished by Niamh Sharkey, who was Laureate from dan Behan, and a favorite from that period, East o’ the 2012 to 2014, of giving children enormous rolls of Sun and West o’ the Moon. These books are marked by paper, pencils, crayons, and plenty of floor-space to an attention to detail and the creation of atmosphere, create “monster doodles,” Lynch set up large wall especially of the creepy kind. The Long-nose Trolls spaces where children, including older children, in East o’ the Sun are a good example of Lynch’s abili- could collaborate with professional artists to learn ty to convey a dark side of (not quite) human nature, about pictorial story-telling as they created their own and the girl’s journey through the dark woods is taut Big Picture. Other artists were enlisted to help on with lurking, unnameable threat. some occasions, for Lynch believes that meeting il- PJ Lynch is one of the very few two-time win- lustrators and authors has a powerful effect on chil- ners of the Kate Greenaway Medal for illustration dren; children should understand that illustrations do (presented by the UK Library Association). The first not land perfectly on a page or wall but evolve as a medal was awarded to him in 1996 for The Christ- process, sometimes involving many changes. Lynch mas Miracle of Jonathan Toomey (text by Susan Wojcie- links his and children’s wall paintings to early cave howski), and the second in 1997 for When Jessie Came painting, stressing that humans have always used Across the Sea (text by Amy Hest). The Christmas Mir- available space to pictorially narrate their stories. acle also won the Children’s Books Ireland Book of Around Ireland, walls were colonized by the PJ (Patrick James) Lynch completed his term as Ire- and building partnerships nationally and internation- the Year Award, the Reading Association of Ireland’s laureate and his bands of young artists, and the land’s fourth Children’s Laureate, Laureate na nÓg, ally by means of events and activities with children 1997 Award, and the US Christopher Medal. Since wall spaces got bigger and bigger throughout his in May 2018. Since its inception in 2010, the role and adults. Representatives from the Arts Council then PJ Lynch has received numerous accolades, es- two years in office. The walls were usually between of laureate has grown nationally and internationally. (Republic of Ireland), the government Department pecially in the United States where he was better seven and eight feet high, and the longest wall was Beginning with our first laureate, Siobhán Parkinson, of Children and Youth Affairs, the Arts Council of known than in his native Ireland before he became thirty feet long. These murals were mostly created with whom I edited Bookbird for four years, each lau- Northern Ireland, Children’s Books Ireland, and Po- Laureate. However, his unstinting work in promoting during school visits and at book festivals, and now reate has brought something of her or his own work etry Ireland form the steering committee. Children’s children’s books and a love of reading among young they are part of Lynch’s legacy as Laureate na nÓg. and personality to the role of Ireland’s premier advo- Books Ireland (Ireland’s national children’s book or- people has garnered a whole extended fan-base The most ambitious of these was created with other cate for children’s literature. ganization) is the project manager for Laureate na throughout Ireland as well as internationally. This picturebook artists at a school in Midleton, County The overarching role of the laureate project is to nÓg. Nominations for the post are invited from 130 is not surprising. Over the years, Lynch has estab- Cork, in the south-east of Ireland, over a four-day pe- increase the profile of high-quality children’s litera- organizations across Ireland. The role is demanding lished himself as not only an illustrator but also as riod. The school children worked on a big doodle at ture throughout the island of Ireland by extending and the criteria high; this includes having a body of a successful portrait painter as well as a designer of first; then, during the weekend, the artists selected its audience. This includes raising media attention significant work and an ability and enthusiasm for stamps, posters, and more recently coins—but all in a walls throughout the school which they filled with

BOOKBIRD 72 IBBY.ORG IBBY.ORG 73 56.4–2018 PJ LYNCH: IRELAND’S FOURTH CHILDREN’S LAUREATE PJ LYNCH: IRELAND’S FOURTH CHILDREN’S LAUREATE

which he had not used for some time and which he by Kirkus Review as “a feast of a book.” The watercol- Dublin, Little Island, 2015. subsequently uses to great effect in his podcasts. or and gouache images are rich in detail—whether in Dickens, Charles and PJ Lynch. A Christmas Carol. Asked about highlights from his term in office, the close-ups of the characters’ cloths and demeanor, London, Walker Books, 2006. East o’ the Sun and West o’ the Moon. London, Walker Lynch has to pause to think about the number of or in the depictions of the streetscapes of London, Books, 1991. projects he undertook—he admits to finding it “hard or in the open landscapes of the New World via the Heaney, Marie and PJ Lynch. The Names upon the Harp. to say no.” Giving the keynote speech at the 2017 roiling sea scenes (something Lynch always does par- London, Faber and Faber, 2002. USBBY conference was “a great honor,” as was see- ticularly well). This story of the early European set- Hest, Amy and PJ Lynch. When Jessie Came Across the Sea. London, Walker Books, 1997. ing his images from A Christmas Carol displayed on a tlers in America was exceedingly research-intensive, PJ Lynch. The Boy who fell off the Mayflower, or John fifty-foot high screen in Boston while an actor nar- and Lynch would like a break from so much reality. Howland’s Good Fortune. Somerville, MA, rated Charles Dickens’s text, accompanied by mu- He admits to enjoying a challenge, and while books Candlewick Press, 2015. sic from the Boston Pops Orchestra conducted by are undoubtedly his first creative love, PJ Lynch is Tubridy, Ryan and PJ Lynch. Patrick and the President. Somerville, MA, Candlewick Press, 2017. Keith Lockhart. Meetings with other laureates (or also a portrait artist and a poster and postage stamp Wilde, Oscar and PJ Lynch. Stories for Children. London, ambassadors as they are sometimes called), he says, designer; most recently, he has also designed coins Hodder Children’s Books, 2006. were keynotes of his time in office. He describes the for the UK Royal Mint. In addition, he created the Wojciehowski, Susan and PJ Lynch. The Christmas Miracle “Laureate Summit” held at the Bologna Book Fair art work for the biggest mosaic in Europe at 14m x of Jonathan Toomey London, Walker Books, 1995. in 2017 as “brilliant.” There, children’s laureates/am- 14m, made predominately from Venetian glass, for bassadors from Australia, Britain, Sweden, and Ire- the Basilica at Knock’s Marian shrine in the west land talked in public about how they perceived their of Ireland–big walls have a definite attraction for PJ role and how they set about promoting children’s Lynch! books. Lynch is mindful of the way in which his work- Lynch stresses that though their roles may differ ing experiences as a creator of fantasy and realistic somewhat, each country’s laureate/ambassador cre- landscapes across his picturebooks has enriched his ates a notable focus on children’s books and reading own life, and now his experiences as Laureate na that enriches their own country’s young readers and nÓg have given him much to think about; he admits, readers internationally through exchanging views it will all take time to settle in his mind. While he has and highlighting possibilities for translations. He is to focus on his own work commitments, he makes it strongly convinced that children’s books broaden clear that engaging with audiences, young and old, scenes from their own books. The excitement of the their readers’ understanding through developing em- will still be something he wants to do. children when they arrived at school on Monday to pathy, sharing imaginative experiences, and creating PJ Lynch has been a generous and creative Lau- see these glowing walls can be imagined! Something openness to the points of view of others. reate na nÓg. He has left a legacy in terms of his en- of the days spent in the school can be seen on You- PJ Lynch is a Patron of Children’s Books Ireland during art works carried out as laureate, but he would Tube. Lynch also used film as a medium for a series and of IBBY Ireland, and he is an enthusiastic support feel the manner in which he has reached so many of podcasts showing and explaining techniques for of IBBY’s aims and the international role that chil- young people during the past two years is his most building pictures—in particular, using swift strokes in dren’s illustrators and writers and their books can play. significant legacy. No doubt, they would all agree. charcoal, developing his characters through their fa- In our interview, he expressed concerns about the cial expressions. excessive role of social media and computer games WORKS CITED Showing young people (and older ones, too) in the lives of many children. He believes, both as a Coghlan, Valerie. “PJ Lynch.” Irish Children’s Writers and how pictures can be created is very much part of father and as an illustrator/author, that on-screen in- Illustrators 1986-2006; a Selection of Essays, edited what Lynch wanted from his term as Laureate, and teraction does not provide the immersive experienc- by V. Coghlan and S. Parkinson, CICE Publications and Children’s Books Ireland, 2007. he has explained techniques to countless groups— es that “feed the soul” in the way books can. Lynch “The Big Picture.” Laureate na nÓg, http://childrens- from early-years classes to students in art college to is no technophobe, however, and when asked about laureate.ie/the-big-picture aspiring illustrators. He also talked at our meeting future projects, he revealed that creating a book “The Boy Who Fell off the Mayflower, Or John Howland’s about how his own work has changed and devel- through the digital manipulation of photos is some- Good Fortune.” Kirkus Reviews, www.kirkusreviews. com/book-reviews/pj-lynch/boy-who-fell-mayflower- VALERIE COGHLAN is President of the Board of Book- oped in some respects through working with other thing he wanted to do: a creepy tale about ghosts or-john-howlands-good-for/. bird, Inc. She edited Bookbird from 2005 to 2008. She laureates, both in Ireland and overseas. Eoin Colfer’s who live in the bottom of a lake. It is based on a www.pjlynchgalleryblogspot.com is an independent scholar and lecturer with a particular theme as Laureate na nÓg related to a sense of place, story he used to tell his daughter. He has written it interest in visual texts and in Irish children’s literature. and he compiled a collection of stories and poems himself (it will be published in 2020), following his SELECTED BIBLIOGRAPHY OF WORKS BY PJ LYNCH Most recently, she has contributed an essay on writing Behan, Brendan and PJ Lynch. The King of Ireland’s Sone. for children to the forthcoming A History of Modern Irish by Irish authors, Once upon a Place. Lynch was asked first sortie into writing his own narratives with The London, Walker Books, 1996. Women’s Literature, edited by Heather Ingman and Clio- to illustrate this, which he did—reverting to charcoal, Boy who fell off the Mayflower. The latter was described Colfer, Eoin, ed. and PJ Lynch. Once upon a Place. na Ó Gallchoir, Cambridge University Press.

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lent Books Exhibition on its tour of Irish libraries. with led quickly to other ideas.” These ranged from The workshop adds another brick to the “bridge the predictable “islands made of chocolate” to wild- of children’s books” envisioned by IBBY’s founder, ly inventive new languages, anthems, and names. Creating Nations Jella Lepman. The Silent Books have been building There was Nuevo Saol (“new” in Spanish and “life” that bridge in spatial and psychological ways since in Irish) and Yorland, a country that welcomed every- they were first collected from around the world in one. The island of Atlasia “supports the rest of the from Silent Books 2013. Geographically, one set of the books lives world like the giant Atlas,” according to its founders, permanently on a “bridge” to Europe—the island of and Cisilěně, in the Mediterranean, was colonized Lampedusa — which serves as a transit point for mi- by Celts from Sicily. Debbie Thomas grants from the Middle East, Africa, and Asia. Imag- The children then worked in groups to design inatively, the wordless picturebooks offer a bridge flags on paper and cut them out of felt, sticking across which refugees can escape horrific memories bright pieces on a rectangular background. “This into pages full of beauty, color, and comfort. And an was a great way to encapsulate a national identi- empathetic bridge forms when the story behind the ty,” says Tatyana. “The flags focused the students’ travelling set of Silent Books is told, connecting chil- thoughts about how they wanted to represent their dren all over the world to the experiences of those new land. Some were very specific, such as pineap- forced to flee their countries. ples and unicorns, while others were more symbolic, “The exhibition was an absolute gift,” says Mar- using shapes and colors.” These included white stars ian Keyes, programmer of events and exhibitions at of peace, blue stripes of justice, red friendship hearts, the dlr LexIcon library near Dublin and a former and rainbow squares for rainbow nations. committee member of IBBY Ireland. “It appealed to Laws, too, varied from the general—respect ev- all ages from babies to primary and secondary school eryone, no racism—to the particular. There were pupils, artists and illustrators, storytellers, authors, monthly food parcels for every inhabitant of Saasal, and of course the public.” and every Dolphin Islander received a pet dolphin The Silent Books formed the springboard for on their tenth birthday. The serious—no killing, the Nation Creation workshop, facilitated by illus- stealing, or drunk-driving—was seasoned with the trator and children’s author Tatyana Feeney and my- sweet: ten ice cream shops per square kilometer on self, also a children’s writer, both committee mem- Alfiepo, and every Candylandian must eat four lol- bers of IBBY Ireland. We introduced the exhibition lipops a day. Amid the fun, some impressive themes by asking participants to think of a group of people dominated, most frequently, environmental protec- that might particularly benefit from wordless pic- tion. Many groups devised laws against pollution, turebooks. Answers included pre-reading toddlers, littering, and deforestation, and some advocated so- adults who cannot read, and people who speak dif- lar power, electric cars, and vegetarianism to reduce ferent languages, such as refugees. Children looked carbon emissions. at a map showing Lampedusa and heard about the li- Social justice was another wonderfully strong brary set up by IBBY. After browsing the books, they concern. There was much taxing of the super-rich to discussed how these stories beyond words could support the poor. The elderly often enjoyed cheap comfort, entertain, educate, and inspire refugees. housing and free health care. Homes were free for This led to a consideration of the feelings that might poor people and newlyweds on Rilland, and the gov- efugee: a word that speaks of leaving signed and run by IBBY Ireland, has helped to bal- accompany forced migration—from terror, loneliness, ernment of Sabrona committed to giving everyone a and losing, fear and flight. But it is also ance the narrative by imagining a future where the and anger to the more positive possibilities of relief, job. Refugees were welcomed everywhere, especial- an arriving word, deriving from the victim becomes the victor, where the once disem- gratitude at escape, and hope of a better future. In ly on Cisiḽěně, where an undersea tunnel allowed Latin refugium, “a place to flee back powered get to rule on their future, literally. If that groups, participants then dreamed up their own ideal them safe passage from mainland Europe. to.” With media images of refugees sounds a little heavy for Irish eight to twelve-year- country as an island state, complete with laws, flags, Curiously, while equality and kindness motivat- Rescaping untold terrors, any attempt to find hope olds, the Nation Creation workshop has also proved and other markers of national identity. ed many of the laws, the punishments for infraction in the word runs the risk of belittling their ordeal. huge fun, allowing participants to journey imagina- With Tatyana’s help, they began by drawing a were brutal. Criminals faced anything from lifelong Conversely, to dwell solely on the trauma is to risk tively from the horror of forced migration to the de- map of the island on a large sheet of paper. “That exile on prison islands to limb removal or public ex- portraying refugees as powerless victims. light of dreaming up their ideal country. allowed them to visualize the worlds they were cre- ecution. Only Samatu Island enshrined forgiveness A workshop for primary school children, de- Nation Creation has accompanied IBBY’s Si- ating,” she says. “Having a physical space to work in the law, and even then, the penalty was life im-

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prisonment! Perhaps this harsh retribution reflected “mastu” and “masni” for brother and sister). The their hands against their foreheads with three fingers ically more entrenched in their views—to explore the children’s strong sense of justice coupled with group demonstrated an impressive grasp of linguis- pointing up like the crown of a pineapple, in homage common values, debate constructively, and reach frustration that the world is not as it should be. This tic patterns and how words related in meaning of- to their national fruit. Malana’s anthem was a glori- compromise in a world of political, religious, and was their chance to right the wrongs, and woe betide ten share sounds too. The Lubantese currency was ous hotchpotch of peace, friendship, and Olé’s. The economic polarization. More than sixty-six million any flouters. sharp and no-nonsense, with coins of cron, blu, and linguistically-gifted Lubantorians sang and translated: people forced from their homes by conflict and cli- The pre-teen years are a time when awareness kra. Ten kra equaled a one-tsam note, and there were mate change, human displacement now exceeds that of the flaws of those in power can outstrip children’s ten tsams in a schaziwiki. Valhalla sna ber Heaven is the light following the Second World War, when one such authority to change anything. Now they had two “It was wonderful to see how the children got Chan se ma tan Follow your dream refugee dared to return home with a dream to build hours to seize the throne, wear the chain of office, or stuck in,” says Marian. “Before long, they were to- Ci flam bré Never give up bridges between ravaged nations with the help of choose whatever form of government they wanted. tally immersed in their ideas and art. The workshop Lament amen van di Always stay strong children. More than seventy years later, what could This ranged from the republic of Jamala, managed promoted wide-ranging, experimental and often au- Sar na nion Eat lots of cheese encapsulate Jella Lepman’s inclusive vision more by its democratically-elected group, to the monarchy dacious views and everyone jumped into the project Chan se ma tan. Follow your dream powerfully than the invention of one young nation of Yorland ruled by Queen Season, and the totali- with gusto. They came up quickly with ideas and creator? Three days after the Manchester bomb last tarian Marshall Land, named after its ten-year-old presented their work so well at the end to fellow The children’s pride and passion for their ideas near- May, nine-year-old Khalid conceived a new religion dictator. When the other group members objected classmates and teachers.” They, too, dived into the ly always conquered shyness as they presented their for his country of Friendland: “Muslianity.” to his despotism, Marshall threatened to cut off their action, sticking on flag pieces, arguing for laws, and new nations to the class and, in one case, the TV heads. He did, however, agree to limit his reign of ter- inventing national holidays with the children. The cameras when Ireland’s national broadcaster RTE ror to five years, acknowledging that ruling a country sight of their gluey fingers and the sound of their featured the workshop on its children’s program is “hard work and you have to be good at maths.” lively legal arguments as they sat at the same lev- news2day. Speaking of mathematics, that subject was dis- el—physically and intellectually—were delightful. After all, in Marian’s view, carded from several education systems. Remarkably, Marian received “hugely positive” feedback on both no one banned school altogether (which we assume the workshop and the Silent Books exhibition. “For Who doesn’t want to have a go at creating a reflected the talent, rather than the presence, of their many of the children, the diverse range of books on brave new and better world? The workshops teachers!). Some groups did make education optional, display proved enormously exciting as many of the inspired incredible ideas and got everyone however, and several disposed of homework. Schools illustrators would not be familiar to Irish audiences. thinking in an exciting way about how they on Shillmania taught only two subjects—Learning Horizons were expanded.” would achieve potential and problem-solve to Talk and Providing for Yourself—which, when Nowhere did the teams work better than in the within their created communities. They pro- you think about it, cover most bases. Language was invention of national anthems. Watching the children moted experimental thinking and inclusivity, on the Lubantor curriculum, specifically, the mag- rhyme, rap, sing, and dance; share out their lines; and and empowered the children. nificent national tongue of Lubantese. There were encourage each other to perform was inspiring and greetings and introductions (“Vela” meant hello, and humbling, begging the question of whether adult Such empowerment was particularly poignant when “void van vala ma” meant my name is) and family groups could work so amiably and efficiently togeth- young asylum seekers created nations at an accom- titles (“masa” as well as “masi” for mother and father, er. The Shillmanian singers stood solemn and tall, modation center in Dublin. While some of the chil- dren were born in Ireland (shockingly, it can take up to ten years for refugee applications to be processed), the central influence of their “home” countries and cultures was clear. The workshop required sensitive facilitation to ensure a positive experience and avoid triggering sad or frightening memories. The result was a cross-cultural triumph, with children excit- ed and proud to combine elements of their home countries, such as sunny climates or traditional food and dress, with more typically Irish features like fun parks and chocolate factories. This was an opportu- DEBBIE THOMAS is a children’s writer and board nity to enjoy the best of both worlds and to affirm member of IBBY Ireland. She trained in BBC radio and each child’s history and unique identity crafted from worked for ten years as a development journalist in two cultures. Bangladesh and South Africa. While the Nation Creation workshop was aimed at children, it offers great potential for adults—typ-

BOOKBIRD 78 IBBY.ORG IBBY.ORG 79 56.4–2018 Children & GRIEF, GRIEVING, OR GRIEVED:MICHAEL ROSEN’S SAD BOOK AND HOW TO Their Books COPE WITH GRIEF FOR KIDS AND GROWN-UPS

a caregiver. Too often, children must suffer loss alone The Poetics of Grief without emotional lampposts to help them through Below we offer a two-part lesson in poetics aimed at turmoil. One way to help children contend with loss middle-school learners from grades six through eight. Grief, Grieving, or Grieved: is to help children learn the importance of expressing Often grief can feel like too large a topic for young- feelings as a way to recover from grief. er learners to tackle. In discussing the need and use of what she calls disquieting text, Jessica Whitelaw Michael Rosen’s Sad Book Grief, Grieving, and Grieved writes, “When readers open to pain and hurt as de- We (the authors) had been longing for a text we picted in picturebooks, they draw upon emotion as could use to help talk to children about grief that an important source of knowledge generation and and How to Cope with Grief did not have the sanctimonious feel of many existing potentially compassion as a mode of critical inqui- books. We did not want any approaches of “kid ap- ry” (37). In grappling with this classroom lesson, we propriate loss,” in which grief is distilled through an hope to help kids feel their grief in the hopes of living for Kids and Grown-Ups adult lens (often where sad things happen but ulti- more fully-felt, resilient, and rich emotional lives. mately work out for the best). In Sad Book we have an As teachers, we might feel that grief and loss are the honestly depressed adult, telling children both that shaky ground we struggle to articulate. Rosen notes he has suffered from life-changing sadness and that the universality of grief when he says, “You can’t Catherine-Laura Tremblay-Dion and Shoshana Magnet his own child has died (which implies that children can figure out why it should have happened and why it and do die). This is followed by ways of coping that should have been you, and then you notice it’s not just Introduction he felt were useful to him, all while never claiming you” (qtd. in Hattenstone). We teachers are not immune In her memoir, The Long Goodbye (2011), journalist his ways are “only” or “everywhere” true. to loss or sorrow simply because we guide the lesson, Meghan O’Rourke describes her process of grief In Sad Book, Rosen is haunted by the death of yet neither are our students. We urge you to follow in after losing her mother to cancer. Although “Grief his son Edie in ways both visible and invisible. It is the words of Barbara Vaccar, who states, “The act of is common,” O’Rourke reminds us, “experiencing it precisely the repetitive nature of the mundane that confronting our perceived inadequacies invites us into made me suddenly aware of how difficult it is to con- constitutes the bread and butter of caregiving. The the truth of our beings” (291). What might be hard in front head-on” (4). Calling for a cultural shift in learn- repetitive nature of caregiving is what makes a child’s teaching these poetics lessons for you? ing to speak about the invisible sorrows that weigh world “safe.” In many cases, it is grief’s disruption of down our days, O’Rourke writes of invisibilized grief everyday companionship and routine that is felt so Lesson One: Physical Grief in everyday conversations that begin with “How are acutely. Part of the wonderful utility of Sad Book is Students should sit on the floor comfortably. Read you?” and end with “Fine.” In a media culture for that it illustrates how to incorporate domestic tasks Sad Book aloud. Give them time to look at the illustra- children densely populated by princesses and super- as practical responses to living with grief. By includ- tions as you hold open the book. When the book is heroes that enforce what Samantha King has called ing a description of the importance of connection, of over, have the students close their eyes and ask them a “tyranny of cheerfulness,” speaking to children talking to others about sad feelings, and of carving to try and imagine a time they felt sad or depressed. about grief remains a complicated and controversial out space to be alone with or without talking with Walk them through the guided question sequence: act. Books aimed at enriching children’s emotional others, Rosen lays out a clear set of steps that he geographies abound (e.g., Max Velthuijs’s Frog is Sad finds helpful for dealing with his grief—giving very Do we have to look sad? [2005] and Stan and Jan Berenstain’s The Berenstain practical suggestions as to the acts of the “radical Are you ever afraid to look sad? Bears Lose a Friend [2007]), yet they frequently side- mundane” (Tremblay-Dion, 2017) that he finds help- What makes sadness so hard? step hard questions of how to express these feelings ful. The following curriculum draws from this space What does it mean to you to do something of grief or loss. A literature intent on enlarging the of mundane grief. nice for someone? sad end of the feeling spectrum is growing and in- versations that caregivers and educators must have It is important for educators to note the difficulty What does it mean to you to do something cludes the success of Oliver Jeffers’ book about loss, with children. How do we hold for children, in the of working with these topics. We may face challeng- nice for yourself? The Heart and the Bottle (2010), and Shaun Tan’s book words of poet Marie Howe, the complex truth that es from parents, from administration, or from stu- What would it look like if your neighbor for children about depression, The Red Tree (2010). In “we are living and dying at the same time”? Impor- dents themselves. These challenges can be met with were sad? the vein of advocates for children who argue that tantly, how can we help children have an emotional thoughtfulness and attention; what is the underlying Where do you feel sad in your body? children can be trusted with “what is true” (Tra- vocabulary that will help them to contend with the fear being expressed? To the middle school student How do you feel about the word grief? vers, 1975), we offer a curriculum aimed at teaching challenging reality that grief and loss are a funda- who is daunted by the “babyish” picture book format, Does anyone have to agree that you should Michael Rosen’s Sad Book as a jumping-off point for mental part of the human experience? Children may you might quote artist and writer Molly Bang who as- be sad about something? discussing grief with children. face this reality through the loss of a pet, the incar- serts, “We see pictures as extensions of the real world” Could you be sad and happy at the same time? Death remains one of the most challenging con- ceration of a parent, the death of a friend, a sibling, or (50). Yet, the real challenge may lie within. How about sad and mad? Sad and afraid?

BOOKBIRD 80 IBBY.ORG IBBY.ORG 81 56.4–2018 GRIEF, GRIEVING, OR GRIEVED:MICHAEL ROSEN’S SAD BOOK AND HOW TO GRIEF, GRIEVING, OR GRIEVED:MICHAEL ROSEN’S SAD BOOK AND HOW TO COPE WITH GRIEF FOR KIDS AND GROWN-UPS COPE WITH GRIEF FOR KIDS AND GROWN-UPS

Note that this series of questions is meant to serve nal about their objects, invite them to turn to the sec- WORKS CITED as an educator’s guide. You may add, subtract, or ond page of their poem packet. Read aloud as they Bang, Molly. Picture This: How Pictures Work. San change the order of questions. As this line of ques- follow along from Amy Krouse Rosenthal’s poem Francisco, Chronicle Books, 1991. Berenstain, Stan, et al. The Berenstain Bears Lose a tioning comes to a close, ask students to return to “Returning to Life After Being Dead.” This poem Friend. New York City, HarperFestival Books, 2007. their seats. Have them open their journals and jot features a hopeful, yet painful look at the mundane Hattenstone, Simon. “Interview: Forever Young.” The down significant thoughts/concerns /comments ways we might interact with grief. Invite students to Guardian. 12 June 2007, https://www.theguardian. from the reading and questioning. Encourage them circle, annotate, and share as before. com/books/2007/jun/12/poetry.booksforchildrenand- teenagers to illustrate or utilize other representations to make On a board or large sheet of paper, write in bold Howe, Marie. “Backchat: Marie Howe in Conversation.” their notes personal and meaningful. the following quotation by the poet Mary Oliver: Poets.org, 5 May 2011. Have students leave their notebooks out for now. “Do you need a prod? Do you need a little darkness Jeffers, Oliver. The Heart and the Bottle. New York City, Hand out poetry packets, one per student. Tell them to get you going?” Philomel Books, 2010. King, Samantha. Pink Ribbons, Inc.: Breast Cancer and the poems are theirs to keep and encourage them to Invite students to brainstorm some key words the Politics of Philanthropy. 1st ed,, St. Paul, mark and note on them. Now, the students will read or themes from the poems and stories explored in University Of Minnesota Press, 2008. along as a teacher (or student volunteer) reads aloud recent days. Include both direct quotations and stu- Travers, P. L. “On Not Writing for Children.” Children’s Michael Rosen’s Untitled Poems, Ask students to dent reactions. Once done, have the students begin Literature, vol. 4 no. 1, 1975, pp. 15–22. Project MUSE, doi:10.1353/chl.0.0697 circle favorite words and underline meaningful sen- drafting a poem that answers Oliver’s call and ad- Vaccar, Barbara. “Voices Inside Schools: Moving Beyond tences. Have students turn to a peer (or a small group dresses the physicality of both death and aliveness. Polite Correctness: Practicing Mindfulness in the if you prefer) and discuss their thoughts regarding You might ask students to do one poem on each. Diverse Classroom.” Harvard Educational Review, July both the poems and book so far. Have them focus their writing on the object they 2001, vol. 71, no. 2, pp. 285–296. Whitelaw, Jessica. “Beyond the Bedtime Story: In Search Finally, encourage your students to share as have brought in. Invite them to share their poems in of Epistemic Possibilities and the Innovative Potential a class any thoughts, notes, or lines circled in the a writers-workshop format with first a peer and then of Disquieting Picturebooks.” Bookbird: A Journal of SHOSHANA MAGNET is an associate professor in the In- poem. Point out to them the ordinariness of grief upon a small group. Circle the room and listen, respond, International Children’s Literature, vol. 55 no. 1, 2017, stitute of Feminist and Gender Studies and the Department of Criminology at the University of Ottawa. Her books in- which Rosen focuses. You might ask them to revisit and query the students’ writing. pp. 33–41. O’Rourke, Meghan. The Long Goodbye, New York City, clude the monograph When Biometrics Fail: Race, Gender any particularly ordinary moments in the poems. At the end of the lesson have the students copy Riverhead, 2011. and the Technology of Identity (Duke UP, 2011), and the This concludes the first session. As students their final work or works onto one large sheet and Rosen, Michael. Michael Rosen’s Sad Book. Boston, edited collections The New Media of Surveillance (co-ed- leave, ask them to return with an object, either pre- illustrate the poem. Candlewick Press, 2005. ited with Kelly Gates, Routledge 2010) and Feminist Surveillance Studies (co-edited with Rachel Dubrofsky, viously owned or found, that encapsulates for them Tan, Shaun. The Red Tree. Melbourne, Lothian Children’s Books, 2010. Duke University Press 2015). She has published in journals an ordinary instance of grief. Remind them of Ros- Finally… Tremblay-Dion, Catherine-Laura. Personal Interview. 11, including New Media and Society, Body & Society, Femi- en’s moments. Consider offering a personal example Michael Rosen’s Sad Book is a challenging book. It November, 2017. nist Media Studies, and Women’s Studies Quarterly. to model what you are imagining they might bring. is terrifying to contemplate the loss of a child. But Velthuijs, Max. Frog is Sad. London, Andersen Press, This is an excellent moment to bring in previously teaching books like Rosen’s can also put us in touch 2005. read classroom books, current events, or a communi- with our own pain about losses in our lives making ty connection to ordinary grief. them difficult to teach. Yet we would argue that this is a singularly important book to teach. We have Lesson Two so few models that teach us how to talk about sad Have students open journals and briefly free-write feelings. Here is a book that not only shows the re- about the object they have brought in. (Note: It is lief one can feel when one speaks about loss, but helpful to bring in a few objects students can borrow offers concrete methods for how to cope with grief. should they be unable to procure an object or, quite Taking this book into the classroom invites teachers feasibly, forget to do so. You might choose relatively into what Vacaar reminds us is indeed a risky space open-ended items such as a toothbrush, an acorn, or a (2001). Lessons in poetics seek to unearth the mun- stone. You might alternatively suggest students draw danity of grief within the aesthetic, often unname- an object if they cannot bring in the physical one.) able, work of writing poetry. This article views this As students finish their notes, invite them to work as necessarily political, dealing in the domestic CATHERINE-LAURA TREMBLAY-DION is a doctoral share with peers and, later, the classroom group. It and the radical at once; and it is here we invite the student at the University of Ottawa Faculty of Education. is important not to force student sharing, however; reader in. In naming our grief, in following Rosen, Her M.Ed. was obtained at the University of Montana where this activity does much to normalize and share grief we offer a pedagogy of practice: We ask for practice she subsequently taught preschool for several years. Her work has been published in The International Journal of experiences. in the ultimately true work of being alive and dying Education and the Arts, Ubiquity: The Journal of Literature, Once students have had the opportunity to jour- at the same time. Literacy and the Arts, and Root & Star Magazine.

BOOKBIRD 82 IBBY.ORG IBBY.ORG 83 56.4–2018 A SYMPHONY OF POEMS AND PICTURES: HWA-JEN HO’S NONFICTION Letters PICTUREBOOKS ABOUT WILD BIRDS IN TAIWAN A Symphony of Poems and Pictures: Hwa-Jen Ho’s Nonfiction Picturebooks about Wild Birds in Taiwan

Yi-Ching Su

mmersing himself in birdwatching in Tai- ers in guessing where the birds’ homes are, Ho uses Under the haiku poem, Ho provides further explana- wan—a small island country that has the sec- the question-and-answer approach. The content also tion: “In autumn, the giant knotweeds are like hav- ond highest bird species density in the world— starts from introducing the birds children are famil- ing wings and flying everywhere. The Taiwan bush for over thirty years, Hwa-Jen Ho dedicated iar with, such as the striated swallows, to the ones warbler’s song resembles the sound of the telegraph, his life to wild bird ecology and conservation. that are less known, such as the little ringed plovers. dee-dah-dah-dee, notifying everyone that autumn is IUsing poetic words and pictures, Ho creates nonfic- The back endpaper presents the whole scene of the coming.” Utilizing the features of haiku poetry, Ho tion picturebooks to illuminate wild bird ecology introduced birds and their homes in the Lanyang includes similes, birds’ songs, and seasonal referenc- and to reveal the wonders of nature. This article fo- Plain (see Fig. 2). This book gives children a sense es in the content to help readers hear the birds in cuses on Hwa-Jen Ho’s life and his five nonfiction of place, and it naturally invites readers to go out and the four seasons. On every double-page spread illus- picturebooks about wild birds in Taiwan. discover birds’ homes. tration, Ho focuses on one type of bird and one sea- Inspired by Roger Tory Peterson, a twentieth 彩鷸奶爸 (Painted-Snipe Daddy) is written from sonal plant to stress the interdependence between century American ornithologist who published the a baby painted-snipe’s point of view. Ho tells the the birds and nature (see Fig. 6). The simple orga- first modern field guide to birds, Hwa-Jen Ho devot- Ho resigned from China Times in 1986 and went everyday moments painted-snipe daddy spent nization of the illustration leaves space for readers ed his life to wild bird ecology and conservation. As to Liugui Forestry Research Center to study birds with his babies in the Lanyang Plain in dialogue to hear, to see, and to feel the change of the seasons. a dedicated artist, writer, and ornithologist, Hwa-Jen in southern Taiwan. There, Ho walked ten kilome- between father and children. Woodcut is used as the In 野鳥有夠酷 (Cool Wild Birds), Ho uses three- Ho shares the wonders of birds with young readers ters everyday on the same mountain path to docu- medium of the book illustration. The lines powerful- line poems to introduce wild birds with cool appear- through his words and artwork. Before creating non- ment the birds’ life for ten months. Using the data ly show the painted-snipe daddy spreading his wings ances or behaviors. When introducing the hoopoe’s fiction picturebooks about birds for children, Ho was he collected in Liugui, Ho published 台灣野鳥圖誌 to protect his babies (see Fig. 3). They also reveal cool behavior, Ho writes, an art editor for China Times. While he was working (Field Guide to the Wild Birds in Taiwan) (see Fig. 1), a the painted-snipe daddy’s tenderness and patience in the newspaper industry, Ho was invited to create bird-identification guide centering on the wild birds while feeding his babies (see Fig. 4) and waiting for Hoopoe is cool. a double-page spread illustration of the Swinhoe’s living in the medium altitude mountains in Taiwan. them to climb over a mound one by one (see Fig. Like a hard-working farmer, pheasant for a publication. After seeing Ho’s illus- As a self-taught woodcut artist, Ho experimented 5). Through dialogues and woodcuts, Ho reveals the it wears a big hat and uses its long bill to hoe tration of Swinhoe’s pheasants wandering in a vast with different wood blocks, lines, colors, and carv- ecology of painted-snipes to young readers. the field under the big sun. grassland, several bird experts expressed that they ing techniques to make the birds come alive on the 台灣鳥四季 (The Four Seasons of the Birds in Taiwan) had never seen a Swinhoe’s pheasant wandering pages in this field guide (Chen 20). Wanting to pass is a book of haiku poems about Taiwan’s endemic When introducing the black-winged stilt’s cool ap- recklessly in an open field, for it is shy and alert, and down his bird watching experience, Ho accepted a birds species in the four seasons. When introducing pearance, Ho writes, it is usually found in the mountains of central Tai- publisher’s invitation to create nonfiction picture- the Taiwan bush warbler, Ho writes, wan. The experts’ comment made Ho feel the urge books about birds in Taiwan for children. Black-winged stilts are cool. to devote himself to studying Taiwan’s endemic bird 鳥兒的家 (The Homes of the Birds) is about birds’ Giant knotweeds fly, Like lines of skipping musical notes, species (Ho, “Ho, Hwa-Jen: Wild Birds Observation, homes in the Lanyang Plain, an ecologically diverse Taiwan bush warbler telegraphs, they wear red tall rain boots and dance in Woodcuts, Picturebooks”). place in northeastern Taiwan. To engage young read- autumn winds blow. the water.

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To highlight the cool parts of the birds, Ho creates Immersing himself in birdwatching for over thir- similes that spark interesting connections in readers’ ty years, Ho shares his passion for birds with young minds. To help readers visualize the similes, Ho uses readers and contributes to wild bird ecology and earth tones and muted colors for the background to conservation through creating nonfiction picture- make the birds stand out on the pages (see Fig. 7, 8). books. Ho’s poetic words and illustrations gracefully With the poems and illustrations, Ho surprises read- capture the characteristics of the birds, and they illu- ers with every page turn. minate the interdependence between the birds and In 野鳥會躲藏 (Wild Birds are Good at Hiding), using nature. The symphony of Ho’s words and pictures simile, repetition, and narration, Ho reveals the scaly reveal the wonders of birds. They motivate readers thrush’s ability to camouflage in prose poetry. When to walk in nature to observe God’s creation, and they 3 7 introducing how the bird camouflages, Ho writes, make ornithology and ecology accessible in Taiwan.

A bird who hides, using its ability to camou- WORK CITED: flage, is often motionless. CHILDREN’S BOOKS Ho, Hwa-Jen. 鳥兒的家 [The Homes of the Birds]. Taipei, In late autumn, a path is covered with falling Taiwan: Hsiao Lu, 2014. leaves. —. 彩鷸奶爸 [Painted Snipe Daddy]. Taipei, Taiwan: It is like a colorful blanket. Star-Moon, 2013. If you do not look carefully, it is difficult to spot —. 台灣鳥四季 [The Four Seasons of the Birds in Taiwan]. Taipei, Taiwan: Star-Moon, 2010. a scaly thrush, —. 野鳥有夠酷 [Cool Wild Birds]. Taipei, Taiwan: who camouflages itself to withered and yellow Star-Moon, 2010. Print. falling leaves. —. 野鳥會躲藏 [Wild Birds are Good at Hiding]. Taipei, 4 8 It quivers its feet and tilts its head to listen to Taiwan: Star-Moon, 2010. the motion under the ground. SECONDARY SOURCES Chen, Yu-Jin. “Hwa-Jen Ho—A Person Who Uses When introducing the Pacific golden plover, Ho Woodcut Paintings and Picture Books to Document writes, the Wild Birds in Taiwan.” New Books: Recent Publications in Taiwan, ROC, July 2012, pp. 18–22. Ho, Hwa-Jen. “Ho, Hwa-Jen: Wild Birds Observation, Some of the birds who hide would hide together. Woodcuts, Picture books.” YouTube, uploaded In winter, there are yellow mud balls by wildathearttw, 25 Sep. 2014, www.youtube.com/ on the fallow ground. watch?v=1SNG4eC-Tq0. —. 台灣野鳥圖誌 [Field Guide to the Wild Birds in If you don’t look carefully, it is difficult to spot Taiwan]. Taipei, Taiwan: Formosa Folkways, 1996. pacific golden plovers, 5 9 who camouflage themselves to small mud balls. They crouch together to keep the cold wind away.

To vividly present how the birds blend into the en- vironment to protect themselves, Ho zoomed in the birds and the natural environment in the illustrations (see Fig. 9). Some of the illustrations also show how the birds look like before and after they are camou- flaged (see Fig. 10). Ho’s books make it possible to have the birds right 6 10 in front of readers’ eyes. In the end of the books, there are author’s notes and appendices offering readers the behind-the-scene story of bird watching and further information on the introduced birds. They convey YI-CHING SU teaches courses in children’s literature and English education in Taiwan at the Aletheia University’s Ho’s enthusiasm for birding and offer just enough in- Department of English. Her research focuses on multimodal formation on the introduced birds to readers. transformations in language and literature education.

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LIZ PAGE is Executive From left to right: E. Vance, J. Yokota, A. Arkhipova, C. Bloch, H. Chahinian, Director of the International Z. Ghaeni, S. Hallam, M. Zhang, B. Midhat Kazim, S. Kreidieh, R. Khairuddin, N.L. Sormani, and S. Vardell. Board on Books for Not in picture: L. Page, J. Mathis, and P. Panaeou. Young People (IBBY)

utive Committee, Anastasia Arkhipova and Carole discussion at the 2020 IBBY Congress (Moscow, Bloch were chosen as Vice Presidents, and Ahmad Russia). IBBY Elections 2018 Redza Ahmad Khairuddin was elected as the 2020 Other items at the Assembly were the state of President of the IBBY Reading Promotion Jury— the IBBY Finances and a summary of current IBBY East Meets West around Children’s Books which will assess the nominations submitted by the activities. IBBY Palestine presented a banner made members for the IBBY-Asahi Reading Promotion by children from the IBBY libraries in Gaza. They and Fairy Tales Award as well as the newly established IBBY-iRead had written short passages on the banner to express Outstanding Reading Promoter Award. their gratitude to PBBY and IBBY for the chance of This was the theme of the 36th IBBY Congress Committee certainly reflect the Congress theme of Another issue raised at the General Assembly having a library as a place for reading and learning that was held in Athens, Greece, from August 30 to East Meets West. was a suggestion from outgoing President Wally in a calm atmosphere. In addition, Deborah Soria September 1, 2018. Approximately 500 participants The IBBY Executive Committee 2018–20 compris- De Doncker that an IBBY Vision Statement be gave a presentation of the current situation of the travelled to Athens to enjoy a rich and varied pro- es Mingzhou Zhang from China as IBBY President; adopted. This includes a strategy outline, the six IBBY Library on Lampedusa. The library is now gram of high quality lectures, poster sessions, and Junko Yokota from the USA as President of the key messages of IBBY’s Mission, and a Statement of open for local children as well as migrant children IBBY Award events. 2020 Hans Christian Andersen Award Jury; and EC Purpose. who have arrived on the island. During the Congress, the IBBY members members Anastasia Arkhipova from Russia, Carole gathered for the General Assembly. Sixty delegates Bloch from South Africa, Hasmig Chahinian from Every child everywhere in the world must have attended representing sixty-three National Sections. France, Zohreh Ghaeni from Iran, Sophie Hallam access to books and the opportunity to become The IBBY General Assembly is the most important from the UK, Basarat Midhat Kazim from Pakistan, a reader in the fullest sense. IBBY sees this as a meeting place of IBBY members; it is where the Ahmad Redza Ahmad Khairuddin from Malaysia, fundamental right and the doorway to empow- main issues facing the organization are presented Shereen Kreidieh from Lebanon, Nora Lía Sormani erment for every child. IBBY wants to promote and the Executive Committee are elected for the from Argentina, and Sylvia Vardell from the USA. a reading culture and give every child the following two years until the next Assembly. The Urs Fröhlicher from Switzerland was re-elected as opportunity to become a life-long reader, and 2018 General Assembly elected the IBBY Pres- IBBY Auditor. These are complemented on the EC this is only possible if the child enjoys reading ident, the President of the 2020 Hans Christian by Ellis Vance (USA) as Treasurer, Liz Page (Swit- quality books. Andersen Award Jury, ten members of the Execu- zerland) as Executive Director, and Janelle Mathis tive Committee, and the IBBY Auditor for the term and Petros Panaou (both from the USA) as Bookbird This statement will be discussed by the National 2018 to 2020. The members of the new Executive Editors. At the first meeting of the 2018–20 Exec- Sections of IBBY and will be a subject for further

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box to a refugee camp. On the whole, it was easier to find partners and form networks in the smaller communities. So, how do you work with the Silent Books box? Sometimes, it was introduced and presented in connection with programs at the library—for in- stance, in activities such as Story Time, crafts, sing- ing, and dancing. In other places, the starting point was “reading” the books and telling stories from the books. The books were often present at women’s IBBY-iRead Outstanding Reading Promoter Award cafés or sewing and language cafés. In Sandviken, a town that features a literaturhus for children—a place A major announcement at the closing ceremony be presented in 2020 at the 37th IBBY Congress in for literature filled with activities around books and of the 36th IBBY Congress revealed the estab- Moscow, Russia. stories—the staff of the literaturhus created work- lishment of the IBBY-iRead Outstanding Reading The Jury will look for nominees who have shops around different titles and gave lectures for Promoter Award. This Award has been established demonstrated a commitment to exploration and in- educators. In some places, a box was placed both at by the Shenzhen iRead Foundation and IBBY novation and who also have a sense of responsibility the refugee camps and at the library, which helped to encourage a real commitment to the cause of and dedication to cultivating a love of reading and in building bridges between these institutions. reading promotion in the hope of spreading this competency in children. Their work may include Jessica and Christina with a box of Silent Books In Strängnäs, the staff took photographs of their dedication to others around the globe. The Award the creation and operation of outstanding reading activities and exhibited them both at the library and aims to encourage further investment by individu- promotion projects, the effective promotion of strat- municipalities and met representatives from both at the refugee camp. This clearly generated interest als, organizations, and governments in the promo- egies in favor of reading policies, and the advocacy the refugee camps and the public libraries to discuss and commitment among the parents. tion of children’s reading; it also aims to stimulate of children’s right to read. All nominations will be how to work with the project at their specific loca- Difficulties linked to language differences did of educational innovation, give much greater access to judged on sustainability, influence, dedication to tion. course emerge, but they were manageable and did children’s books, and create an enhanced profile for the common good, innovation, and inspiration. The handbook communicates the idea that not hamper the activities. In Botkyrka, the library children’s reading promotion—key tools in global, The iRead Foundation has pledged 1,200,000 the “silent” picture stories are a basis for commu- staff could not find an interpreter—possibly because social, economic, and cultural development—all in RMB Yuan biennially for twenty years for this nication, storytelling, playing, and improvisation. the activities took place in preschools, thus render- the context of Article 17(C) of the Convention on important award. The two winners will each receive The idea does not conform to the traditional way ing it difficult to develop their activities. Surpris- the Rights of the Child. 200,000 RMB Yuan and, in addition, 150,000 of learning a language; rather, it advocates starting ingly often, however, the books created beneficial Every two years, IBBY will invite nominations RMB Yuan will be given to a non-profit children’s communication using different techniques, pro- contacts. According to Botkyrka’s library staff, the from IBBY National Sections that recognize out- reading promotion project of their choice. The moting the pleasure of literature and reading, and children had rarely or never read books together standing individuals who are working to promote remaining funds will go towards the administration encouraging the readers to visit the public library. with an adult and sometimes had never even seen the expansion and development of children’s read- of the Award and to support the IBBY Secretariat. a book! Given this background, it is clear that ing. From the nominations, the IBBY-iRead Award To learn more about the iRead Foundation go to: simply putting out a box full of books and leaving it Jury will select two winners. The first Awards will www.iread.org.cn What Has Been Accomplished in the Municipalities? unattended does not work. It is therefore important We encountered a wide variety of actors in the to establish an organized activity around the books, different municipalities. The most common ones led by a librarian or an educator. If children do not The Silent Books in Sweden Move On were Save the Children, the Swedish Church, and understand the meaning of a book, it will likely different educational associations. In the town of only be tossed around and ultimately transformed Background ed in a handbook written by the storyteller and Arvika, all the efforts to benefit the asylum seekers into paper pulp! In 2015, IBBY Sweden decided to initiate a project drama teacher Rose-Marie Lindfors from Skellefteå, were coordinated by the Society for Local History. similar to IBBY Italia’s project on Lampedusa from who was well acquainted with silent books and had In Norberg, the public library was the center of a How Did the Children Engage in the Project? 2012. We wanted to focus on the refugee children taught language to refugees using silent books in wide network. Botkyrka (a suburb of Stockholm The project showed that conversations around arriving in Sweden at the time. With funding and various ways. with a population from many countries) had no ref- silent books can start in different ways. In some support from, among others, the Swedish Arts We contacted six municipalities with which we ugee camp, which made it difficult to get in touch cases, the children compared the pictures they saw Council, we were able to buy a selection of picture- wanted to establish collaboration between public with newly arrived children. However, contacts to real objects in their environment; they collect- books that we had selected for the project. The libraries and refugee camps. Each municipality could be made at the local daycare centers and pre- ed the objects and compared the colors and the selection comprised twenty titles, and we purchased was provided with one or two boxes of the twenty schools, where the project activities took place. In language used to describe them. Often, a parent— ten copies of each. Most of the books were present- picturebooks and a manual. We visited the different Stockholm, the Children’s Mobile Library took the usually a mother—was present to “read” the books

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with some Swedish words.” Primarily, silent books are seen as a means to IBBY Selection of Outstanding Books create contact, to provide a simple base for dialogue with parents, to start playing, to draw pictures, and for Young People with Disabilities to tell stories. The degree to which languages are shared sets the limits of how the activities can be This year, the 2017 Selection of Outstanding Books er Debbie Thomas and writer/illustrator Tatyana formed and developed. Some of the recipients did for Young People with Disabilities has been pre- Feeney facilitated sensory workshops and explored point to the relevance of having educators or librari- sented around the world. This issue of Focus IBBY the books with local school children visiting the ans to lead the activities. In Strängnäs, the staff em- highlights just two of the destinations: Ireland and collection in the libraries. phasized the impact of the project for the children Slovakia. After this the exhibition went to Clondalkin and their parents who took part in the project in Library in South Dublin, where it was hugely the short as well as the long run. Overall, it can be The Outstanding Books for Young People with popular and was seen by lots of children. It then said that the project shapes a base for early literacy Disabilities Tour the Emerald Isle went north to Belfast, where it was accompanied and creates a feeling of trust and togetherness with Between February and April of 2018, IBBY Ireland by a myriad of events. Renowned storyteller and the local society. had the pleasure of bringing the 2017 IBBY Selec- writer Pat Ryan and the first ever Children’s Writing tion of Outstanding Books for Young People with Fellow for Northern Ireland, Myra Zepf, explored Silent Books 2018 in Sweden Disabilities to the island of Ireland. The whirlwind the collection with the children of Belfast, while PJ Refugee camps are closing down due to changed tour saw the fifty books in over twenty languages Lynch led a Big Picture event in Glenveagh Special Enjoying the books policies regarding immigration in Sweden. The take over the shelves of nine libraries, arts centers, School, where the pupils were invited to complete together with the children. Occasionally, an asylum refugee children, staying in our country, are now and universities. a giant piece of art alongside PJ and established seeker joined the activity and started telling the enrolled in local preschools or schools. Children’s Laureate and Patron of IBBY Ireland illustrators Andrew Whitson and Paul Howard. story in the children’s own language. Sometimes As a project leader, I have been invited to many PJ Lynch launched the tour at the Institute of The exhibition’s final destination in Ireland was the conversation evolved so that children could meetings and conferences where I presented our Education on Dublin City University’s St Patrick’s Wexford County library. There, Tatyana Feeney recount stories from their escape. An evaluation of project. As a result, I met many librarians and teach- campus. The launch coincided with IBBY Ireland’s ran workshops where children were encouraged to the project shows that it was very easy to catch the ers who became curious and were inspired to use annual lecture—which was delivered by Wally De “Take leave of [their] senses” by responding ver- interest of preschool children from four to five year silent books. IBBY Sweden has noticed—through Doncker, the then President of IBBY, and accompa- bally and graphically to a series of props that they olds and to get them to associate and tell stories contacts taken by educators and librarians and on nied by a presentation of IBBY worldwide by Liz could only approach through touch and smell. based on the pictures. The most popular book was the Facebook group Silent Books Sverige—that Page, Executive Director of IBBY. Highlights of the collection, according to the young Thé Tjong-Khing’s Var är tårtan (originally titled activities around Silent Books are still happening. The books then went on to Kildare Libraries, people themselves, included the Braille edition of It Waar is de taart?) One of the big internet booksellers introduced a where they were on display in the Celbridge and Can’t Be True! Annemarie van Haeringen’s Sneeuwwit- The youngest children were not very proficient special list with silent books, and some of the titles Leixlip libraries. The collection tied in with their je Breit Enn Monster (Snow White Knits a Monster), in Swedish and barely had any experience reading have appeared in new editions because of an in- TTT (Toys, Technology, and Training) Program, and Sarah Crossan’s One. About the latter, the stu- books. This, in fact, is not so different from working creasing demand. You can find silent books used in which is designed to offer support to children and dents had the following praise: “I didn’t know they with a Swedish-speaking small child. The library preschools and in activities for children and adults parents of children with disabilities. Children’s writ- wrote books about things like that.” staff took part in playing with and grabbing the with learning disabilities. We decided to follow up And that says it all! children’s attention in various ways. on these activities and were granted money from Generally, both volunteers and librarians em- the Arts Council for a second time. This time, as Juliette Saumande and Emma McDonald, IBBY Ireland phasized that it is important to keep an open mind the project leader, I am visiting institutions that are and to be able to improvise. Various reports stressed using silent books, mainly preschools in collabora- It Makes Sense Even Without the Senses: this point: In Strängnäs, “You never know the chil- tions with public libraries. Outstanding Books for and about Children dren that are coming; you do not know how many It appears as if silent books inspire people to with Disabilities from the IBBY and BIBIANA there will be, or how they in what mental state they use them in different ways. It makes them think Collections are.” “It is a question of having an open mind and about how pictures affect us and how they relate to During the 2018 summer season, BIBIANA—the being able to catch the moment.” In Arvika, “a boy, storytelling and language learning. We find it heart- international house of art for children in Bratisla- who was read to by a librarian, was inspired to tell ening and a bit surprising that the idea of silent va—housed an interactive exhibition with the title the story of how he fled Mosul, traveled through books has become so widespread and generated so It Makes Sense Even Without the Senses. This many countries, and finally ended up in Arvika— much interest. read-and-play project prepared in cooperation with only with the help of pictures of seas and boats Working with Sneeuwwitje Breit Enn Monster by their long-time partner IBBY was open to public hanging on the wall, with the help of his hands, and Cay Corneliuson, Silent Books IBBY Sverige Annemarie van Haeringen in Belfast in the Dušan Roll Gallery at BIBIANA. Through

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playful games in the shoes of a child with disabil- This original, inventive book tells the story of Sally Jones— ities, young visitors could learn about the life of their peers with special needs and get to know the an engineer, exceptional chess player, and loyal friend, heroes of exceptional books. who happens to be a gorilla. Although she cannot speak, The fundamental part of exhibition was the Sally Jones understands language and can read and write. Sally Jones is happily working with Henry Koskela, “the wide choice of literature offered by the IBBY and BOOKBIRD POSTCARDS BIBIANA collections. BIBIANA was very happy Chief,” on his small cargo steamer, the Hudson Queen. While to host the 2017 IBBY Selection of Outstanding docked in Lisbon, they accept a lucrative job that results in Books for Young People with Disabilities. The the murder of Alphonse Morro, the person who hired them. organizers decided to complement the IBBY When the Chief is falsely convicted and imprisoned for the selection with over a hundred books selected from murder, Sally Jones is protected by Ana Molina and Signor collections of BIBIANA’s home library—among Fidardo, who become lifelong friends. When her own safety them titles awarded by the Biennial of Illustrations is in danger, Sally Jones embarks on a series of adventures Bratislava and other prestigious international com- to clear the Chief’s name, a quest that lasts several petitions. years and travels from Portugal to India. The mystery The Murderer’s Ape Most of the exhibited books from both col- surrounding the murder includes secrets, surprises, and Jakob Wegelius lections were literary portrayals of children and powerful people. Black-and-white illustrations by the author Trans. Peter Graves New York: Delacorte Press, 2017. adolescents with different types of disability. Slovak enhance the tale. Narrated in the first person from Sally 588 pp. visitors had a unique possibility to encounter the Jones’s perspective, this highly acclaimed book received ISBN: 978-1101931752 books coming from different parts of the world— the August Prize in Sweden and the Mildred L. Batchelder (Fantasy; ages 9–13) issued not only in Slovak and English but also in Award in the United States. languages such as Arabic, Japanese, or Persian. Evelyn B. Freeman They could learn the strong stories of disabled chil- dren heroes (Sosu’s Call, A Boy and a Jaguar, Knots on a Counting Rope, etc.) that are unknown in Slovakia. Written as letters to her deceased mother, Nisha’s “diary” Among the books, visitors could also find titles recounts her life and the true historical events leading created for people with impaired vision. They to the 1947 independence from Britain and division of had possibility to touch and sense the books with Using our senses India and Pakistan into separate countries. Although her Braille and tactile illustrations. Children especially mother had been Muslim, Nisha and her father, brother, enjoyed discovering a beautiful Braille and tactile books and their illustrations. At the same time, they and grandmother are Hindu, suddenly living on the Muslim edition of the popular Winnie-the-Pooh hidden in a realized how important it is to get help from others. side of the border and exposed to potential violence against “tactile box.” The aim of the exhibition was not to inspire A number of easy-to-read books was also on regret or sympathy but to allow visitors to learn them. Nisha never knew her mother, who died giving birth POSTCARDS BOOKBIRD view to show that—thanks to their minimal text, more about the world of children with disabilities, to Nisha and her twin brother, and in her diary, the girl simple story, and clear design—these titles are to understand their needs, and to accept them addresses many questions to her mother that she is unable suitable for children and young adults with learning among themselves. The summer holidays turned to express in everyday life. The family finally must flee their difficulties or delayed mental development and can out to be a very favorable period for this goal. The home and set off on a dangerous journey to an uncertain assist them in exploring the world. exhibition was visited by families and children from future in the new India. The key to understanding the worldview of a summer camps, with about 300–500 visitors daily. The novel is loosely based upon the experiences of the disabled child was designed as a game. The child Children, together with their parents, grandparents, author’s father and was written, she explains, to better visitor “drew” his or her fate and then performed and friends—relaxed, free from school duties and understand what happened to his family. The writing style various tasks “in the skin of a child with a disabil- after-school rush—could experience their feelings, captures well a young girl’s voice and bewilderment about ity.” Visitors could experience what it is like to explain them, and discuss the topic. events beyond her knowledge, an author’s note provides The Night Diary not be able to see, hear, move, or communicate. Many thanks to IBBY, not only for lending the trav- additional context for readers, the endpapers’ map shows Veera Hiranandani Through personal experience, they could better elling collection but also for inspiring and encourag- the narrative’s location, and a useful glossary defines New York, NY: Dial, 2018. understand feelings of a disabled child. To accom- ing us in this interesting and successful project. unfamiliar terms. This suspenseful, compelling story brings 264 pp. ISBN: 9780735228511 plish all the tasks and solve the crossword, they not to life a period in history that resonates today. (Fiction; ages 8–12) only had to deal with the constraints posed by the Hana Ondrejičková, coordinator of the exhibition project Barbara A. Lehman disability but also had to work with the exhibition Library of BIBIANA, Bratislava (Slovakia)

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