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Scotland and Children's Literature

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Scotland and Children's Literature 20 • Autumn 2007 Scotland and Children’s Literature Auld Scotland counts for something still influential on Stevenson, often more cel- (Charles Murray, 1864–1941) ebrated on the continent than in Britain, Scott’s works are too little read today, but When we decided to devote this issue to it is difficult to imagine children’s histori- ‘Scotland and Children’s Literature’, I cal fiction having had anything like its scarcely realised what a wealth of Scottish strength without them. Whether Ivanhoe, children’s authors there are today, fol- The Talisman, Kenilworth and countless lowing in the footsteps of the Scottish- others were written for children, in their born ‘greats’ of children’s literature like time they certainly delighted many young Ballantyne, Stevenson, Grahame and readers, as did later abridged and film ver- Barrie. It is clear that the tradition lives on, sions of stories which may have contained as evidenced by the many names in Pam rather too much unadulterated (and not Robson’s list, whose work is also described always accurate!) historical information in other articles. Notably, too, we are for- to attract later readers. But I would per- tunate to have contributions from two sonally claim that encountering Ivanhoe at such authors, Theresa Breslin and Nicola the age of nine taught me an invaluable Morgan, revealing how much of their lesson – how and when to skip passages own inspiration comes from the country that did not seem to be relevant to the in which they live. We are also grateful to story. While many of Scott’s novels are not our other contributors, including Rachel about Scotland at all, his greatest work, Anderson, well-known for her novels about The Heart of Midlothian, is firmly set there, disability. A recent collection of Scottish as indeed are his volumes of poetry and children’s poetry also demands mention, collections of minstrelsy. The Thing that Mattered Most (see reviews). So I’m delighted that this IBBYLink has An argument could be made that each the theme of Scotland, and hope that it country in the British Isles has a particu- will encourage readers unfamiliar with lar literary strength. I don’t mean that the the treasures of Scottish literature to writers from each country are the great- search them out. est in that genre, but rather that they have contributed something special and Pat Pinsent characteristic to the body of literature in English. I would cite Ireland (undivided in this aspect) for the plays of Sheridan, CONTENTS Goldsmith, Shaw, Yeats, Synge and 2 The Power of Place Theresa Breslin O’Casey, with their poetic and individual use of language; Wales for the poetry (in 3 Something in the Water? Nicola Morgan English) of George Herbert and several 4 My Heart’s in the Highlands Sara Grady others by the name of Herbert, Edward 5 Children’s Literature in Scotland Thomas, Dylan Thomas and R. S. Thomas, Maureen A. Farrell Henry Vaughan, but not forgetting the 6 A Warning for the Future? Jessica Yates influence of Welsh poetry on Hopkins 8 A Celebration of Scottish Children’s and other English poets; and Scotland for Literature Shirley Neilson and Vanessa Robertson children’s literature. (No, I haven’t forgot- 9 South Lanarkshire Book Awards 2007 ten that Shakespeare wasn’t Scottish or Rachel Anderson Irish, nor the work of many great English 11 A Selection of Recent Titles Pam Robson novelists and dramatists.) 15 Reports In the case of Scottish children’s litera- 17 Reviews ture, I want to acknowledge the influence 24 IBBY News of Sir Walter Scott. Known to Ballantyne, 26 Events, Conferences and Resources The Power of Place Theresa Breslin children’s Being born in the middle of Scotland Dragon Lady Librarian to see if I was in the middle of the twentieth century suitable to be allowed to join! I was a literature meant that my childhood was mainly voracious reader and gobbled anything in rural and mostly uneventful. We lived and everything. But I did not find myself on the outskirts of a small town and our in any book and no one ever said to me household was full of books: non-fiction that I could be writer. My best option on on every topic – history, biographies, leaving schools was to choose a career as science and geography; and also a wide a librarian. And it was while working on scotland range of fiction – traditional folk and the mobile library that I witnessed the fairy tales, fables, myths and legends, devastation on a community wrought by stories of all kinds, plays and poetry. the closure of a steel mill. I wrote my My father had a wonderful memory for first book about this; it won an award poems and would recite these to amuse for new writers and was filmed for tel- his children. My siblings and I espe- evision as a children’s drama. cially loved the more melodramatic ones. Tales of slain heroes and doomed Thus I became a writer. I think now that lovers were particularly popular! I always was. We played outdoors a lot, with the The enormous freedom about writ- nearby Campsie hills in constant view, ing for young people is that I can write their slopes beautiful in sun, shadow, modern urban drama (Divided City), or or snow. Being close to the elements a book set in medieval Italy (The Medici had a profound effect on me and I am Seal), and as long as the story is satisfy- acutely aware of the impact landscape ing my readers do not mind. Afterwards has on character, as evidenced espe- people categorise suitability, e.g. Divided cially in Remembrance and Saskia’s Journey. City is highlighted under terms of ‘boys, In Remembrance the young soldier, John reading and citizenship’. Malcolm, experiences disorientation in the trenches of the Western Front, From an early age I was imbued with and the eponymous heroine of Saskia’s narrative and a love of language. For me Journey is aware of the sea ‘rustling its Scotland is the source, not just the literal skirts below her window’. sense but also in the lyrical meaning – the headwaters, where a river rises, the My home town, Kirkintilloch, was a fort spring bubbling underneath the earth. iBBYLink 20 on the Antonine Wall, one of the furthest For words have more than practical use: The British IBBY northern points settled by the Roman they carry freight, they resonate at the Newsletter Empire. In the Middle Ages, followers of frequency of the human spirit. Their Autumn 2007 Robert the Bruce held the castle for the impact is emotional, a phrase can trans- king. This sense of history exhilarates mute energy in addition to meaning. Pat Pinsent me, and I find the artefacts our ances- Editor tors left behind fascinating. The burial And that is both personal and yet 23 Burcott Road grounds with their mysterious markings universal. Purley and ancient runes provided inspiration CR8 4AD for Whispers in the Graveyard. Theresa Breslin’s work has been extensively filmed and translated, and has won many awards. She Jennifer Harding These sites were in the park close to says she endeavours to combine powerful drama Associate Editor my home where stood the local public with memorable characters and vivid storytell- library. One of my earliest childhood ing. More information can be found on her web- memories is being interviewed by the site: www.theresabreslin.co.uk. Kathleen Fedouloff Design & Layout +353 21 485 9962 The Spring 2008 issue of IBBYLInk will largely be devoted to summaries of the papers given at the November 2007 IBBY conference, which takes an international To sponsor a future issue of perspective on children’s book illustration. IBBYLink, please contact Pat Pinsent Articles on other subjects, reviews, reports, information about conferences, etc. [email protected] are, however, all welcomed. 2 Something in the Water? children’s Nicola Morgan literature Or, if you prefer stereotypes, the whisky? anywhere and everywhere, and throws Maybe. For children’s authors, Scotland her voice with a ventriloquist’s skill. is certainly an unbeatable home and our Catherine Forde’s characters speak with in work is thriving. But who are we? What’s a raw Scottish voice, yet speak to all mod- a Scottish book? Are there reasons to ern teenagers. Most of Keith Gray’s work move north now? is less explicitly Scottish, but equally uni- scotland versal, as are the multifarious books of the Who are we? Not necessarily Scottish, for prolific Joan Lingard and Alison Prince. a start. I’m an English–Welsh hybrid, but For younger children we have everything married a Scot and have lived here more from the quintessentially Scottish Maisie than half my life. Alison Prince, Vivian books by Aileen Paterson, Katie Morag by French and Keith Gray are some of the Mairi Hedderwick and Hamish McHaggis other non-Scots who have made their by Linda Strachan, which all appeal home here. A Scottish author is simply equally to non-Scots, to the universally one who either lives here, or who doesn’t flavoured books of Julia Donaldson, but is Scottish by birth or blood. Debi Gliori and Janey Jones. Then there are Gill Arbuthnot, Cathy Cassidy, What’s a Scottish book? At a meeting of Franzeska Ewart, Diana Hendry, Charlie Scottish authors and publishers, Gerry James, Jamie Jauncey, Alexander McCall Johnson, MD of Waterstone’s, said he Smith, Stephen Potts, Simon Puttock, didn’t know. It’s simple: a Scottish book Alan Temperley and Tom Pow, amongst is one written by a Scottish author. On many others, all Scottish authors yet all the other hand, it is more complicated, appealing equally south of the border.
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