Hello
Gentle Reader
It
is often misrepresented that if you can talk you can write, as if the two
activities—orating and documenting—are interchangeable. Sadly or thankfully,
they are not. Talking, orating, chatting, conversing, or gossiping is natural
and comes with great ease. It has no concern for punctuation, grammar, syntax
structure, and the feel of words or the appearance of them. It is simply put,
an ease of character in which information is disseminated within an oral and
verbal manner. To talk is to be engaged and engaging. It is a performance and
an act where two or more people are able to collaborate and converse on a
variety of subjects with little to no thought or acknowledgement of logical
organization of paragraphs, sentences, thesis, or concluding ideas. There is no
need to reference sources, and opinions, perspectives, views, and others
matters are liberally shared. Writing on the contrary is more, strenuous. It
has demands. It has rules. It has governance. There are periods, comas,
semicolons, colons, explanation marks, and question marks. Then there are
sentence fragments, comma splices, dangling modifiers, subject-verb agreement
errors, and so on and so forth. Writing demands these rules are followed; but
it also demands an author uses their pen to trek out their own sense of style
and create their own voice; often by disregarding the previously established
rules. Where talking is engaging and often requires the assistance of another
individual or more participants, writing is an introverted and isolative
activity, one that is done singularly and alone. When it comes to writing, it
is only the writer and the page, no one else.
Writing
creatively is a difficult feat on its own. Readers are a varied group. Their
tastes and pallets formed in a peculiar and particular fashion. In a similar
fashion, readers are like wine connoisseurs—some prefer it dry, others prefer
sweet; be it red or white. They can pick up the hints of nuts or berries, the
type of grape; they can disclose its age and the wood used in fermentation.
Similarly, they know the stories they enjoy. The prose they prefer—be it lush
with dense impressionism, or minimal and scant, to the point with an acerbic
decree. They perhaps enjoy the intimacy of romance, or the chill of murder.
Others may prefer the academic and the scholarly, the enjoyment of learning
something new on a subject they enjoy. Despite this, each one has the most
immediate demand placed on the book and the writer: hold my attention.
Ultimately it doesn’t matter how witty the prose, how lush the adjectives, how
poetic the pageantry, how intimate the characters are drawn, or how striking
the story or plot, the reader wants their attention to be held, to be
engrossed, and to be absorbed within the material. Then certainly, the most
difficult readership to obtain and retain would be: children.
Children’s
Literature and the practicing writers of the field are often mistakenly snubbed
or viewed as less then. Critics of the field and the authors mistakenly believe
their work does not carry the seriousness or the gravity of the human
experience, and is not preoccupied with the existential perilousness of life,
and the following crisis’s associated with it. Their work is frivolous entertainment.
It has neither depth nor weight. No message or preoccupation. All they
encompass is the rejuvenating life of spring and the summer light bursting and
sparkling abound. There is no foreshadow or warning to the autumnal dusks or
the winter dirge, the night frostbitten and everlasting. This is a rather
shallow perspective of children’s literature. Of course there are children’s
authors, who right only about the good times or the comical or the frivolous.
They work to entertain immediately, and they do. Despite this, there are
children’s authors who move in more serious directions, subtlety working in
their pages the darkness of the world and its existence even when it’s
unacknowledged, due to naivety or being sheltered.
In
today’s day and age of television, movies, internet, and video games; books,
literature, and the act of reading is considered irrelevant or a dying act. Reading
as an act, as an enjoyment, as a pleasurable activity, is often instilled at a
young age. The benefits of enjoying reading at a young age are often widely
stated and supported by empirical scientific and psychological developmental
evidence. Despite this, children’s authors, the gatekeepers and the initiates,
the first cornerstone of instilling a love for reading and the written world in
the young, are still viewed as: lesser then. They are ghettoized by other
authors. Fran Lebowitz, the famous social commentator, cultural critic, opinion
riddled orator and lecturer, has famously stated the division between adult
audience writers and children’s writers, in the publishing industry, as the two
camps do not communicate or intermingle at all, and openly view each other with
disgust. She famously experienced and saw this feud playout when she ventured
into children’s writing with her sole children’s novel: “Mr. Chas and Lisa Sue
Meet the Pandas.” It’s a whimsical novel where two children meet two
intelligent, pizza eating giant pandas living in their apartment complex in New
York City, who have a longing to move to Paris. After the publication of this
book, Fran Leibowitz discussed how she had entered the no man’s land of the
publishing world. She had vexingly betrayed her orientated side—the side of
serious literature, social commentary, essays and criticism—and moved to the
state of light and frivolity, a land of fairies and ceaseless whimsy; all the
while this land of quaint and charming characters viewed her as an alien, a
mere imposter and certainly not of their own pedigree, their toil and servitude
to maintain the light in the world. This divide and its borders, is certainly
retained to this day; a proverbial demilitarized zone of books, with neither
side wishing to concede. Regardless, children’s literature is perhaps
mistakenly overlooked and underappreciated. The authors working in the field fight
the good fight. They seek to bring in children to the magic of literature, and
instill in them an enjoyment of the written word. Show them they beauty in the
language, and provide them with a moral compass external to their own immediate
environment. Writing for children is then therefore a noble and powerful
pursuit, and apparently an overlooked and a somewhat thankless job.
This
literary snobbish perspective had even found its way to the Swedish Academy and
their deliberations for the Nobel Prize for Literature. Back in the twentieth
century, one of the most read, renowned, and critically acclaimed writers in
the world was Swedish author: Astrid Lindgren, the author of such classical
children’s books such as: “Pippi Longstocking,” “Ronia the Robbers Daughter,”
and “The Brothers Lionheart.” Astrid Lindgren, was loved and admired around the
world, but poignantly endeared in her homeland of Sweden. Despite this, Astrid
Lindgren became a startling voice in Swedish social and political commentary.
Her eye and her pen had proven themselves in their versatility; they could
entertain and delight on one hand, while in the other they could quickly raise
issue and concern with the injustice or the outrageous pilfering of
politicians. Lindgren’s pen became a feared critic of public policy. When
members of the Swedish Academy are asked about Astrid Lindgren and the elusive
Nobel, they bashfully mutter and murmur, almost conceding that denying the
author the award was perhaps a grave mistake on the Swedish Academy’s part.
Whether or not Astrid Lindgren would have gotten the award or deserved the
award for her children’s literature is not entirely clear. The Swedish Academy,
slips into its most apologetic clothes when discussing the matter, while
remaining evasive when posed with any questions regarding personal opinion of
whether or not she should have received the award. Despite this, with or without
the Nobel, Astrid Lindgren, had proven herself to being an endearing and
powerful writer, one who had delighted children and parents, while also taking
a keen interest in them. Her social and political activism and perspectives
often made the world of a difference for the most vulnerable in society,
especially children.
One
man on the Swedish Academy could not be charmed or convinced of Astrid Lindgrens’
talents, and the quality of her work and its powerful idealistic stance in the
form of literature. Artur Lundkvist, was a Swedish Academy member, who despised
the notion of Lindgren receiving the award. It has been recorded and documented
that Artur Lundkvist despised children and by extension children’s literature.
He held the opinion that such works were not serious literature, and therefore
were not deserving or worthy of the Nobel Prize for Literature. Along with
fellow Swedish Academy member, Erik Lönnroth, Lundkvist was able to gather and
campaign enough support within the Swedish Academy to ensure that Astrid
Lindgren never received the Nobel Prize for Literature, which has left its more
contemporary members to take an apologetic air to the matter. Even during the
mid-twentieth century, the omission of Astrid Lindgren caused heated
discussions and public debate. Similar discussions of equal intensity took
place behind the closed gilded doors of the academy. Astird Lindgren did have
her supporters within the academy, such as the late Lars Gyllensten and Knut Ahnlund,
who believed her work shared a purity of vision and ideals to represent the
unyielding kindness and resilience of the human spirit.
Other
children’s authors, such as the Finnish-Swedish speaking writer, Tove Jansson,
have also found themselves cast aside do their preoccupations in writing for
children. Yet, Tove Janssons’ “Moomin,” series were noted for dealing with very
adult preoccupations and themes, such as war, catastrophe, depression, loneliness
among a host of other topics wrapped up in allegories. Her later work targeted
towards adults, carried the same fairytale lightness of her children’s novels
and work, but instead fixated and focused on the darkness of the human hearts
and existence. As for her famous creation, the Moomins, Tove Jansson found them
tiresome and overbearing in her later career and life. The public’s demand for
more stories and tales of the hippopotamus trolls often caused the author to
view them as needless distraction from her artistic vocations. Jansson had once
remarked that her relationship to the Moomins, had become a tiresome marriage.
Her later fiction targeted for more mature audiences, was also well received,
but one can’t help but wonder if Janssons’ early success in children’s
literature had overshadowed her later years, and denied her of greater
recognition. Once again, the question of literary prejudices is at work.
Despite
no exclusive children’s writer winning the Nobel Prize for Literature, writers
and authors of children’s literature do have their own variations of the prize,
specifically, the Hans Christian Andersen Award, the Astrid Lindgren Memorial
Award, and the NSK Neustadt Prize for Children’s Literature. The latter of the
three are relatively new, being formally created during the last decade. Despite
their green roots, their reputations and devotion to the field of children and
youth literature is astounding and appreciated. This being said, the biennial Hans
Christian Andersen Award, is still by all accounts the most prestigious of the
three. It is often referred to as the “Nobel Prize for Children’s Literature.” Not
surprisingly, both Astrid Lindgren, and Tove Jansson received the award.
The
Hans Christian Andersen Award, was first created in nineteen fifty-six, and was
awarded solely to author whose work was primarily devoted to children. Ten
years later, the illustrative branch was added to the award, whereby
illustrators were now included and eligible to receive the award alongside
writers. The goal of the award is to promote reading in children, but also
expand their imagination, while promoting such simple concepts of peace and
solidarity. On such notes, it once again it appears that literature—despite its
form—seeks to promote and affirm the simple humanistic ideals, the same ones in
which people aspire to attain. Yet always miss the mark.
Previous
winners of the Hans Christian Andersen Award include:
Japanese author Eiko
Kadono (2018)
Swedish author Maria
Gripe (1974)
Brazilian author
Lygia Bojunga Nunes (1982)
Irish author
Martin Waddell (2004)
Chinese author Cao
Wenxuan (2016)
Dutch author Annie
M.G. Schmidt (1988)
United Kingdom
author and inaugural winner Eleanor Farjeon (1956)
The
above list showcases the international spirit of the award, especially when
reviewing other large name children’s literature prizes, such as the
aforementioned: Astrid Lindgren Memorial Award which takes a somewhat
Eurocentric vision and has a broader appeal to award institutions and not just
authors; while the NSK Neustadt Prize for Children’s Literature has a minimal
if not dismal approach to any notion of international appeal.
A
couple of the authors listed above were listed due to their unique literary
qualities, when it comes to children’s literature. Others were listed due to
their notoriety, renowned, and recognition as childhood favorites and classics.
Last
year’s winner, Eiko Kadono, was the author that immediately caught my eye, and
is perhaps the sole inspirational reason this column is taking place. The
author grew up in Japan during the Second World, and was sent to the north of
the country away from her childhood home of Tokyo, which was constantly under
threat from bombing blitzes. Her works for children (young and old) compromise
of imaginative and powerful stories befit with characters that are riddled with
hopes and dreams, but are doubted by their faults. Her work is noted for
tracing the strange reality as children begin to cross the barrier into
adolescence, where they overcome fears, foibles, and their own doubts. Her
characters are noted for being complex, eccentric, unorthodox children and
individuals, where these traits assist them to find the courage to overcome the
obstacles, the trials, and the tribulations of their lives and continue moving
forward. All of this is said to have come from the circumstances of Eiko Kadonos
childhood. As previously mentioned she was evacuated from Tokyo during World
War II due to bombings. Her mother died when she was a small child, and her
farther often soothed her with stories, poems and other word games as a child.
Books, in these troubling and difficult early years; removed from her beloved
farther, familiar landscapes, and her whole world; became her only comfort.
Years later, after an early adulthood spent living in Brazil and having
children, Eiko Kadono was encouraged to write. Her first book was about a young
boy in Brazil, based off her own experiences in Brazil and the young boy who had
taught her Portuguese, and the power and rhythm of language. From there, her
writing career expanded to express the unique world of children. A world
riddled with complexities, unorthodox perspectives and solutions, and riddled
with uncertainty, but also abundant with hope and determination. The language
of Eiko Kadono is noted for its unique language, which is riddled with rhythm,
rhyme, and musical qualities to engage and delight her young readers. Her work
is noted for its empowering nature and promotion of young adults seeking
greater autonomy and independence as they overcome difficulties and challenges
as they come of age. Eiko Kadonos novels are regarded and renowned for being
engaging, enjoyable, and life affirming for young readers. These are the
hallmarks of a great writer for children.
Another
unique writer and recent winner of the prize is the Chinese author, Cao Wenxuan.
The work of Cao Wenxuan is noted for detailing, describing, and presenting a
challenging world, which children are not immune from. His work is based off
his own rural and at times difficult childhood in China, during the Cultural
Revolution and Great Leap Forward, engineered by Mao Zedong. These often
difficult and complex external situations—be it: political, cultural, social,
or economical—have lasting impact on the impressionable formative years of
children. Cao Wenxuan delicately approaches the subjects with grace and
compassion as he outlines the difficulties of life for younger readers, in
order for them comprehend and understand the situations, however different or
difficult they are from their own. Wenxuan’s work is blunt in the fact that it
openly discloses, and discusses the often difficult and challenging situations
children are faced with. His characters are noted for being courageous and
resilient as they overcome the obstacles they are faced with. Circumstances
though, can be tragic, to which, the children are once again forced to overcome
and persevere through. With a combination of lush prose, strong characters,
powerful personalities, a gentle disclosure and most importantly: hope, Cao
Wenxuan is able to discuss the human condition in full and frankly, with his
childhood readers. His work is not patronizing, or providing sheltered naivety.
It is engrossingly enjoyable and honest, seeking to expand their understanding
of the world and life, including the otherwise difficult and tragic, and
therefore provide them the ability to move forward and preserve through the
unexpected challenges that they will certainly face in life.
Children’s
literature then is a medium and media form, where children first begin to
understand the greater world beyond their immediate reach or understanding. It
helps them empathize and understand the world through the experiences of
otherwise fictional characters, while being entertaining, enjoyable, and
holding the attention of the readers. Children though as a target audience for
any writer would still be the most difficult to retain and maintain their
attention. Reading still regarded as a boring activity. It can’t quite compare
to playing with friends, or the television, or video games which equally vie
for their attention. Yet those that do find themselves wrapped in the pages of
a book a world awaits them that is all their own, who could imagine anything
quite as personal, private, and enjoyable as that?
Children’s
literature is still an act in which one is destined to outgrow. It’s an
expectation, where an individual is to move on to more serious novels or short
stories, and other aspects of literature, which detail, and contemplate the
human condition away from the fantasia and fairytale sunlit grove, which first
oriented them to the world of books. Despite this, writers and authors of
children’s books have clarity of vision and deftness of spirit to look at the
world and provide at times sobering thoughts and observations. They know the
importance of being eloquent and precise, while having sober opinions of the
world, especially an intuitive understanding towards the otherwise overlooked
and vulnerable, such as children. In this example one doesn’t need to look far
to see the revolutionary changes a children’s author can orchestrate. Take for
example, Astrid Lindgren, her popularity as an author, allowed her in her later
years to provide commentary and thought on matters, which would ultimately
change social conventions, such as corporal punishment. Her acceptance speech
in nineteen-seventy eight (1978) as the winner of the Peace Prize of the German
Book Trade, provided her the platform and stage, to ensure children were free
from corporal punishment and abuse by law. Not surprisingly, Sweden was the
first to enact the legislative feat, and other countries quickly debated the
merits. The story gains further poignancy, when two young orphans living in
foster care in Germany, ran away from their abusive foster home and ended up on
Astrid Lindgren’s doorstep. She ultimately assisted them in returning home,
with conditions that they were treated with dignity and respect. Ideals she
longed for all children, animals, and other vulnerable sectors and members of
society, who are often at the mercy of more powerful individuals. The New
Zealand author and Hans Christian Andersen nominee, Joy Cowley, makes this
point explicitly clear, when she states: “Books must always make small the
winner.” In this, Joy Cowley states that children often feel powerless to the
world around them, their environment, their own life, and the adults who
oversee them. Books then should be the safe haven for children to experience a
world where they are no longer powerless and in the end become the winner.
Despite
it all, children’s literature is still reviewed and viewed with a bit of
snobbery, by readers and critics alike. This would include me. Still, the act
of writing for children is a noble pursuit. These authors hold a special place
in the hearts of children, as they will be the ones who orient them to the
world of books and literature. The best books for children should never conceal
the world, with all its bruises and pains. These books can instill a strong
idealistic stance on young readers, to provide them another perspective on the
world, instill in them a strong sense of justice and moral compass. On these
grounds it should come to no surprise why some children’s books and authors are
the most quick to being banned, or censored, or prohibited from being shelved
and included in school libraries. When we speak of injustice by the perspective
of a child, it will most likely be more concrete then the abstract forms adults
will understand. Injustice can be attributed to adults, who behave with
indignity and arrogance, who openly exploit or harm other individuals. This is
where individuals such as Pippi Longstocking, who opposed the intolerance and
cruelty of others. Perhaps this is why Roald Dahl is often censored and or
banned from schools. His work often showcases two worlds: the one of disdainful
and careless adults, and often clever as well as rebellious children, who pull
elaborate pranks against the adults, who ignore, neglect, and treat them with
disdain. Such literary works would most certainly see the world of children
revolting against the adults, and though children become adolescents who fight
for greater agency, it is the natural course of life.
Though
I can’t see an exclusive children’s writer winning the Nobel Prize for
Literature now, or in the near future, their work is still admirable on its own.
They have a strength in vision, clarity in words, and a special entertaining
subject, which delights and entertains children, who would most certainly be
the most difficult audience, and fiercest of critics. These authors, become guiding and idealistic
pillars of strength and guidance, for children as they begin the slow and
pain stacking process of coming into their own in a world that is far from
kind, humanistic, or generous. Yet, it is the authors like the late Judith
Kerr, who see hope in the faces of children, who believe they are slowly
beginning to make for a kinder world, a nicer world, a better world then the one they
have inherited. It is perhaps with hope that it is and was the children’s books that
they read, which led them to maintain such strong ideals, virtues and values.
Thank-you
For Reading Gentle Reader
Take
Care
And
As Always
Stay
Well Read
M.
Mary
