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A Journal of International Children's Literature

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A Journal of International Children's Literature A JOURNAL OF INTERNATIONAL CHILDREN’S LITERATURE 2017, VOL. 55, NO.2 The Journal of IBBY, the International Board on Books for Young People Copyright © 2017 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 offce 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-proft corporation): Valerie Coghlan, President; Ellis Vance, Treasurer; Junko Yokota, Secretary; Evelyn B. Freeman; Hasmig Chahinian. 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) is a refereed journal published quarterly in Winter, Spring, Summer and Fall by IBBY, the International Board on Books for Young People, and distributed by The Johns Hopkins University Press, 2715 N. Charles Street, Baltimore, MD 21218-4363 USA. Periodicals postage paid at Baltimore, Maryland, and at additional mailing offces. Postmaster: Send address changes to Bookbird, The Johns Hopkins University Press, Journals Division, 2715 N. Charles Street, Baltimore, MD 21218-4363 USA. Canada postmaster: Bookbird, Publications Mail Registration Number 40600510. Send address corrections to The Johns Hopkins University Press, 2715 N. Charles Street, Baltimore, MD 21218-4363 USA. Subscriptions to Bookbird: See last page IBBY Executive Committee 2016-2018: Wally de Doncker (Belgium) President; Akoss Ofori-Mensah (Ghana), Vice President; Maria Cristina Vargas (Mexico) Vice President; Evelyn B. Freeman (USA), Ferelith Hordon (UK), Sunjidmaa Jamba (Mongolia), Anastasia Arkhipova (Russia), Carole Bloch (South Africa), Serpil Ural (Turkey), Zohreh Ghaeni (Iran), Mingzhou Zhang (China), Voting Members; Patricia Aldana (Canada) Hans Christian Andersen Jury President; Elizabeth Page (Switzerland) Executive Director; Ellis Vance (USA) Treasurer; Björn Sundmark (Sweden) Bookbird Editor 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, and the MLA International Bibliography. The front and back cover illustrations are reproductions of original sketches (1975-77) by Lisbeth Zwerger; they are reproduced by permission of the illustrator. Contents Editorial by Björn Sundmark 2 Introduction by Peter Cumming 4 Articles For “Family and Intimate Visitors Only”: The Influence of Maria Edgeworth’s Juvenilia on the Production of her Adult Dramas by Ryan Twomey 10 Children’s Voices from War Zones Muted by Adult Mediation by Marija Todorova 20 Youth, Poetry, and Zines: Rewriting the Streets as Home by Elizabeth Marshall and Theresa Rogers 28 Revising Hegemonic Masculinity: Homosexuality, Masculinity, and Youth-Authored Harry Potter Fanfiction by Jennifer Duggan 38 Translators & Their Books Moominvalley Fossils: Translating the early Comics by Tove Jansson by Ant O’Neill 46 Children & Their Books Writing Opens Many Doors by Andreja Blažič Klemenc 56 Kids’ Own Publishing Partnership: Raising the Status of Children’s Voices in Ireland and Australia by by Orla Kenny, Jo Holmwood, Victoria Ryle, and Simon Spain 60 Writing with Children: From Teacher to Writer by Mary Branley 64 The Library as Publishing Hub : Children’s Books by Children and for Children in the Kids’ Own Book Cubby by Margaret Robson Kett 68 Focus IBBY 74 Postcards edited by Barbara Lehman 19, 37, 54 IBBY.ORG 1 55.2–2017 Editorial IN OCTOBER 2 015 , I attended a regional IBBY tions “Translators and Their Books,” and “Children hopping and buzzing—half-human, half-fly. Together actually runs counter to the spirit of true play) conference in New York. One of the highlights and Their Books.” the family tries to swat the “fly” and chase him away, required by the children’s cursed “playthings” finds was a “conversation about illustration” moderated There is yet another reason why it is motivated and eventually, the father succeeds in hitting him. an echo in the beautiful doll in Michael Ende’s by Paul O. Zelinsky; the illustrators were François to use “The Strange Child.” Less known than Pepser disappears. But the story does not end there. Momo. More than anything, it seems to me, the tale Place, Roger Mello, and Lisbeth Zwerger. One of Hoffman’s The Nutcracker and “The Sandman,” this Pepser may be gone, but so is the wonderful strange is both about being a child and growing up. Thus, the moments that has stayed with me from that tale is just as complex and unsettling. And it has child; worse, the discarded playthings in the forest it connects to one of the greatest paradox of chil- event was when Lisbeth Zwerger showed some of something to say about childhood, growing up, play, are now animated, taunting and scaring the children. dren’s literature—describing what it is to be a child her earliest work, miniature illustrations of some and creativity that relates indirectly to the theme of There are other problems: their father is ailing; he while showing the child how to become an adult. classic fairy tales that she had made as an art stu- this Bookbird. thinks that Pepser has cast a spell on him and knows Christlieb and Felix are ideal children (already their dent. Zwerger recounted how she had brought that he will die soon. Before he passes away, however, names give that away); their fairy tale childhood and them to the publisher Michael Neugebauer, who, The two children, Christlieb and Felix, are good and he tells the children, “When I was about your age, the strange child is their guide to their Neverland. impressed by Zwerger’s delicate watercolors, en- “natural”, just like their parents, but an influential that child used to come to me, too, and play with me To preserve that child in one’s heart is essential couraged her to re-draw some of them in a larger uncle considers them primitive and uneducated. He in the most wonderful way.” Ultimately, the children to achieving harmony in life. Pepser and the toys format, more suitable for publication. This resulted sends them beautiful toys. These toys—a doll, a harper and their mother have to leave the house after their represent a perverted view of childhood, of “play,” in Zwerger’s 1977 début as an artist with “Das (music toy), and a sportsman (archer)—fascinate father’s death, but the “strange child” talks to them in and of education. The children’s play and outdoor Fremde Kind” (“The Strange Child”) by E. T. A. the children to begin with, and instead of playing a vision and gives them courage. The tale ends on a games, their creativity, imagination, and integrity Hoffman. Zwerger was twenty-three years old at outdoors like they usually do, they stay in-doors with hopeful note: “Whatever Felix and Christlieb under- are contrasted with the fake education and science the time, but the miniatures date back a few years their toys. Eventually, however, they go out, bringing took was sure to prosper, and they and their mother of Tutor-Ink and the false play of the artificial toys. before that. It is interesting to note that even if the the toys with them into the forest. Now, in the open became quite happy. And, as their lives went on, they Still, one wonders if Pepser in all his hideousness is published illustrations are exquisite and lovely, the air, the shortcomings of the toys become apparent, still, in dreams, played with the Strang[er] Child, a necessary evil. Would the children have remained original miniatures have a charm and originality that and in the end, the sportsman and harper are broken which, never ceased to bring to them the loveliest infants in la la land forever if Pepser had not in some ways rival the finished, published work. and Christlieb throws the doll into a pond. Sometime wonders from its fairy home.” shaken them up and chased away the strange child? This was something that Zwerger herself comment- later, when the children are in the forest again, they Hoffman splits the positive aspects of childhood ed on in her New York talk. In this issue of Bookbird, encounter a “strange child,” who appears to have Already from this brief summary, one can recog- and growing up from the ugly ones into two crea- we reproduce (maybe for the first time?) some of supernatural powers and in whose company nature nize themes central to the discourse of children’s tures: the strange child and Pepser. But childhood these illustrations on the front and back covers. is even more inspiring and beautiful than before. He literature: nature vs. (over)civilization, innocence vs. and growing up is both. One reason why I have chosen to use Zwerger’s warns them of an evil fly-like creature, the Gnome artificiality, childhood (and play) as a state of being In the end, it is because the children both “Strange Child” illustrations on the covers of King Pepser, who can steal away life and happiness separate from adulthood.
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