tag:blogger.com,1999:blog-52798593373877105102024-02-20T23:43:53.482+00:00Reading Fictions: Representations of books, readers and reading in children's literatureReading Fictions is a project funded by the British AcademyUnknownnoreply@blogger.comBlogger22125tag:blogger.com,1999:blog-5279859337387710510.post-60056698437631084432014-01-14T11:10:00.002+00:002014-01-14T11:35:52.757+00:00Are we losing the ‘art of reading’ in the digital age?<!--[if gte mso 9]><xml>
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by Sylvia Warnecke</div>
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<img alt="Ghana student reading with Worldreader CoFounder David Risher" border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVqrfl1RyUyM2PUAQwlSIYgZV5kD9Av4QV_1HQXxWu63VWRMq2NqY1T1de879PTnzsOC5jWLssR-Qtv2MR1OJwRjkDUFj0Q3TBk79EI1wtmq68y-SBXUvWN_bqUQ4pWrwXsgpO4km6N6Xp/s320/Ghana_student_reading_with_Worldreader_CoFounder_David_Risher.jpg" width="320" /> </div>
<a href="http://en.wikipedia.org/wiki/File:Ghana_student_reading_with_Worldreader_CoFounder_David_Risher.jpg">Ghana student reading with Worldreader CoFounder David Risher,</a><span lang="EN-GB"><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">©Worldreader</span></span><br />
<div class="MsoNormal" style="line-height: 115%;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span lang="EN-GB">When searching
sites such as <i style="mso-bidi-font-style: normal;">amazon</i>, it is
surprising to see the number of recent publications that express anxieties
about the ‘loss of reading’. We come across titles such as David Ulin’s <span style="color: #0b5394;"><span style="background-color: white;"><a href="http://www.amazon.co.uk/gp/product/1570616701/ref=pe_28611_36570351_email_1p_0_ti" target="_blank"><span style="mso-bidi-font-family: Arial;">The Lost Art of Reading: Why Books Matter in a Distracted Time</span></a></span></span></span><span class="prtitle"><span lang="EN-GB" style="mso-bidi-font-family: Arial;">,<span style="color: #336699;"> </span>Sven
Birkerts’ </span></span><span style="color: #0b5394;"><a href="http://www.amazon.co.uk/gp/product/0865479577/ref=pe_28611_36570351_email_1p_3_ti" target="_blank"><span lang="EN-GB"><span style="mso-bidi-font-family: Arial;">The Gutenberg Elegies: The Fate of Readingin an Electronic Age</span></span></a></span><span class="prtitle"><span lang="EN-GB" style="mso-bidi-font-family: Arial;">, or </span></span><span lang="EN-GB">Jeff
Gomez’<span style="color: #0b5394;"> <a href="http://www.amazon.co.uk/gp/product/0230527167/ref=pe_28611_36570351_email_1p_7_ti"><span style="mso-bidi-font-family: Arial;">Print Is Dead: Books in our Digital Age</span></a></span></span><span class="prtitle"><span lang="EN-GB" style="mso-bidi-font-family: Arial;">. Such titles
alone convey a pessimistic rhetoric using terminology of ‘fate’, ‘death’ or ‘loss’.
But what are these books really mourning? What are we losing in these
‘distracted times’? </span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span class="prtitle"><span lang="EN-GB" style="mso-bidi-font-family: Arial;">To find answers, one just has to
look for the readers’ comments on these books, which confirm that authors as
well as readers seem to find it difficult to pinpoint this sense of loss when they
amalgamate the written word, print, reading, time, silence, distraction and many
‘feelings’ in one equation. </span></span><span style="color: #0b5394;"><span lang="EN-GB"><a href="http://www.amazon.co.uk/gp/pdp/profile/A2T7JK9FLC8V0N/ref=cm_cr_dp_pdp"><span style="mso-bidi-font-family: Arial;">S Riaz</span></a></span></span><span class="prtitle"><span lang="EN-GB" style="mso-bidi-font-family: Arial;">, one of Ulin’s readers, asks: “</span></span><span class="mhrhead"><span lang="EN-GB">With so many things competing for our time, is
there still a place for books in our life?” and gives an interesting answer: “</span></span><span lang="EN-GB">[Ulin] is not overly negative, but he is quick to point out the
delights of 'real' books over ereaders and to say he dislikes the 'grey'
uniformity of the kindle screen. […]I have to disagree with him. I find reading
my kindle as engaging as reading a book and a useful tool for having many books
with me when I travel.<span style="background-color: white;">" <span style="color: #0b5394;"><a href="http://www.amazon.co.uk/gp/product/1570616701/ref=pe_28611_36570351_email_1p_0_ti">Las
cosas’ comment</a></span> </span>adds to the impression that Ulin’s argument might have
missed rather than hit the nail on the head: “I also found his argument for
reading too meandering, too filled with personal stories. One problem with the
internet is that it is too easy to wander off subject, to flit on the surface
of endless topics. It is thus ironic that this book suffers from the same
problem.” <span style="color: #0b5394;"><a href="http://www.amazon.co.uk/gp/product/0865479577/ref=pe_28611_36570351_email_1p_3_ti">Andrew
Stauffer</a></span> reveals another contradiction in our anxieties about reading when
commenting on Birkerts’ text: “[He] doesn't approve of what you're doing right
now. Reading (or writing) an on-line review of his recent book, is like
discussing an exercise program over hot fudge sundaes: we are participating in
the burgeoning electronic culture that Birkerts urges his readers to resist.”
And <span style="color: #0b5394;"><a href="http://www.amazon.co.uk/gp/pdp/profile/A6ZP23QE44F7K/ref=cm_cr_dp_pdp">Stephen
Bishop</a></span> highlights that Gomez: “gets seriously confused between whether it
is books as printed objects which are dead, or the habit of reading books which
is in decline - and would still be so if all books were on e-readers.”</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB">Many recent studies of children’s reading
habits focus on similar anxieties and their findings reveal similar confusions.
<span style="color: #0b5394;"><a href="http://mediaroom.scholastic.com/kfrr">Scholastic’s The Kids &
Family Reading Report</a></span> is one such example exposing apparently conflicting
messages: “</span><span lang="EN-GB" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Half of children
age 9-17 say they would read more books for fun if they had greater access to
ebooks – a 50% increase since 2010. […] Eighty percent of kids who read ebooks
still read books for fun primarily in print [and] fifty-eight percent of kids
age 9-17 say they will always want to read books printed on paper even though
there are ebooks available (a slight decline from 66% in 2010).” Yet, even
these slight changes “reveal the digital shift in children’s reading that has
begun.” This discovery is clearly mirrored in the results of a </span><span style="color: #0b5394;"><span lang="EN-GB"><a href="http://www.literacytrust.org.uk/media/5371"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">National Literacy Trust survey</span></a></span></span><span lang="EN-GB" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> published in May 2013, which
found that for the first time children read more on digital devices than using
print media. The development is coupled with parents’ worries about a decline
in their children’s reading skills and enjoyment in reading. The NLT study findings
contradict those made by Scholastic that reading on screens has a positive
impact on the young readers’ enjoyment, although it appears that there is yet
another area of blurred boundaries. This is the distinction between reading as
a skill and reading as a way of engaging with stories. </span></div>
<div class="MsoNormal" style="line-height: 115%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Uncertainty
among adults about the implications of this ‘digital shift in reading’ causes apprehensions
that </span><span lang="EN-GB">go hand in hand with a strong sense of loss when
it comes to print books. The BBC 2 broadcast <i style="mso-bidi-font-style: normal;">Books: the Last Chapter</i> in late 2011 sparked <span style="color: #0b5394;"><a href="http://futurebook.net/content/imagine-e-book-you-dont-need-sniff-prove-its-real">much
debate</a></span> and was labelled over-nostalgic when lamenting the disappearance of the print book. Many claimed this approach misses the ‘real issue’, the fact that the media we use
for communication of our ideas define and shape our society. <span style="color: #0b5394;"><a href="http://www.theartsdesk.com/tv/imagine-books-%E2%80%93-last-chapter-bbc-one">Theartdesk</a></span>
review states: “Obviously, the object that is the book has a diminished future but the words,
the content, will always survive whatever the medium of delivery. […] It’s easy
to disagree with McLuhan’s maxim that society is shaped more “by the nature of
the media by which men communicate than the content of the communication”. But
seeing a row of tablet readers being stared at on an underground train causes a
jolt.”</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span lang="EN-GB">So what many are
lamenting appears to be the loss of an artefact they knew well and all the
values and emotions attached to it. Yet reading itself has probably never been
as wide-spread and manifold as it is today. However, the nature of reading is
changing. One of these transformations is the link between the image and the
written word that has opened up scope for a multitude of new literary forms.
Another is the emergence of the ‘wreader’ who switches between reading and a
writing fiction. And a third is highlighted by the immense increase in the
number of book clubs, reading circles, literary societies, (fan) communities
on- and offline revolving around stories in the widest sense. Writing and
reading have become more immediate, and what <span style="color: #0b5394;"><a href="http://www.lambdaliterary.org/features/08/27/did-gertrude-stein-predict-the-internet/">Gertrude
Stein</a></span> said on the nature of print journalism in 1934 holds true for our
communication of stories today: “The reader […]<span style="mso-spacerun: yes;">
</span>craves the “feelings” associated with experiencing “happenings,” without
which the reader would feel disjointed, out of time; “it is like the sun
standing still…. [Y]ou cannot call a day a day if it is not a day if nothing
that had been happening has happened on that day.” Therefore, the fact that
reading is changing and becoming a more instantaneous, social and sociable
experience through the affordances of digital media, it is creating the
potential to enhance the impact of stories and their creators in our culture.</span></div>
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<![endif]-->Sylviahttp://www.blogger.com/profile/10909831298439957497noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-63017559050626735792013-12-09T08:30:00.000+00:002013-12-09T08:30:04.035+00:00The tiresome nature of “good” readersby Kim Reynolds<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5T5CT4pLddBbZgaiKkwD9QMyXtMMzdaWAnajtF5PjJ9mNpIDXK85xAev24X654wYBamPv-JWaqCGG-jqxehUBTr2VKp6qhwDsXQ4Z2pPWNBHoWJgumzTfZRPil64gjbsrfDtlYk6c3cY/s1600/puritan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5T5CT4pLddBbZgaiKkwD9QMyXtMMzdaWAnajtF5PjJ9mNpIDXK85xAev24X654wYBamPv-JWaqCGG-jqxehUBTr2VKp6qhwDsXQ4Z2pPWNBHoWJgumzTfZRPil64gjbsrfDtlYk6c3cY/s400/puritan.jpg" width="400" /></a></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I’ve recently been re-reading some of
the Puritan stories for children about the deaths of children who have been
favoured by God, including the most famous examples featured in James Janeway’s
<i>A Token for Children</i> (1671-22). Now
that this project has sharpened my focus on how readers are represented, it
strikes me that these offer the earliest examples of ambivalent representations
of readers in children’s literature. “Ambivalent” might be too kind a term, for
there is something deeply disturbing about the way these children – figures we
are intended to admire and emulate – read. What they are reading is, of course,
the Bible and other “good” books; doing so makes these “good” children who are
granted “good” deaths. But even allowing for the distortions of presentism, it
is hard not to see these readers are irritating. Let me give you some examples.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Janeway’s third paragon
is Mary, “a little Girl that was wrought upon, when she was between Four and
Five years Old”. Mary is a great reader, and at several points Janeway
describes what and how she reads. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Her book was her delight and what she did read, she loved to
make her own […] and many times she was so strangely affected in reading of the
Scriptures, that she would burst out into Tears, and would hardly be pacified….<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">She was very Conscious in keeping the Sabbath, spending the
whole time in Reading or Praising, or learning her Catechism, or teaching her
Brethren and Sisters…<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Mary didn’t just read or confine her
teaching to her siblings; she gathered together local children in the
neighbourhood and told them how to spend their Sundays. You don’t get any sense
that they appreciated her counsel. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Like Mary, most of
Janeway’s child paragons are dedicated readers of the Bible who have clearly
not mastered the art of silent reading. They weep and groan and expostulate to
such an extent that in the case of one little boy who “When he was left at home
alone upon the Sabbath days, he would be sure not to spend any part of the day
in idleness & Play, but busied in praying, reading in the Bible, and
getting of his Catechism,” a neighbour is driven to complain about the way the
he is carrying on. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%;">Previously I had
assumed that the first question marks about how readers are represented to
children were placed around readers who were reading the wrong kinds of texts
or reading them in the wrong way, but my return to these very early texts is
making me think again….<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-91113097554932018802013-12-02T08:30:00.000+00:002013-12-02T08:30:01.756+00:00 “Are you sitting comfortably? Then I’ll begin”<div class="separator" style="clear: both; text-align: center;">
by Maureen Farrell</div>
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This contribution drawing attention to the importance of
reading aloud follows on from something Prue Goodwin talked about in her input on
Margaret Mahy (September 2013) when she reminded us how good Mahy was at
celebrating the power of listening to good books read aloud.<o:p></o:p></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQmdI7L-q32nH7uxFIOGA1G1ooo6oPyqJMmBDo3TuF7dXGvoy1z_XWplCQXpnVwT_Fq_j25BDwyoNgjnFQtDF13YyAiY8FHxNdtPVykALxRcRaWYG_uKRgZ7DZaMsFbYBKJp6DF4q45_c/s1600/mocking.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhITeRJDcqaLV6-nL2PMa7mqWvkYM2BveZgOgYNjsqUlM8xNUD5g5_YuzanB4v0I5zbO2K7-gwEFoZ_3VDfuGZ1fv5FrDQalBD7WkE_DBffIDDWhNVNRNcQxCOaDV3h4Vy2BFkapldyGLg/s1600/inkheart.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhITeRJDcqaLV6-nL2PMa7mqWvkYM2BveZgOgYNjsqUlM8xNUD5g5_YuzanB4v0I5zbO2K7-gwEFoZ_3VDfuGZ1fv5FrDQalBD7WkE_DBffIDDWhNVNRNcQxCOaDV3h4Vy2BFkapldyGLg/s1600/inkheart.jpg" /></a> My involvement in the Reading Fictions project has focused on the place
of books and reading in young adult fantasy fiction and among the material I’ve
focused on is Cornelia Funke’s <i>Inkheart</i>
trilogy. <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">In <i>Inkheart</i>,
twelve-year-old Meggie discovers that her father </span>Mortimer<span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">, a professional bookbinder, has the unusual skill of
being able to transfer characters from books into the real world when he reads
aloud. </span>Meggie’s father’s ability to read “ almost tenderly, as if every
letter were a musical note and any words spoken without love were a discord in
the melody” means that even the most hard bitten audience is caught in the
thrall of the words on the page. Funke takes the idea further so that the
reader in the book has to read the text aloud in such a way that the fantasy is
realised not just in the reader’s mind but in reality. Characters are ‘brought into
or out of” the books if the passage about them is read aloud.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQmdI7L-q32nH7uxFIOGA1G1ooo6oPyqJMmBDo3TuF7dXGvoy1z_XWplCQXpnVwT_Fq_j25BDwyoNgjnFQtDF13YyAiY8FHxNdtPVykALxRcRaWYG_uKRgZ7DZaMsFbYBKJp6DF4q45_c/s1600/mocking.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQmdI7L-q32nH7uxFIOGA1G1ooo6oPyqJMmBDo3TuF7dXGvoy1z_XWplCQXpnVwT_Fq_j25BDwyoNgjnFQtDF13YyAiY8FHxNdtPVykALxRcRaWYG_uKRgZ7DZaMsFbYBKJp6DF4q45_c/s320/mocking.jpg" style="cursor: move;" width="196" /></a>The importance of reading aloud to children is widely acknowledged both in the
classroom and at home. <i>The
Secret Garden </i>and Alcott’s<i> Little
Women. </i>Then we read <i>War Horse </i>(Morpurgo)<i> </i>and<i>
</i>Theresa Breslin’s <i>Remembrance</i> and
most recently we finished Harper Lee’s classic, <i>To Kill a Mockingbird </i>and both of us found Scout’s first experience
of school and a recently qualified teacher very pertinent. Scout arrives at
school already able to read because she has read everyday with her father
Atticus. The teacher is horrified that Scout (Jean Louise) is able to do this
and says Atticus is not to read with her any more – the implication being she’s
to forget all the ‘bad habits’ she has been taught at home. How the thinking
has changed – one hopes!<o:p></o:p></div>
Recently however, I have been reflecting on the pleasure
adults get from being read to. My elderly mother, a former primary teacher and
early years specialist, is now in a care home and her eyesight is so bad she
can no longer see to read herself. Consequently I have begun reading aloud to
her (and sometimes an uninvited audience of care staff) and have been struck by
the pleasure she gets from this. We started with Agatha Christie and then some
classics, Frances Hodgeson Burnett’s <br />
<br />
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Searching around for material to read aloud I came upon a
wonderful organisation called The Reader Organisation <a href="http://www.thereader.org.uk/">http://www.thereader.org.uk/</a> a
charitable organisation working to connect people with great literature through
shared reading. <o:p></o:p></div>
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Their ‘reading revolution’ targets some of the most
vulnerable and excluded people in our society, i<span style="background: white; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ncluding
prisoners and people in secure forensic psychiatric settings, children in care
or excluded from school, and people suffering dementia and severe depression;
as well as company employees, library users, students, parents, people entering
retirement and those at risk of isolation. They do this through their ‘Get into
Reading’ groups which bring people together weekly in read aloud reading
groups. Their website has a wealth of valuable information but the readers
stories have particular impact.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDeS4W88cKC9VIsG7d6b8DzuwrNrpHZKIffbA0SdA24bfgrMsxLahDjZ6HqwhMuAZlDNjXMkHG5gKXhH1akJ-Qy2K79ZiI_VzQMIWMPycf5bn8yphFxDO-kwzzf8uqP8_Bk41zoaN7vEQ/s1600/reading+org.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="63" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDeS4W88cKC9VIsG7d6b8DzuwrNrpHZKIffbA0SdA24bfgrMsxLahDjZ6HqwhMuAZlDNjXMkHG5gKXhH1akJ-Qy2K79ZiI_VzQMIWMPycf5bn8yphFxDO-kwzzf8uqP8_Bk41zoaN7vEQ/s320/reading+org.png" width="320" /></a></div>
<o:p></o:p><br />
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<span style="background: white; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Recently I was working with a
group of one-year secondary English teacher trainees and I used a passage –
actually an advertisement for a Pioneer car Hi Fi system – that reads like a
Gothic horror story. They were not provided with the text and they were asked
to respond to it, generally about whether they were able to identify the
purpose of the piece of writing from the generic features. What was surprising
was that many of their initial responses centred round how much they had
enjoyed being read to and that led on to discussion of the fabulous resources
that the digital age gives us access to through iPods, MP3 players, phones and
so on. I have friends who swear that Stephen Fry reading the <i>Harry Potter</i> books kept them and their
three children fully engrossed when travelling by car from Elgin to London. <o:p></o:p></span></div>
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<span style="background: white; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Let’s not just keep reading aloud
for the primary classroom or for bedtime stories. Sharing the joy of reading
through reading aloud is a hugely underused and underestimated approach. So,
are you sitting comfortably?.........</span><o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-9726584605328475672013-11-25T09:00:00.000+00:002013-11-25T09:00:12.064+00:00CLASSIC CONTRIBUTIONS 2<div class="MsoNormal">
by Peter Hunt</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxGc-3o57dJnOIT73db-J0z8qCBsib1nviGgN1PsrUbyomOibIL-scqN9zOK45xHE9tkoUUgtLnUjgr1JUFmTssqnPlzkIgQdVjiwPXBOKUYZixRMvTjFO3i_SvnTO8zvPrRA7mcsY6I/s1600/baby.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BXDuyqF5pGgRkD5W6Npj1wT0ev18vQQ6xS_gO_IiRifgia4YhiNAzZ9fVRGRE-CWKOTpV10QP4Y54vRH_WNDBhfg6TrRjYyWcJ8shvHHFFiL8BPDMAPjjaIOC0GnevUvS3LkPPOA-mY/s1600/childness.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BXDuyqF5pGgRkD5W6Npj1wT0ev18vQQ6xS_gO_IiRifgia4YhiNAzZ9fVRGRE-CWKOTpV10QP4Y54vRH_WNDBhfg6TrRjYyWcJ8shvHHFFiL8BPDMAPjjaIOC0GnevUvS3LkPPOA-mY/s320/childness.jpg" width="212" /></a></div>
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We have been looking at examples of images of the child
reader <i>in </i>the book, being read by the
child reader <i>outside</i> the book –
although ‘outside the book’ isn’t really an adequate description of what is
going on, because if the book is a success then the reader is, in some strange
way, absorbed <i>into </i>the book. But when
this happens, and the reader with the book identifies with the reader in the
book, how and why does it happen?<o:p></o:p></div>
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One theory was put forward in another classic critical text from
the golden age of the unique children’s literature journal <i>Signal </i>- Peter Hollindale’s <i>Signs
of Childness in Children’s Books </i>(Thimble Press, 1997). What characterises
a successful text for children, Hollindale suggested, was the presence of ‘childness’
– the quality of being a child – and it is a quality that is ‘shared ground …
between adult and child.’<o:p></o:p></div>
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He goes on:<o:p></o:p></div>
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I wish to argue … that childness
is the distinguishing property of a text in children’s literature … and it is
also the property that the child brings to the reading of a text. At its best,
the encounter is a dynamic one. The childness of the text can change the
childness of the child, and vice versa. On other occasions of reading the
encounter is only a mirroring – conservative and confirmatory. <o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxGc-3o57dJnOIT73db-J0z8qCBsib1nviGgN1PsrUbyomOibIL-scqN9zOK45xHE9tkoUUgtLnUjgr1JUFmTssqnPlzkIgQdVjiwPXBOKUYZixRMvTjFO3i_SvnTO8zvPrRA7mcsY6I/s1600/baby.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxGc-3o57dJnOIT73db-J0z8qCBsib1nviGgN1PsrUbyomOibIL-scqN9zOK45xHE9tkoUUgtLnUjgr1JUFmTssqnPlzkIgQdVjiwPXBOKUYZixRMvTjFO3i_SvnTO8zvPrRA7mcsY6I/s320/baby.jpg" width="238" /></a>Hollindale is proposing a wide theory of children’s
literature, but is worth borrowing his idea of childness and applying it to our
present project. He sees children’s literature as an <i>event</i>, an interaction between child and adult and book – what I
have described elsewhere as being the mutually respectful negotiation of the
Tom Tiddler’s ground between adults and children. Empathy derives from sharing,
and childness, as Hollindale defines it, is the basis for that empathy: ‘For
the child, childness is composed of the developing sense of self in interaction
with the images of childhood encountered in the world…’ and these naturally
include the images of childhood within books – and especially the image of the
child reading in books.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg27G5CjdxUTjXJ7mVFtWn-eLq0ur4Wts_cA9LEu7rBwRPyWRcZtMo5_uLsyUhPb_BLhrCZAvz-p4mRkTJxsIpSGxqGZN692nCHyjgUBJWh3Klvd0YJsOtN5LzWEhjF1Zx4FQJULmj8fu4/s1600/dahl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg27G5CjdxUTjXJ7mVFtWn-eLq0ur4Wts_cA9LEu7rBwRPyWRcZtMo5_uLsyUhPb_BLhrCZAvz-p4mRkTJxsIpSGxqGZN692nCHyjgUBJWh3Klvd0YJsOtN5LzWEhjF1Zx4FQJULmj8fu4/s1600/dahl.jpg" /></a>Successful reading depends to some extent on empathy: we
like what we see when we read. Obviously, childhood changes with time and
place, and concepts of childness change at the same time. Similarly, empathy is
a very vulnerable concept: a writer who seems empathetic to the needs of
children, recognising childness in them and in herself or himself, might seem
to some adult readers to be manipulating the concept for her or his own ends
(whisper it, as in the Case of Roald Dahl). <o:p></o:p></div>
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<br />
Nevertheless, the validation of reading by the presence of
reading children in fiction sends a strong empathetic message. And as
Hollindale observes, this is uniquely an attribute of the book.<o:p></o:p></div>
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It is precisely the conjunction
of exterior with interior action…which gives the children’s book its special
place in helping a reader to build and diversify her sense of childhood
possibility…. The representation of childhood for children [on film and
television] is sparse and incomplete…Children who do not read books are exposed
to a fictional life made up almost exclusively of adults. What we see is – to
use an ugly word for a fairly ugly phenomenon – the defictionalising of
childhood. <o:p></o:p></div>
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The acknowledgement of shared ‘childness’ through shared,
empathetic reading is a powerful antidote to this accelerating trend.<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-47236432187713635732013-11-18T14:27:00.000+00:002013-11-18T14:27:21.551+00:00The political convenience of a non-reading culture<a href="http://2.bp.blogspot.com/-Q3R358dJ1KU/Uoohu2cQABI/AAAAAAAAANU/Uf0OJ-IpxSQ/s1600/library.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/-Q3R358dJ1KU/Uoohu2cQABI/AAAAAAAAANU/Uf0OJ-IpxSQ/s320/library.jpg" width="320" /></a> by Kim Reynolds<br />
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During the time the Reading Fictions group has been meeting
I have had reason to look at attitudes to reading from the seventeenth to the
twenty-first century, and it recently struck me that there are some rather
disturbing patterns in the way those in power regard reading. These patterns
inform how readers are represented in fiction in ways that deserve some attention.
<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnZwsI4GjDeYWnawwwDaSnondgEIGzuYMYr3D514pfCrd1AtbW4k73iqyqAk9XN_1QiNLa-XPtYGzlTxRMfkR5Ia6kMt4FZjJ7QRSnzif0U2n-BJrYUIuQQi2u1QazlqZQpQAzU2ojnLY/s1600/goody.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnZwsI4GjDeYWnawwwDaSnondgEIGzuYMYr3D514pfCrd1AtbW4k73iqyqAk9XN_1QiNLa-XPtYGzlTxRMfkR5Ia6kMt4FZjJ7QRSnzif0U2n-BJrYUIuQQi2u1QazlqZQpQAzU2ojnLY/s320/goody.jpg" width="245" /></a></div>
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<i>This image taken from: http://abookbutcher.blogspot.com.au/</i></div>
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For many centuries reading was the preserve of a powerful
educated minority. Its members largely selected who would or would not be
trained to read – normally this was confined to those like themselves that they
trusted and admired or those whose skills and services they needed in one
capacity or another. Although as can be seen in the example of <i>The History of Little Goody Two-Shoes</i>
(1765), from the earliest days of commercial publishing for children many
children’s books appear to be dedicated to teaching the young to read, essentially
they convey the belief that full literacy in the sense of the ability to engage
with and interrogate a wide range of texts is a skill that is not to be trusted
to all. In her <i>Preface to <span style="font-size: 12pt; line-height: 115%;">The
Governess, or little female academy</span></i> (<span style="font-size: 12pt; line-height: 115%;">1749) Sarah Fielding
distinguishes between true and false ways of reading. The ‘true Use of Reading’
she explains, is ‘to make you wise and better’. ‘Wiser and better’ is an
ambiguous phrase which could mean, among other things, wise enough to know your
place, for instance or better able to serve those in authority over you. Or
perhaps wise enough to know when reading might prove unsettling and lead to
dissatisfaction, disobedience and even rebellion.<o:p></o:p></span><br />
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Even when universal compulsory education was introduced into
schools in England in 1880 it was with a view to providing different levels of
literacy, largely on the basis of class. The upper classes (especially
upper-class males) received a wide-ranging classical education while workers
were taught just enough to help them decode instructions and the Bible. Debates
in the British parliament show a clear connection in the mind of the governing
classes between reading and insurrection. As the Reading Fictions group has
shown time and time again, representations of readers and reading show the
legacy of these ideas about who is and is not to be portrayed as a reader. And
this brings me to my point. For all the
rhetoric and activity around the importance of teaching young people to read
and cultivating the habit of reading in them over recent decades, it continues
to be the fact that in terms of printed texts at least, reading skill and
stamina are not increasing. Students reading English literature often struggle
with long novels, and as families and nations we dedicate time to many
activities (particularly sport) but apart from the much-criticised ‘literacy
hour’, there has been no attempt to ensure that time is made for reading
regularly.<o:p></o:p></div>
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<o:p></o:p></div>
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While no government wants to preside over a population that
is slipping down the educational league tables, at many levels it is easier to
manage a population that reads little and is principally drawn to undemanding
recreational reading. This is the unwritten assumption behind much
neoconservative thinking: the ‘good’ can be trusted with knowledge and ideas
that in the masses are likely to be misused. Arguably changing this state of
affairs needs to start by changing how readers are represented – not just in
books (most likely to be encountered by a self-selecting group) but in all the
other kinds of texts the young encounter.
Let’s hope the current generation of children’s writers will give us
some dynamic, charismatic, and heroic readers of all backgrounds, sexes, ages
and cultures.</div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-69723317517088931302013-11-07T14:50:00.001+00:002013-11-07T15:07:03.963+00:00CLASSIC CONTRIBUTIONS 1by Peter Hunt<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyqBh3Jl0c98D7j5Mc2vBHYmLNgXchvMreBQAv7lePOW1pamkaRjGE_jDcaSAKpcb2xyMQ0xnvsWItkSukxoS905zQ8POlXpIJP23qBSPScqAtPvdflK9P62fRArSOngC9t4WH6Q15SYc/s1600/meek.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyqBh3Jl0c98D7j5Mc2vBHYmLNgXchvMreBQAv7lePOW1pamkaRjGE_jDcaSAKpcb2xyMQ0xnvsWItkSukxoS905zQ8POlXpIJP23qBSPScqAtPvdflK9P62fRArSOngC9t4WH6Q15SYc/s320/meek.jpg" width="200" /></a>The 1970s and 1980s were a golden age for writing about
children and reading (if not for
writing <i>for</i> children), and
one of the most remarkable pieces of work was <i>How Texts Teach What Readers </i><i>Learn </i>(1988) by the remarkable Margaret Meek, first published in <i>Signal</i>.
‘A workshop rather than an essay or a lecture,’ <i>How Texts Teach… </i>builds on Frank Smith’s dictum that
‘children learn to read by reading’, most importantly by arguing that we learn
to read by becoming <i>involved</i> in what we read. Children have often
acquired many ‘reader-like behaviours’ before they come to books, the most
important of which are recognising patterns and genres, and understanding that
reading is a game with rules. All of this may seem a world away from some of
the classroom practices of today: ‘what texts teach is a process of discovery
for readers, not a programme of instruction for teachers.’ Meek takes as her
examples books that collude with developing readers, mirroring within the texts
the child’s own acts of reading – notably Janet and Allan Ahlberg’s <i>The
Jolly Postman </i>(1986) an exercise in Intertextuality that depends on the
characters in the book reading ‘other people’s letters’. </div>
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She cites the
frustration that Huck Finn has with Tom Sawyer’s book-based imagination in <i>The
Adventures of Huckleberry Finn</i> – and best of all, the small William in the
late (and often inspired) Jan Mark’s ‘William’s Version’ from <i>Nothing to Be
Afraid Of</i> (1980). Reading is (or can
be, or could be) an enveloping experience, made all the more seductive by
watching a reader in a book struggling with the process. Here is the
pre-literate William, teaching his Granny about reading:</div>
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<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Add40m7e6ENRB5DRhdE7OU_wpxyR7P-_lCarIEPXIPw2fx3YUlAKp3MxKGXXGXkuh9zQBtiQ0INSn-7HznR7Xt5TOJqGHshT3YWjSAQ7T6BjXr6GTKSSUjXNCZ-cZ997dNUwTeTBg4k/s1600/mark.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Add40m7e6ENRB5DRhdE7OU_wpxyR7P-_lCarIEPXIPw2fx3YUlAKp3MxKGXXGXkuh9zQBtiQ0INSn-7HznR7Xt5TOJqGHshT3YWjSAQ7T6BjXr6GTKSSUjXNCZ-cZ997dNUwTeTBg4k/s320/mark.jpg" width="189" /></a> ‘Once
upon a time [said Granny] there were three little pigs. Their names were –‘<o:p></o:p></div>
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‘They
didn’t have names,’ said William.<o:p></o:p></div>
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‘Yes
they did. The first pig was called –‘<br />
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‘Pigs
don’t have names’ … William slid off Granny’s lap and went to open the corner
cupboard by the fireplace. Old magazines cascaded out… [William] rooted among
them until he found a little book covered with brown paper, climbed into the
cupboard, opened the book, closed it and climbed out again. ‘They didn’t have
names,’ he said.<o:p></o:p></div>
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‘I
didn’t know you could read,’ said Granny, properly impressed.<o:p></o:p></div>
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‘C-A-T,
wheelbarrow,’ said William.<o:p></o:p></div>
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Granny is, of course, forced to
bow to the authority of William’s reading of the book (which turns out to be <i>First
Aid for Beginners</i>)<i> – </i>which perhaps demonstrates just how tricky the
question of the reader and the book and the reader in the book can be.<o:p></o:p></div>
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<br />Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-21944275332511944192013-10-21T13:14:00.000+01:002013-10-21T13:14:09.739+01:00Reading Fictions Symposium Report
<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">By Jennifer Farrar, Soumi Dey, Yan Zheng and Osman Coban (PhD students, School of Education, University of Glasgow)</span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Try
this for a tongue twister: readers like reading about other readers reading.
Not tricky enough? What about: reading about reading is as important as reading
itself. Okay, so the second one isn’t as much of an alliterative challenge, but
it does paraphrase a key point raised by Evelyn Arizpe at the beginning of the
day-long Reading Fictions symposium, held in Glasgow in October. Quoting from
Maria Nikolajeva’s contribution to the project, Evelyn asked us to consider how
readers, the act of reading and books themselves are represented in children’s
literature in English. What messages about reading do books bring to the
reading process? And, to get all tongue-twisty again, can reading about reading
– or even readers reading – have an impact on the way we feel about reading, as
readers ourselves? <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">According
to Vivienne Smith, many ‘real’ readers find it flattering to read about the
pleasure fictional readers get from books, not simply because it affirms the
values that may already be attached to literacy practices, but also because
such ‘bookish’ characters are often linked to goodness and virtue. <span style="mso-spacerun: yes;"> </span>Are we, as real readers, drawn moth-like to
representations of fellow book lovers (even if other characters seem to think
they are a bit boring) because we subconsciously connect with their love of
books? As Vivienne suggested, are we more likely to empathise with a
character-reader when their right to read is removed – as it is for Demetria in
Jan Mark’s <i style="mso-bidi-font-style: normal;">Riding Tycho </i>(2005)<i style="mso-bidi-font-style: normal;">, </i>or Felix in Morris Gleitzman’s<i style="mso-bidi-font-style: normal;"> Once </i>(2005)<i style="mso-bidi-font-style: normal;"> – </i>even if it is only one right among many? Does being a reader
intensify the sympathy we would ordinarily feel for their plight? [You’ll have noticed
our use of ‘we’ and the automatic assumptions we have made about the readers of
this blog.]<span style="mso-spacerun: yes;"> </span>Similarly, authors such as
Cornelia Funke, who represents books symbolically as keys and weapons, tap into
long-held (and highly prized) assumptions about books as repositories of
knowledge, as places of intellectual fortitude and endurance. As Maureen
Farrell explained during her paper on the representation of reading in young
adult fantasy, such texts positively revel in their intertextuality and often draw
heavily upon a reader’s metafictive awareness.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">But
what about those readers who are not already so strongly “book-identified”, to
borrow a term from Maureen’s paper: will such self-reflexive texts seem a bit
daunting? Or could they possibly inspire wider reading? During her discussion
of Leon Garfield’s <i style="mso-bidi-font-style: normal;">The Book Lovers</i>
(1976), Kimberley Reynolds showed how Garfield’s creation of a character who
creates a canon of books about love, all for the purposes of wooing, could at
once encourage some readers to broaden their literary horizons, while
alienating others.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Linked
to this sense of broadening was Julia Eccleshare’s discussion of Jacqueline
Wilson, which explored how Wilson’s relationship with her readers is reflected
in her books. Several of her texts feature Wilson-like writer-characters, who
spend a great deal of time encouraging young people from all kinds of
backgrounds to engage with literacy as a meaningful hobby or career choice. As
Julia explained, the parallels between Wilson’s real life activities (her
commitment to engaging with as many readers as possible) and the values
expressed by her writer-characters will not be lost on her fans, who, it would
be hoped, might go onto espouse Wilson’s generous and inclusive views on
literacy.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";"><o:p> </o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Moving
further afield, Evelyn’s paper explored a set of books that depict illiterates
(both human and animal) as vermin who can only exist on the margins of society.
Developing the ability to read within such oppressive conditions can be
transformative: the characters are described as filthy until they learn to
read, when they become symbolically cleansed. Here, the reader can still be
flattered by the presentation of reading as akin to cleanliness, but this time,
we must empathise with characters who cannot (yet) read; who are not (yet)
members of our reading club. As Evelyn explained, such texts may encourage
readers to reflect on a life without access to reading, as well as literacy’s
life-enhancing potential. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Similar
representations emerged during Jean Webb’s paper on Marcus Zusak’s <i style="mso-bidi-font-style: normal;">The Book Thief</i> (2008), where books and
reading are linked to freedom, persecution and death. Liesel, who cannot read,
goes to sleep with a treasured copy of <i style="mso-bidi-font-style: normal;">The
Grave Digger’s Handbook </i>under her pillow, a book that she learns to read as
the story develops and new relationships form. Her newly-discovered passion for
reading comes at a time when books are being burnt in their thousands. Here,
books, readers and the act of reading are linked to life-affirming notions of
comfort, love and safety within challenging, changing times. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Of
course, changing times can mean changing text types, as Sylvia Warnecke
explored during her paper on digital fictions. Teaching digital texts like <i style="mso-bidi-font-style: normal;">Inanimate Alice</i>, could provide teachers
with exciting opportunities to discuss what counts as reading: after all, the
texts that Alice seems to derive most comfort from are the ‘texts’ sent to her
by a friend via his mobile device. The discussions linked to this paper raised
interesting questions about how different types of reading are perceived, and
how they may be embraced in a modern classroom.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">So,
it would seem that we all agreed that, as readers, reading about reading is
important because of the powerful messages it can convey. And indeed, what
better place to start reading about reading than in the early years, with contemporary
picturebooks. As Morag Styles and Mary Ann Wolpert demonstrated during their whistle-stop
tour of the genre, metafictive texts such as Jon Scieszka and Lane Smith’s <i style="mso-bidi-font-style: normal;">The Stinky Cheeseman and Other Fairly Stupid
Tales </i>(1992) riotously exploit (and explode) assumptions about how, where
and why we read. Not only that, but they are hilarious too. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Papers
from the Symposium are to be published in an edited volume, more details on
this when available.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";"><o:p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU4rw0ae09JNwsBxlKzktvXLqEouboEkvCOKcVqbTNDDN-jMo5SkYU2bDlLJa2JRA_u4FScU3qUehHbGygNBr_wYg1FP_5K29oHwKR0EZ8maU20jMsVqdXvvSaD_PVvP2Ea_QU7QEf8iPP/s1600/IMG_4648.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU4rw0ae09JNwsBxlKzktvXLqEouboEkvCOKcVqbTNDDN-jMo5SkYU2bDlLJa2JRA_u4FScU3qUehHbGygNBr_wYg1FP_5K29oHwKR0EZ8maU20jMsVqdXvvSaD_PVvP2Ea_QU7QEf8iPP/s320/IMG_4648.JPG" width="320" /></a></o:p></span></div>
Evelynhttp://www.blogger.com/profile/02949768250166287251noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-92133407284153763202013-09-23T14:37:00.000+01:002013-09-23T14:37:51.503+01:00‘It was all very exciting. Even the policeman wept with joy.’<h3>
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<span style="font-weight: normal; line-height: 115%;"><span style="color: #0b5394; font-family: Arial, Helvetica, sans-serif; font-size: large;">In respectful
memory of the magnificent Margaret Mahy 1936-2011</span></span></h2>
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<span style="font-size: 9.0pt; line-height: 115%;">By Prue Goodwin</span></div>
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<span style="font-size: 9.0pt; line-height: 115%;">I have a
whole collection of books – picturebooks, novels, poetry and short stories - that
have literacy (both reading and writing) as pivotal elements of their plots. I read
extracts from them to illustrate my lectures on literacy learning. For example,
when talking about writing I read the first few pages of <i>Love that dog</i> by Sharon Creech; <i>Ink-Slinger</i>,
an anthology compiled by Morag Styles and Helen Cook, provides a wealth of
poetry; and <i>Frindle,</i> by Andrew
Clements, is perfect for discussing vocabulary. But there is one book that goes
with me to every presentation I give, no matter what the focus of my talk. Its
title? <i>The Great Piratical
Rumbustification</i> and <i>The Librarian
and the Robbers</i> by Margaret Mahy. In addition to these stories both being
hilarious, the illustrations are by the king of illustrators, Sir Quentin
Blake.<o:p></o:p></span></div>
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<span style="font-size: 9.0pt; line-height: 115%;">My favourite story
for sharing with colleagues is <i>The
Librarian and the Robbers</i>. The story tells of the experiences of a local
librarian, Miss Selena Laburnum, and especially of the gradual development of her
relationship with a band of wicked robbers. Following her kidnap, Miss Laburnum
finds herself nursing the robbers through the ‘raging measles’. Only access to
the library can ensure their recovery. While the <i>Dictionary of Efficient and Efficacious Home Nursing</i> enables Serena
to tend to the poorly thieves’ medical needs, she soothes their fevered brows
reading children’s books aloud to them. Later
in the tale, the eventual transformation of ‘almost illiterate’ robbers into
avid readers leads to the council opening a children’s library. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 9.0pt; line-height: 115%;">Never in all their
lives had those robbers been read to. In spite of the fever induced by raging
measles they listened intently and asked for more. <br />
‘Tell us more about that B’rer Rabbit!’ was the fretful cry of the infectious
villains. ‘Read to us about Alice in Wonderland.’<o:p></o:p></span></div>
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<span style="font-size: 9.0pt; line-height: 115%;">What makes
this book so invaluable? <o:p></o:p></span></div>
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<span style="font-size: 9.0pt; line-height: 115%;">Well, to
start with, it celebrates the power of listening to good books being read
aloud. According to Mahy, listening to literature is not only ‘efficient and
efficacious’ enough to help cure measles but it also gives listeners of any age
a hunger for more books; in particular, for more stories. Following the measles
episode, the tale continues with the robber chief bursting into the library
(whilst being pursued by a policeman) in order to obtain more books for his
gang. Miss Laburnum ‘hides’ the Robber Chief (whose surname is Loveday) on
shelf beside authors with surnames beginning with ‘L’ (‘Alphabetical order is a
habit with librarians.’). <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 9.0pt; line-height: 115%;">‘Miss Laburnum,’ said
the policeman, ‘I have just had occasion to pursue a notable Robber Chief into
your library. I can see him there in the bookshelves among the L’s. May I take
him out please?’<br />
‘Certainly!’ said Miss Laburnum pleasantly. ‘Do you have your library membership
card?’<o:p></o:p></span></div>
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<span style="font-size: 9.0pt; line-height: 115%;">Everything
about this short story relates to books, reading and libraries from her kidnap at
the beginning of the book through to the delightful conclusion involving her burgeoning
relationship with the Robber Chief; (‘Oh, Miss Laburnum, will you marry me?’). It
is beautifully written, witty and engaging from beginning to end. It also contains
one of my all-time favourite quotes: As a result of an earthquake, Selena is
trapped beneath a bookshelf and its contents of ancient books. ‘Pulverised by
literature,’ thought Miss Laburnum. ‘The ideal way for a librarian to die.’<o:p></o:p></span></div>
<br />
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<span style="font-size: 9.0pt; line-height: 115%;">The
magnificent Margaret Mahy presents reading</span><span style="font-size: 9pt; line-height: 115%;"> as an exciting undertaking. </span><span style="font-size: 9pt; line-height: 115%;"> </span><span style="font-size: 9pt; line-height: 115%;">In short, her version of literacy is an
irresistible invitation to take part in a range of unexpected and slightly
anarchic adventures – reading to robbers, dancing with pirates, playing with poetry
and generally subverting the frequently stuffy worlds of adulthood and
education. Whilst her stories confirm that reading can provide future security and
happiness, she also convinces us that books, libraries and being a reader are all
packed with the thrill of revolution. If you aspire to a life full of unexpected
exploits and all things delightful, become a reader! Treasure awaits us all on
the shelves of the library.</span></div>
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Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-90145715983299527702013-09-16T07:30:00.000+01:002013-09-16T07:30:04.990+01:00IRSCL 2013 – Take Two<!--[if gte mso 9]><xml>
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<span style="mso-bidi-font-family: "Courier New";">In her
welcome note to delegates <a href="http://www.fdcw.unimaas.nl/staff/default.asp?id=220">Lies Wesseling</a>,
conference convenor, draws the attention to the main focus of the event:
‘children’s literature within the dynamic ‘ecology’ of its adjacent media’ and states
that its aim is to ‘illuminate not only the form and content of the artefacts under
study, but also the behaviours of their producers and consumers, roles that are
being radically redefined’. </span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Courier New";">And indeed,
many studies referred to Jenkins’ seminal concept of a <a href="http://digitallearning.macfound.org/atf/cf/%7B7E45C7E0-A3E0-4B89-AC9C-E807E1B0AE4E%7D/JENKINS_WHITE_PAPER.PDF">participatory
culture</a>, where producers’ and consumers’ roles are increasingly blurred and
where the production and consumption of literature in its many forms influence
each other. However, it was interesting to see in the debates that there is an
increasing awareness of producers and consumers being lured and at the same
time dominated by the affordances of the new media. Many delegates described
how we at times lose sight of a main concern, which ‘</span><span lang="EN-US" style="mso-ansi-language: EN-US;">isn’t what the media are doing to our children
but rather what our children are doing with the media’ (<a href="http://newlearningonline.com/literacies/chapter-2-literacies-purposes/jenkins-on-participatory-media-culture-and-youth/">Jenkins</a>).
</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">That is why
many stimulating analyses of children’s book apps or e-books highlighted a contradiction:
the majority of such digital forms of storytelling lags behind the experience a
young reader might have when reading<span style="mso-spacerun: yes;"> </span>a
‘traditional’ (picture)book, as was proven convincingly by <a href="http://pure.au.dk/portal/en/persons/kristin-oerjasaeter(fc58aed8-beb6-48cf-8548-af41591b044f)/persons/kristin-oerjasaeter(fc58aed8-beb6-48cf-8548-af41591b044f).html">Kristin
Ørjasæter</a> in the case of the Norwegian <a href="http://katebarsotti.com/?p=338">Stian Hole’s Gramann picturebook trilogy</a>.
Ørjasæter reported the fascinating story how the author/graphic
designer/illustrator Hole actually gave up on the project of remediating his own
picturebook series into apps, because he realized that these limit rather than
enhance his reader’s understanding of his stories. Ørjasæter demonstrated how
technology, as it is largely used to date, often pre-determines where the
reader might ‘venture’. The conference underlined many “wreaders’” calls for
apps of the 3.0 generation, which avoid exactly that and open up the reading
experience by<span style="mso-spacerun: yes;"> </span>creating reading
paths<span style="mso-spacerun: yes;"> </span>based on the concept of the semantic
web. The semantic web <a href="http://lifeboat.com/ex/web.3.0">here</a>
understood as providing ‘</span>a more productive and intuitive user experience’.
In close connection with such pleas were the concerns expressed by delegates
that much of what children nowadays access as ‘new digital forms of
storytelling’ are commercially produced and marketed outputs of globalized
mass-media corporations that offer bland<span style="mso-spacerun: yes;">
</span>and uniform rather than stimulating and individualised reading
experiences.</div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Regarding
trends in the field of children’s literature </span><span style="mso-bidi-font-family: "Courier New";">within ‘the dynamic ‘ecology’ of its adjacent media’</span><span lang="EN-US" style="mso-ansi-language: EN-US;">, the conference offered more
questions than answers. In my view it could only draw attention to the next big
task of children’s literature research, which is to investigate how we tell
stories and make meaning in the 21<sup>st</sup> century and which effect this
has on the readers and producers of these stories. It was interesting to see that
research today has not yet developed a terminology that captures what we can
observe happening in cyberspace. To me this emphasizes that research is at a
crossroads. <a href="http://www.emich.edu/english/faculty/facultypages/awannamaker.php">Annette
Wannamaker’s</a> paper on born digital narratives (something more inventive and
progressive than fan fiction) was a perfect example of cutting edge research
that investigates e-literature for children created with multi-media platforms.
Her presentation of the <a href="http://www.inanimatealice.com/"><i style="mso-bidi-font-style: normal;">inanimate alice </i>project</a> as one of
the few genuinely born digital participatory narratives for children was a plea
for careful critical attention to such new forms. Wannamaker’s study pointed
out the current paradigm shift that is leaving a number of scholars and
educators behind due to the fact that such texts ‘little resemble the texts we
are used to studying<span style="mso-spacerun: yes;"> </span>– they are
experimental, avant-garde, creative, postmodern […] works’. </span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">This
suggests that we have to look beyond the affordances of fast-changing media and
search for common threads, recurring themes, and returning patterns but also develop
an understanding of radical forms of expression in what constitutes the stories
of our time, told with the media of our time. A large part of this new task of research
is awareness-raising – also for the power of adaptation. As Jean Webb confirms,
the focus on (emergent) literacies and the close links between children’s
literature research, cultural and media studies as well as education has to be
strengthened in order to stay in tune with what is happening with the objects
of their research. </span><span style="mso-bidi-font-family: "Courier New";"></span></div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-89434213522494340442013-09-10T12:24:00.000+01:002013-09-10T12:37:35.584+01:00IRSCL 2013 – Take One<br />
<br />
<div class="" style="clear: both; text-align: center;">
by Jean Webb</div>
<div class="" style="clear: both; text-align: center;">
<br /></div>
<div class="" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_rY01XXi8Bs8_I5rj5fMiRbGKtfRAXVpytuGyoYHG4Dg0ai1M2o1aYpu8XyNVfMBqd0sWdppq31okcK1vCmTNIZ2yjON_fgCI7Kt7ec_EiYMlJLfV6jLJDES_dxhX6VcjtzJTOUbynI/s1600/jean.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_rY01XXi8Bs8_I5rj5fMiRbGKtfRAXVpytuGyoYHG4Dg0ai1M2o1aYpu8XyNVfMBqd0sWdppq31okcK1vCmTNIZ2yjON_fgCI7Kt7ec_EiYMlJLfV6jLJDES_dxhX6VcjtzJTOUbynI/s1600/jean.jpg" /></a><span style="mso-bidi-font-family: "Courier New";">The 21st
International Research Society for Children's Literature Conference, <a href="http://irscl2013.com/">'Children's Literature and Media Cultures' 2013</a>
was very efficiently convened and hosted by the <a href="http://www.maastrichtuniversity.nl/web/faculties/fasos/theme/aboutthefaculty/organisationalstructure/departments/literatureart.htm">Faculty
of Arts and Social Science, Maastricht University</a>, Maastricht. Having
attended most of the IRSCL conferences over the past twenty years I cannot
recall one which was so heavily influenced by literacy and educational
approaches. Perhaps this was because the subject of media lent itself to
discussion of the contemporary place of the book, approaches towards reading
and the impact of media in relation to literacy. Although a most enjoyable
experience from the perspective of a literary scholar in the field, one would
have hoped for more literary discussion in the keynote lectures. Nonetheless it
was interesting to learn about what is currently available in terms of
electronic texts for children. I was hoping that there would be some
breakthrough in terms of the materials available which in some way really did
use the technology to open up exciting and stimulating ways of reading. <a href="http://en.wikipedia.org/wiki/Julia_Eccleshare">Julia Eccleshare</a> has
rightly commented upon the lack of imagination applied to date by those who are
producing electronic texts when asked to give her informed opinion at various
venues. The 'cutting and pasting' of picture books into electronic format does
little more than give some support to reading processes, but then the reader is
principally made to work at the pace of the format. So there was some critique
at IRSCL of the productions to date.<br />
What was lacking in the 'literacy' keynote talks was the critical awareness of
the implications of culture, power and control, which was surprising. Perhaps
they felt that IRSCL was not the platform for such discussion. It did arise in
some of the sessions, for instance those papers given by <a href="http://www.worcester.ac.uk/discover/branwen-bingle-education.html">Branwen
Bingle</a> and <a href="http://www.brighton.ac.uk/education/contact/details.php?uid=sjw7">Sandra
Williams</a>, both of whom are teacher educators. It led me to thinking that
perhaps there are currently two camps in teacher education: those who perhaps
comply with National Curricula and government dictats, or maybe are too
immersed in the immediate practicalities of literacy and those who look beyond
such barriers and rail against such and call out for a critical thinking
educational approach. The conference did highlight the space between the two.
The experience confirmed the political awareness of IRSCL colleagues which was
displayed in exemplary manner in Prof Kerry Mallan's keynote which interrogated
the political and moral power of young adult literature and which is also
reflected in her <span style="mso-bidi-font-style: normal;"><a href="http://www.palgrave.com/products/title.aspx?pid=633252">latest
publication</a></span><i style="mso-bidi-font-style: normal;"><a href="http://www.palgrave.com/products/title.aspx?pid=633252"> Secrets, Lies and Children’s Fiction</a></i>. Her argument was that
'children's literature along with other forms of children's media employs
disinformation (or lies, gossip, and other harmful stories) as a narrative
strategy to draw readers into the moral or ethical dimension of this practice
of telling lies.' Kerry's keynote discussed the current state of civil
observation, i.e. that western culture has 'Big Brother' looking over every
shoulder. A salutary warning of which I hope and trust colleagues in teacher
education are fully aware.</span></div>
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<![endif]-->Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-11194827699313210572013-09-02T08:00:00.000+01:002013-09-03T14:21:30.138+01:00Learning from fictional readers<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh0be1JnyHj0EHywWK91X-RdcR_06VrtVBz8EeGklQe55ZjA-MiLnqoPO1RZoagWdMDfkXGytXQvy-xHc90L3zJHVg7TMzQGK_xXwDs3CqH5REOJSz4kv8cTA-bZVu3ug3P38PxlrwgA/s1600/Tatiana3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh0be1JnyHj0EHywWK91X-RdcR_06VrtVBz8EeGklQe55ZjA-MiLnqoPO1RZoagWdMDfkXGytXQvy-xHc90L3zJHVg7TMzQGK_xXwDs3CqH5REOJSz4kv8cTA-bZVu3ug3P38PxlrwgA/s200/Tatiana3.jpg" width="186" /></a></div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
Maria Nikolajeva
</div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
Two masters students this year wrote
their theses about portrayal of readers and reading in children's
books. They were not aware of each other's topics, nor did they know
anything about the Reading Fictions project. Apparently it is an
attractive topic. Masters students in children's literature are
typically passionate readers. If you are a passionate reader you are
likely to empathise with fictional readers. And you may wish to be
like them. But it has its dangers, as <a href="http://readingfictions.blogspot.co.uk/2013/08/warning-reading-may-seriously-damage.html" target="_blank">Kim Reynolds pointed out last week. </a></div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
The Russian national epic, <i>Eugene
Onegin</i>, by Alexander Pushkin (better known in the West as an
opera), which we had to endure in school just as English
schoolchildren have to endure Shakespeare, features such a passionate
reader. The thirteen-year-old female character, Tatiana, is
technically what we would today call an adolescent, but socially no
more so than the Bennet sisters, since she is available for marriage.
Isolated at her parents' country home in the beginning of the 19<sup>th</sup>
century, she finds company in books, and her favourite author is
Samuel Richardson. When we read <i>Onegin</i> in school, age
thirteen, we had no idea about Richardson, who could just as well be
a fictitious writer. Yet we were curious about the books, which the
condescending narrator calls “dangerous” for young girls'
imagination. To Pushkin's contemporaneous readers, Richardson's
novels were well known and apparently represented bad taste suitable
for sentimental young ladies, but equally misleading about harsh
reality. The narrator states explicitly that Tatiana was diluded by
“the fictions of the British muse”. She identifies with the novel
heroines and imagines herself as one of them. As a fatal result, she
falls in love with the neighbour gentleman, the cynical Onegin,
writes him a love letter – as a romance heroine would – is
rejected and marries the first best man who proposes to her. No happy
endings in Russian classics.</div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
As thirteen-year-old girls, we
identified with Tatiana and imagined ourselves as her, with a firm
belief that, unlike her, we would never be rejected by the object of
our affection. Did we learn any more from books than Tatiana did?
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-88395266401689043542013-08-26T12:20:00.000+01:002013-08-26T12:20:24.725+01:00Warning: reading may seriously damage your prospects in love<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiApTEVZU7w1HqqNSEKIIdW3XTWKYMIwctG0WRs6z0O5sYq3SLoBYxTOZmZlEW-4nKsXCywEIdQz0cLy6kIVm2bsvObShChHrWQfK6WqJx8SCmEqWm1r7Ahyphenhyphen6y7xlJbCqiPvo7sVbsK49Y/s1600/51GlhtzKESL._SX342_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;">Kim Reynolds</a></div>
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<span style="color: black; font-family: "Tahoma","sans-serif"; font-size: 10.0pt;"><br /></span>
<span style="color: black; font-family: "Tahoma","sans-serif"; font-size: 10.0pt;">One
of my favourite ways to pass the time is listening to books while I cook. I am
a great believer in reading aloud (itself a subject currently receiving some
long overdue and interesting scholarly attention by historians) and love
being read to whatever the circumstances. This month I was particularly pleased
that Radio 4 dramatised "Sense and Sensibility" because for the
forthcoming Reading Fictions conference I have been been mulling over
how books present the relationship between reading and falling in love. Having
an unexpectedly large number of cooking duties, I managed to hear the whole
book. I hadn't re-read it for several years and was struck afresh by how, for
much of modern history, women like Marianne Dashwood who read novels
are regarded as unworthy objects of affection. </span><br />
<span style="color: black; font-family: "Tahoma","sans-serif"; font-size: 10.0pt;">But
perhaps it isn't quite as bad as that? Isn't it more the case that reading
fiction is seen as juvenile, and growing up means leaving stories behind for
more serious fare - but the effects of having read them make a woman more
resourceful and better company in the long run? Think of Anne of Green Gables
and the fine woman she becomes. And what of men? Marianne's romantic
sensibilities are matched by Willoughby's who, like her, turns out to have more
depths than at first seems possible. </span><br />
<span style="color: black; font-family: "Tahoma","sans-serif"; font-size: 10.0pt;">My
musings need to move into the twenty-first century, however, so I hope Radio 4
finds something suitable... Meanwhile, I am going to test out
the idea that early children's books that appear to disapprove
of the effects of reading fiction on the formation of character and ideas
about love in particular are less critical than they at first appear,
and that these ideas are revolutionized in the twentieth century, when for
a select group, at least, being an avid reader makes someone a
prime contender in romantic contests. </span><br />
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com1tag:blogger.com,1999:blog-5279859337387710510.post-17987138308336266562013-08-06T12:07:00.002+01:002013-08-06T12:12:44.336+01:00E-mail from America <!--[if gte mso 9]><xml>
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<span style="font-size: 16.0pt; line-height: 115%;">Peter Hunt</span></div>
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<br /></div>
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Meanwhile, research continues worldwide!<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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Out in the rolling (and currently extremely well-watered)
hills of Virginia, I asked some of the graduate students taking the MA and MFA
in Children’s Literature at Hollins University, Roanoke, how they saw the
relationship between readers reading <i style="mso-bidi-font-style: normal;">in </i>books,
and readers reading <i style="mso-bidi-font-style: normal;">about </i>readers
reading in books. We are engaged in an experimental – and, it has to be said –
mind-expanding (or boggling) course, in which each student produces (part of)
an annotated edition of a classic children’s book. With an astonishing range of
books being looked at in detail, I thought we might find some striking evidence
about attitudes to reading – and we did – although the conclusion that it’s
dangerous to generalise was not exactly helpful for my thesis.</div>
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<br /></div>
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In general terms I expected that the portrayal of readers <i style="mso-bidi-font-style: normal;">in </i>books might gradually decline over the
20<sup>th</sup> century, as reading<span style="mso-spacerun: yes;">
</span>habits changed. But it ain’t necessarily so. </div>
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<br /></div>
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I would have expected that <i style="mso-bidi-font-style: normal;">Pollyanna </i>(Eleanor H. Porter, 1913), the apotheosis of the girls’
book of the late 19<sup>th</sup> century would have displayed a healthy
preoccupation with books (after all, <i style="mso-bidi-font-style: normal;">Little
Women </i>does) – but what little reference there is, is not entirely positive.
On the other hand, in <i style="mso-bidi-font-style: normal;">Thimble Summer</i>
(Elizabeth Enright, 1938), set in rural Wisconsin, books are a natural part of
the landscape – two characters are locked in the local library; while Esther
Forbes’s historical novel <i style="mso-bidi-font-style: normal;">Johnny Tremain </i>(1943)<i style="mso-bidi-font-style: normal;"> </i>is totally suffused with the idea of
the book and the virtue of the book. </div>
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Then again, it is hardly surprising that books and reading
figure largely in Edmondo De Amico’s educational-political novel <i style="mso-bidi-font-style: normal;">Cuoire </i>(1886),<i style="mso-bidi-font-style: normal;"> </i>one of the two great Italian children’s classics of the 19<sup>th</sup>
century, or that respect is shown for the wisdom of books in Lloyd Alexander’s <i style="mso-bidi-font-style: normal;">The Book of Three</i> (1964). Equally, it was
predictable that reading figures only marginally in Wilson Rawls’s <i style="mso-bidi-font-style: normal;">Where the Red Fern Grows </i>(1961) and Judy
Blume’s <i style="mso-bidi-font-style: normal;">Are You There God? It’s Me,
Margaret</i> (1970) and then as a means to an end (acquiring a coonhound or
learning certain things from <i style="mso-bidi-font-style: normal;">Playboy</i>).
</div>
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But three examples – which seemed, ironically, to prove my
thesis – surprised me. I would have expected Joan Aiken’s <i style="mso-bidi-font-style: normal;">The Wolves of Willoughby Chase </i>(1962), written by an author from a
very bookish background, to include readers and books; E. L. Konigsburg’s <i style="mso-bidi-font-style: normal;">From the Mixed-Up Files of </i><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Mrs
Basil E. Frankweiler </i>(1967) is an outstanding example of the of the ‘smart
kids’ novels of the 1960s and 1970s and yet when the child characters do
encounter books – for research purposes - they soon get bored; and, despite
Roald Dahl’s claim that he would do anything to put books (presumably not just
his own) into the hands of children, as he demonstrates in <i style="mso-bidi-font-style: normal;">Matilda</i> (1988), there is no reference to books and reading in <i style="mso-bidi-font-style: normal;">The Witches </i>(1983).</div>
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<br /></div>
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It would seem that any over-reaching thesis is going to be
seriously undermined by specific examples, and the Hollins students were on the
whole quietly surprised by my overall idea that books were less important in
books than they had been. Among a formidable array of evidence which they
brought forward, they patiently pointed out that there was a very obvious example
that contradicted my argument, which I might possibly have come across. Without
the reading of books, and respect for books, which are repositories of wisdom
and redemption and salvation, the ‘Harry Potter’ series could scarcely exist.
(And, of course, where would Terry Pratchett’s Unseen University be without its
multi-dimensional library?)</div>
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<br /></div>
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But are books-in-books now primarily aids to knowledge for
the characters (and have they always been so), or are they the prime-movers of
the plots? Is there, as some of the students suggested, a backlash against the
multi-media electronic world, and a resurgence of the book as an object of
genuine interest?</div>
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<br /></div>
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Watch this space.</div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">With thanks to my
amazing, intelligent, hard-working, and tolerant class: </i>Cecilia, Courtney,
Emily, Fatima, Gwen, Jennifer, Kacey, Kelly, Linda, Shannon, and Tara.</div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com1tag:blogger.com,1999:blog-5279859337387710510.post-17797074156721129292013-07-08T12:49:00.000+01:002013-07-08T12:50:46.120+01:00Babies and the Bookness of Books<br />
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">This week we have a
guest blogger, Jane Blatt, who is the author of a picturebook which is all
about books. Her reflections show how relevant the topic and representation of
books is even for the youngest of audiences.<o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span><br />
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<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><strong>Babies and the Bookness of Books<o:p></o:p></strong></span></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">By Jane Blatt, author of<i style="mso-bidi-font-style: normal;"> Books Always Everywhere</i> (illustrated by Sarah Massini. Nosy Crow
2013) <o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">We
know how important it is for babies, even very small ones, to be read to by
parents or carers, snuggled safely in their arms but I am passionate about
babies also having the opportunity to explore books on their own. Children will
learn through their own explorations that books have pages which can be turned
backwards and forwards, that they have images which are interesting and colourful
and eventually, if books are held in a certain way, that images can look the
‘right’ way up and may even follow in a meaningful sequence. Playing with such
fascinating physical objects as books allows children not only to become familiar
with the ‘bookness’ of books<span style="color: red;"> </span>(my term) but also
to learn more about the world about them through their bodies and senses. This
playfulness and exploration is part of the natural process involved in fundamental
general learning which all normally developing children gain in the first 3
years of their lives and which is the basis for all later skills. (<i style="mso-bidi-font-style: normal;">Every Child Can Learn</i> by Katrin Stroh,
et al, Sage 2008)<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 10pt; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Books Always Everywhere</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">
came about when Evelyn and I were reviewing data for a chapter on how picture
books can support the emotional learning of bilingual children (<span style="color: black;">Arizpe, E. and Blatt, J. 2011 ‘How Responses to
Picturebooks Reflect and Support the Emotional Development of Young Bilingual
Children’, in B. Kümmerling-Meibauer (ed) <i style="mso-bidi-font-style: normal;">Emergent
Literacy. Children’s Books from 0 to 3</i>. Amsterdam: John Benjamins</span>).
We were watching a video of an 8 month baby exploring books on her own. She was
sitting on the floor surrounded by all kinds and sizes of children’s books and
for some moments explored one in particular. She picked it up, dropped it, mouthed
it, moved it with her foot, opened it, felt it, weighed it in her hands, smelt
it, even looked at it from different angles, maybe even noticed that there were
different shapes or images on different parts of it. Her whole body was
focussed on the task she had started and continued on her own and for herself.
There were the occasional concentrated grunts from her totally integrated body
but no one told her what to do and certainly no one ‘helped’ her in her
exploration.<span style="color: black;"><o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Later,
in another clip with this baby a few months later, we saw her making a mat on
the floor with books, then making the books into houses for small figures. She
piled them and built with them. She lay down with them and even put one of them
on her head as if it were a hat. She was gaining more and more experience about
the joys of the ‘bookness’ of books. She was also learning about ‘placing’,
‘matching’, ‘sorting’, ‘sequencing’, ‘building’, ‘banging’ and building up her
early general learning.<o:p></o:p></span></div>
<!--[endif]--><br />
<br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The
clips and discussion inspired me to write a picture book for babies exploring
the physical nature of books. Nosy Crow, a new publishing company, were excited
by the script: “One of the great things about the text is the elliptical,
compressed and lyrical nature of it”. <span style="mso-spacerun: yes;"> </span>‘Book
Big/ Book Small/ Book Wide/ Book Tall... came to life through the illustrations
by Sarah Massini. The initial illustrations show only one baby and one book,
but as the pages turn, more and more babies and different kinds of books
appear. My original text went through some changes, not least losing the adult
interaction and a sense of developmental progress but the result has been
enjoyed by various reviewers including the <i style="mso-bidi-font-style: normal;">Sunday
Times</i>: “Using rhyme and no more than 2 words per page, Books Always
Everywhere, is a book lover’s dream. Books take centre stage in a range of
babies’ and toddlers’ real and imaginative lives” (Culture Section, 23.06.13)<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">A
variety of formats and sizes of books are represented in <em>Books Always
Everywhere</em> –board books, buggy books, books with holes- <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>and the
illustrator has added images and words in some of them. The words and titles
are of course meant for the literate reader; some are real titles of fairytales
and nursery rhymes, others are made up as a joke that can be shared with babies
too, such as the book called ‘House Mouse’ upon which a small mouse is
sheltered by a book opened in the shape of a tent – much like the books in the
photograph. There is certainly lots to look at in the illustrations and one can
easily imagine much ‘spotting’ going on when the book is shared with an adult. The
words and the pictures also suggest relationships: ‘Book Give/Book Share’, and
a way of engaging with others and participating in a community. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The
book has been very successful. Is part of its success due to it being a book
about books in this technological world when books are being replaced by the
ibook? Are parents concerned that even babies are exploring digital gadgets too
early, or that they may not encounter books in the same way as previous
generations? Going back to my initial idea, unlike ipads or kindles, books can
be played with as toys, put on one’s head, sat on, given as presents, used to
build a house, dropped, hung from a tree, even. Will this generation of babies
miss out on learning about the ‘bookness of books’? <span style="mso-spacerun: yes;"> </span>Are our children losing out on the playfulness
of play? Does this matter? Will this book be seen in the future as a quaint and
outdated defence of books? Or will there still be, as the title suggests and is
summed up, with all the aspects of the babies’ enjoyment of books in the final
illustrations, ‘Books always.... everywhere?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="-ms-text-justify: inter-ideograph; margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Jane Blatt<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<a href="http://www.janeblattatwork.co.uk/"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><span style="color: blue;">www.janeblattatwork.co.uk</span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br /></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></div>
</div>
Evelynhttp://www.blogger.com/profile/02949768250166287251noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-83814682285913773052013-07-02T13:44:00.000+01:002013-07-03T14:02:42.811+01:00First thoughts on reading Jacqueline Wilson's 'Four Children and It'<!--[if gte mso 9]><xml>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">by Vivienne Smith </span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">I am
busy reading for next year's UKLA children’s book award at the moment – and I
was pleased to see Jacqueline Wilson’s <i style="mso-bidi-font-style: normal;">Four
Children and It</i> in the parcel from Puffin.</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt11a4VF12O0WKNxgclQVNnqyTdL36wUSpJ8GtCbUtG3jVuoHfKZEAh9dYy_34t-TQu-4zKWF8JIjJuIP5CepxWU5pmuEk9FRHP4TY03Q7NuB9Rp0p7DDqax8eseKf0_wXpLUcO3IECr0/s160/4+children.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt11a4VF12O0WKNxgclQVNnqyTdL36wUSpJ8GtCbUtG3jVuoHfKZEAh9dYy_34t-TQu-4zKWF8JIjJuIP5CepxWU5pmuEk9FRHP4TY03Q7NuB9Rp0p7DDqax8eseKf0_wXpLUcO3IECr0/s320/4+children.jpg" width="224" /></a><span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">The
book is relevant to our purposes here, because Rosalind, the narrator, and one
of two main protagonists, is a reader. <span style="mso-spacerun: yes;"> </span>We know this from the very first sentence:</span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">“What’s that you are reading?” said Smash, grabbing the
book out of my hand.</span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">And
with an economy of style that seems to me to be one of Wilson’s special talents,
we are shown that Smash is disruptive and difficult. Three sentences on we know
that Rosalind is not. She is reading E. Nesbit’s <i style="mso-bidi-font-style: normal;">Five Children and It, - </i>with enjoyment and in the original ( Thank
you Peter!)<i style="mso-bidi-font-style: normal;"> </i>and it <span style="mso-spacerun: yes;"> </span>is not one whit too difficult for this modern
child. She can concentrate.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">The
book, as you probably know, was written as a tribute to Nesbit’s, which Wilson
loved as a child. It borrows Nesbit’s plot wholesale. The children ( this time
three and a baby, rather than four) dig up the Psammead, and he grants them
wishes which invariably go wrong in some way.<span style="mso-spacerun: yes;">
</span>One wish – the ability to fly occurs in both stories, though the
consequences are different for the modern children. </span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">Despite
Wilson’s deceptively easy style, hers is ( I think) the more<span style="mso-spacerun: yes;"> </span>complex piece of writing. As well as the the
story of the wishes, there is another story here of modern family life. This is
a step family thrown together for the holidays. Two children share a mother,
three a father, and only one child is in its permanent home. There are tensions
between the children, between the children and their parents, between the
children and their step-parents, and between the two adults about each others'
children. Adults feel guilty, children feel rejected, and every one, (except
baby Maudie who is gloriously secure) is negotiating a place in this muddle. it is a story of accommodation and compromise and there are no easy answers, even when wishes come true.</span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">And
then there is the intertextual complexity. This is a book based on a book, in
which the book features as an object and as a story. Even the characters of the
original have a part to play when Rosalind wishes she could meet them – and
does. This weaving in and out of various levels of story and of time is relatively
demanding of the reader.</span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">And
look at the skill of the writing itself! ( I chose this passage because it matches the
bit Peter included from Nesbit’s original)</span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">At the same time I felt a strange itching, burning
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">“ What is it? said Smash. “What is happening?”</span></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">The strange feeling grew stronger so that my shoulder
blades pricked fiercely, as if they were being pushed right through my skin. I
could actually feel them poking through the thin material of my T-shirt. I
twisted round worriedly, and felt something sharp and then soft, like a feather
sticking out of a pillow. A <i style="mso-bidi-font-style: normal;">feather!</i></span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">“Oh goodness, I think we are growing wings!” I gasped.</span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">There were two points protruding through my T-shirt
now, and once they were free they pushed harder, growing with amazing speed. At
first they were tightly rolled up like furled umbrellas, but as they grew, I
experienced a dragging aching feeling that made me brace my shoulders, and all
at once the long, dark, pointy wings opened wide. I flapped them in the air,
creating gusts of wind all around me. I craned my neck in awe of my feathery
new wings. They were a beautiful soft blue, shading to navy at the tips. ( pp
251-252)</span></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">Wilson
makes me feel those wings growing. It is her capacity to make me imagine what
it is like to grow wings and what it is like to be caught up in the emotional
complexity of many modern day families, that makes her writing worthwhile. So what that the plot is borrowed!</span></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">I
notice I have said almost nothing reading and readers in the novel. Perhaps
next time?<span style="mso-spacerun: yes;"> </span></span></div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-45626103079956259912013-06-24T09:37:00.000+01:002013-06-24T09:37:00.029+01:00Classic Confusions Adaptations of Classics for Children<!--[if !mso]>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-size: 14.0pt; mso-ansi-language: EN;">Part 3: Looking for the Answers</span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 16.0pt;">Work in Progress </span></i></div>
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<i style="mso-bidi-font-style: normal;">Peter Hunt</i></div>
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The degree to which we value books, language, and classics
is not a matter of cold logic. <span style="mso-spacerun: yes;"> </span>We can
start with the novelist, Carnegie Medal (and many other awards) winner and
educator, Aidan Chambers:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdjFipgaZTp74ZlyLIUbXOrC_W7-XU5teogkZVPDu6LOvZPW-Eg8IqE8JC0sIKBOrTTbtv5i_kVTJCp7rjEWZKcM_qCRE1iTnKCc-CoKBPp51O46D-GdPQarWxue5YRRLNtguTNEP-rsk/s1600/chambers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdjFipgaZTp74ZlyLIUbXOrC_W7-XU5teogkZVPDu6LOvZPW-Eg8IqE8JC0sIKBOrTTbtv5i_kVTJCp7rjEWZKcM_qCRE1iTnKCc-CoKBPp51O46D-GdPQarWxue5YRRLNtguTNEP-rsk/s400/chambers.jpg" width="292" /></a></div>
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Chambers, one might say, <i style="mso-bidi-font-style: normal;">would
</i>say that, because of all modern authors, he is the one who most preserves
the idea of the book in the book – his characters are voracious readers –
almost his books are <i style="mso-bidi-font-style: normal;">made </i>of books.
For example, from 2012:</div>
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<a href="http://3.bp.blogspot.com/-Nm3BDHpBLSA/UbdC2ByzM2I/AAAAAAAAAJw/4Z0iOy48EdQ/s1600/chambers+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-Nm3BDHpBLSA/UbdC2ByzM2I/AAAAAAAAAJw/4Z0iOy48EdQ/s200/chambers+2.jpg" width="123" /></a></div>
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Chambers is an exception as a writer, but it is the general,
if residual, <i style="mso-bidi-font-style: normal;">belief</i> in the greatness
of great books – the classics – that at least partly drives the sense of loss,
for some, when they are adapted.</div>
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But it’s a complicated business. Texts are not changed
simply because the language they contain has become unfamiliar, or because the
modern child (that vast generalisation) is no longer capable of handling it. Cathy
Butler (of the University of the West of England) reminds me that <span style="mso-spacerun: yes;"> </span>in <i style="mso-bidi-font-style: normal;">The
Secret Garden</i>,<span style="mso-spacerun: yes;"> </span>Martha's speech –
‘“I’ve nothin’ against th’ blacks. When you read about ‘em in tracts they’re
always very religious. You always read as a black’s a man an’ a brother”’ -
became, in the BBC 1975 version, “I learned about India in Sunday School, and I
know that Indian people are very religious, and that they are our brothers and
sisters.”’ </div>
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Is that gratuitous PC, or is it a sensible modification of
language in a still-racist society, or do we lose some essence of the period?
We certainly lose a direct allusion to the motto of the anti-slavery movement:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1ZMjpfRXtQM-6KZf3xuCCdaYB5K8pya4Q7_FQqRJ5qfLrpIwdswihIOHmZ1Hf0Edw9mVQlV8GZY2bMegzDpdiWFOjkSapHJSfx_gQGPynuMENIbMiwYkP4haqBxltO08LyLc45pHWM-w/s1600/slavery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1ZMjpfRXtQM-6KZf3xuCCdaYB5K8pya4Q7_FQqRJ5qfLrpIwdswihIOHmZ1Hf0Edw9mVQlV8GZY2bMegzDpdiWFOjkSapHJSfx_gQGPynuMENIbMiwYkP4haqBxltO08LyLc45pHWM-w/s320/slavery.jpg" width="320" /></a></div>
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<span style="font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>–</span></div>
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One very striking example of the complexity of the changes
is the famous case of the re-writing of <i style="mso-bidi-font-style: normal;">The
Tale of Peter Rabbit </i>(1902) for the 1987 Ladybird edition. </div>
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It is not difficult to see the argument that Beatrix
Potter’s watercolours might not chime with modern tastes – compare</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MZhHBs_o7FD70w-4TN_QLljLfJUumZxfHLOzmMO5Mi0pP8QmjBmUQ7mIKO_S26jpSD-uJjTIq-VH381BCbb4oUg8E7DIrr_6EBRG3MUIyo8KLLN8_N4g3LQ0t7_vvyY_59KquUFw9SQ/s1600/PR.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MZhHBs_o7FD70w-4TN_QLljLfJUumZxfHLOzmMO5Mi0pP8QmjBmUQ7mIKO_S26jpSD-uJjTIq-VH381BCbb4oUg8E7DIrr_6EBRG3MUIyo8KLLN8_N4g3LQ0t7_vvyY_59KquUFw9SQ/s320/PR.jpg" width="232" /></a></div>
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<span style="font-size: 14.0pt;"></span></div>
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<a href="http://3.bp.blogspot.com/-Jl43uX-ZMGE/UbdC6xAL3kI/AAAAAAAAAKA/Oz7rYwlTu8g/s1600/PR2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-Jl43uX-ZMGE/UbdC6xAL3kI/AAAAAAAAAKA/Oz7rYwlTu8g/s320/PR2.jpg" width="215" /></a><span style="color: red; font-size: 14.0pt;"> </span></div>
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<span style="font-size: 14pt;">and</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"></span></i></b></div>
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But why one would want to re-write the text might not be
immediately clear.</div>
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One reason is that the modern adaptors (publisher, editors,
writer) wish childhood to be a protected space – even if it manifestly is not –
and it may seem surprising that they feel that today’s children have to be
protected from death jokes.</div>
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The original reads</div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: blue;">‘</span></b><span style="color: blue;">Now. my
dears,’ said old Mrs. Rabbit one morning, ‘you may go into the fields or down
the lane, but don’t go in to Mr. McGregor’s garden: your Father had an accident
there; he was put in a pie by Mrs McGregor. </span></div>
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The new version reads </div>
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<span style="color: blue;">One day
they were allowed to play outside. ‘Stay near home,’ said their. ‘Please don’t
go to Mr McGregor’s garden.’</span></div>
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<span style="color: blue;">‘Why
not?,’ asked Peter.</span></div>
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<span style="color: blue;">‘Because
he doesn’t like rabbits,’ answered Mrs Rabbit. ‘He will try to catch you.’ </span></div>
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There’s a lot going on here. These are now high-rise bunnies
– ‘allowed to play outside’ – and the family dynamics have changed: Peter has a
voice.</div>
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The new version also makes assumptions about what children
know (a lot less than their forebears – or, at least, their forbears knew about
different things). Also – and this is perhaps the most regressive element –
things now have to be much more explicit and much more moralising than they
were 100 years ago. And so, </div>
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<span style="color: blue;">There
were lots of vegetables in Mr McGregor’s garden. Peter Rabbit loved vegetables.
He began to eat them. First he tried the lettuces. Next he tried the beans.
Then he ate some radishes.</span> </div>
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Becomes </div>
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<span style="color: blue;">Peter
ate too much, because he was greedy. He began to feel sick. ‘I must find some
parsley to nibble’ he said to himself. ‘That will make me feel better.’</span> </div>
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Does this show a lack of faith in the text, or the readers? Potter’s
is a much more ‘open’ or ‘<i style="mso-bidi-font-style: normal;">writerly</i>’ <span style="mso-spacerun: yes;"> </span>text, requiring a lot of input from the
reader. The new version is ‘closed’ or ‘readerly’, which might, for some
critics, condemn it. But, equally, it might be argued (see Part 2 of this blog)
that the revised, reduced, compressed versions of texts by Burnett or Stevenson
are the ultimate in ‘writerly’ texts (if you discount the pictures): the reader
has to do almost <i style="mso-bidi-font-style: normal;">all </i>the work.</div>
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We are, to say the least, in interesting waters here,
balancing practicalities of language learning and perception against past and
present <span style="mso-spacerun: yes;"> </span>use of language. Children’s
inter-textual reference has changed, from being related to other books, to
being related to other media. Once it was quite normal for a character in a
book to be reading a book; now it is quite normal for a character in a book to
be reading a computer screen. What difference this makes to language and
literacy may emerge as this project progresses.</div>
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But perhaps we might end this phase of the investigation
with another statement of faith from someone with immense faith in the value of
the Book: </div>
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<span lang="EN-US" style="color: #0d86ff; font-family: "Georgia","serif"; font-size: 7.5pt; mso-ansi-language: EN-US;"></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNPCFtYeOg_fyFZU3JMBfFjVxivkqgHoJ09iMDN7l_Fkjp9YjrPMpO2ZgI86Ccc2WremjlsUhsAq8KCsAvxz5kVg9SjxSxraatpo2Ss0mN83MIojFMJfqehz-A90xyiupTSUlQf7aTgg/s1600/VW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNPCFtYeOg_fyFZU3JMBfFjVxivkqgHoJ09iMDN7l_Fkjp9YjrPMpO2ZgI86Ccc2WremjlsUhsAq8KCsAvxz5kVg9SjxSxraatpo2Ss0mN83MIojFMJfqehz-A90xyiupTSUlQf7aTgg/s1600/VW.jpg" /></a></div>
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‘Are there not some pursuits that
we practise because they are good in themselves, and some pleasures that are
final? And is not [reading] among them? I have sometimes dreamt, at least, that
when the Day of Judgment dawns and the great conquerors and lawyers and
statesmen come to receive their rewards ... the Almighty will turn to Peter and
say, not without a certain envy when He sees us coming with our books under our
arms, ‘Look, these need no reward. We have nothing to give them here. They have
loved reading.’ </div>
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<span style="color: blue;">NOTE:</span></div>
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<span style="color: blue;">I have used many of these examples
before, and part of my research is to find more, perhaps more revealing and
apposite ones. Any contributions would be very welcome.</span></div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-36838767700863856012013-06-17T09:00:00.000+01:002013-06-17T09:00:02.783+01:00Classic Confusions Adaptations of Classics for Children<!--[if !mso]>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 16.0pt;">Work in Progress </span></i></div>
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<i style="mso-bidi-font-style: normal;">Peter Hunt</i></div>
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Times change; books change. But should they? What happens
when they do, and why? </div>
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<br /></div>
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Legend has it that E. Nesbit, who has been credited with
founding the modern children’s book, used to wait eagerly at Christmas for her
annual ‘Waverley’
novel. One wonders what she would have thought of the situation a hundred years
later, when her own children’s books are thought to be too difficult for the
modern child.</div>
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<br /></div>
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Take the example of <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Five Children and It</i>. In the original
1902 version, the children, much given to asking the immortal Psammead for flawed
wishes, are able to fly:</div>
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</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-tKLpQz_-_fE/Ubc_05mybjI/AAAAAAAAAI8/VbCtVYG9AfM/s1600/five.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-tKLpQz_-_fE/Ubc_05mybjI/AAAAAAAAAI8/VbCtVYG9AfM/s320/five.jpg" width="202" /></a></div>
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<br /></div>
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The Sand-fairy
blew himself out, and next moment each child felt a funny feeling, half
heaviness and half lightness on its shoulders. The Psammead put its head on one
side and turned its snail’s eyes from one to the other...</div>
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<br /></div>
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<span style="mso-tab-count: 1;"> </span>The
wings were very big, and more beautiful than you can imagine - for they were
soft and smooth, and every feather lay neatly in its place. And the feathers
were of the most lovely mixed changing colours, like the rainbow, or iridescent
glass, or the beautiful scum that sometimes floats on water that is not at all
nice to drink.</div>
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<span style="mso-tab-count: 1;"> </span>‘Oh
- but can we fly?’ Jane said, standing anxiously first on one foot and then on
the other.</div>
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<span style="mso-tab-count: 1;"> </span>‘Look
out!’ said Cyril; ‘you’re treading on my wing.’</div>
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<span style="mso-tab-count: 1;"> </span>‘Does
it hurt?’ asked Anthea with interest; but no one answered, for Robert had
spread his wings and jumped up, and now he was slowly rising in the air.<span style="mso-spacerun: yes;"> </span>He looked very awkward in his knickerbocker
suit - his boots in particular hung helplessly, and seemed much larger than
when he was standing in them.<span style="mso-spacerun: yes;"> </span>But the
others cared but little how he looked - or how they looked, for that matter.
For now they all spread out their wings and rose in the air. Of course you all
know what flying feels like, because everyone has dreamed about flying, and it
seems so beautifully easy - only, you can never remember how you did it; and as
a rule you have to do it without wings, in your dreams, which is more clever
and uncommon, but not so easy to remember the rule for.<span style="mso-spacerun: yes;"> </span>Now the four children rose flapping from the
ground, and you can’t think how good the air felt running against their faces.
Their wings were tremendously wide when they were spread out, and they had to
fly quite a long way apart so as not to get in each other’s way.<span style="mso-spacerun: yes;"> </span>But little things like this are easily
learned.</div>
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<span style="mso-tab-count: 1;"> </span>All
the words in the English Dictionary, and in the Greek Lexicon as well, are, I
find, of no use at all to tell you exactly what it feels like to be flying, so
I will not try. But I will say that to look <i style="mso-bidi-font-style: normal;">down
</i>on the fields and woods, instead of <i style="mso-bidi-font-style: normal;">along
</i>at them is something like looking at a beautiful live map, where, instead
of silly colours on paper, you have real moving sunny woods and green fields
laid out one after the other. </div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
And now let us move on to 2004, to the book of the film,
copyright (not entirely irrelevantly) by Sandfairy Merchandising. Here is the
same scene: </div>
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<span style="color: red; font-size: 14.0pt;"></span></div>
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<br /></div>
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<a href="http://3.bp.blogspot.com/-Lvl0y3mkdDg/UbdAIW_z5zI/AAAAAAAAAJE/ppu0BvR7Fec/s1600/five+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-Lvl0y3mkdDg/UbdAIW_z5zI/AAAAAAAAAJE/ppu0BvR7Fec/s200/five+2.jpg" width="133" /></a><span style="font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span></span></div>
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Jane squealed.
When Anthea and Cyril turned to look, they couldn’t believe their eyes – Jane
had sprouted a pair of wings!</div>
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<span style="mso-tab-count: 1;"> </span>Anthea
was next to scream, as she too sprouted wings from her back, and then Cyril did
the same.</div>
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<span style="mso-tab-count: 1;"> </span>‘Robert!’
growled Cyril. ‘He must have made a wish!’</div>
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<span style="mso-tab-count: 1;"> </span>There
was a beating noise at the window. It was Robert – and he was flying! </div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="mso-tab-count: 1;"> </span>Cyril
opened the window.</div>
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<span style="mso-tab-count: 1;"> </span>‘You’ve
done it again!’ he yelled. ‘What were you thinking?’</div>
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<span style="mso-tab-count: 1;"> </span>Robert
hovered just outside the window.</div>
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Now, before traditionalists amongst us (and possibly Mr
Gove) commit hara-kiri, we might point out that the second version is supported
by copious illustrations (as well as, presumably, memories of the film), and so
the words are not so important as they were in the original. We now don’t <i style="mso-bidi-font-style: normal;">need</i> the contact with the narrative
voice, or the details or the evocation of emotions or atmosphere. And we
wouldn’t expect our readers (and by implication our fictional characters) to
accept the Greek Lexicon as a natural reference point for vocabulary.<span style="mso-spacerun: yes;"> </span>But, it might be argued, this is surely
simply a matter of progression – children of the 21<sup>st </sup>century are
used to multimedia and the relegation of written language to a subsidiary role.</div>
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<br /></div>
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But does the language that is left have to be quite so
clichéd, quite so functional? <span style="font-size: 14.0pt;"></span></div>
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<br /></div>
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Or was Ludwig wrong when he suggested that ‘<span lang="EN" style="mso-ansi-language: EN;">Die grenzen meiner sprache sind die grenzen meiner
welt.’<span style="mso-spacerun: yes;"> </span>Or should we re-interpret our
concepts of language? </span></div>
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<br /></div>
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<br /></div>
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The question is, how important was the stuff that was left
out? Take another classic, <i style="mso-bidi-font-style: normal;">Treasure Island</i>, and a classic scene.<span style="mso-spacerun: yes;"> </span>Jim, the narrator, has been pursued up the
mast of the <i style="mso-bidi-font-style: normal;">Hispaniola</i><i style="mso-bidi-font-style: normal;"> </i>by the murderous coxswain, Israel
Hands. </div>
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<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span>
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<br /></div>
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Now that I had a moment to
myself, I lost no time in changing the priming of my pistol, and then, having
one ready for service, and to make assurance doubly sure, I proceeded to draw
the load of the other and recharge it afresh from the beginning.</div>
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<br /></div>
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My new employment struck Hands
all of a heap; he began to see the dice going against him, and after an obvious
hesitation, he also hauled himself heavily into the shrouds, and with the dirk
in his teeth, began slowly and painfully to mount. It cost him no end of time
and groans to haul his wounded leg behind him, and I had quietly finished my arrangements
before he was much more than a third of the way up. Then, with a pistol in
either hand, I addressed him.</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
“One more step, Mr. Hands,” said
I, “and I’ll blow your brains out! Dead men don’t bite, you know,” I added with
a chuckle.</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
He stopped instantly. I could see
by the working of his face that he was trying to think, and the process was so
slow and laborious that, in my new-found security, I laughed aloud. At last,
with a swallow or two, he spoke, his face still wearing the same expression of
extreme perplexity. In order to speak he had to take the dagger from his mouth,
but in all else he remained unmoved.</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
“Jim,” says he, “I reckon we’re
fouled, you and me, and we’ll have to sign articles. I’d have had you but for
that there lurch, but I don’t have no luck, not I; and I reckon I’ll have to
strike, which comes hard, you see, for a master mariner to a ship’s younker
like you, Jim.”</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
I was drinking in his words and
smiling away, as conceited as a cock upon a wall, when, all in a breath, back
went his right hand over his shoulder. Something sang like an arrow through the
air; I felt a blow and then a sharp pang, and there I was pinned by the
shoulder to the mast. In the horrid pain and surprise of the moment - I scarce
can say it was by my own volition, and I am sure it was without a conscious aim
- both my pistols went off, and both escaped out of my hands. They did not fall
alone; with a choked cry, the coxswain loosed his grasp upon the shrouds and
plunged head first into the water.</div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That was taken from Oxford University Press’s World’s
Classics: <span style="mso-spacerun: yes;"> </span>but Oxford publish another version (1988):</div>
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<span style="font-size: 14.0pt;"></span></div>
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<br /></div>
<div class="MsoNormal">
and in that, the same scene reads</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-ymWzM5kh_8M/UbdBLWTI_7I/AAAAAAAAAJU/PExVIHfJdCk/s1600/treasure+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-ymWzM5kh_8M/UbdBLWTI_7I/AAAAAAAAAJU/PExVIHfJdCk/s200/treasure+2.jpg" width="155" /></a></div>
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<div class="MsoNormal" style="margin-left: 36.0pt;">
I scrambled up the rigging, but
Hands followed me.</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
He threw his knife and pinned me
to the mast. I fired my pistols, and he fell into the water.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Gone are Jim’s devious character, the tension of the
conversation, the virtuoso narrative blindness (‘In order to speak he had to
take the dagger from his mouth…’), Jim’s denial of responsibility (‘I scarce
can say it was by my own volition’) and much more. This may seem to be terrible
loss – but only to certain readers – those who have faith in a certain form of
language, and a certain attitude to narrative, and a certain way of conjuring
images into the reader’s brain.<span style="mso-spacerun: yes;"> </span>To them,
not only is the second version sacrilege, but it is also positively damaging to
its readers.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The alternative view might be that it is better for readers
to read this than nothing at all – and it might lead them to the ‘real thing’;
and if it doesn’t, then it doesn’t matter – the world is full of good stories;
and in any case, that kind of reading isn’t really very useful to anyone in
2013.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So… are we dealing with an article of faith, rather than a
matter of linguistic concern?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
(See this blog strand, Part 3!)</div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-16632365517052404842013-06-11T16:08:00.001+01:002013-06-11T16:12:51.218+01:00Classic Confusions Adaptations of Classics for Children <h3>
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<![endif]--><span style="color: #3d85c6;">Part 1: The Problem </span> </h3>
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<h2>
<span style="color: #3d85c6;">Work in Progress</span> </h2>
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<![endif]--><i style="mso-bidi-font-style: normal;">Peter Hunt</i><br />
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<![endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"></span></div>
<br />
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In Arthur Ransome’s <i style="mso-bidi-font-style: normal;">Pigeon
Post </i>– the first book to win the Carnegie Medal, in 1936 – the children
ponder the fate of their Uncle’s pet armadillo – probably drowned on the voyage
from South America. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
‘Oh, well, if he’s dead he’s
probably been dead ages, and been sunk to the bottom of the sea.’</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
‘Wrapped in a Union Jack,’ said
Dorothea. </div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
‘Suffered a sea change,’ murmured
Titty, ‘rich and rare… probably coral…’</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal">
Nobody, least of all the author, bothers to explain this.
His readers, like his characters, are expected to recognise the classics – both
the fictional characters and the real readers are well read in the
classics.<span style="mso-spacerun: yes;"> </span>But could we make that
assumption today? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On 1<sup>st</sup>
April, 2011 there was a headline in the London <i style="mso-bidi-font-style: normal;">Evening
Standard</i> :</div>
<div class="MsoNormal">
<br /></div>
<h1 style="background: white; margin-left: 36.0pt;">
<span lang="EN" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN;">Michael Gove:
Literature is dying out in schools</span></h1>
<div class="MsoNormal" style="background: white; margin-left: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="background: white; margin-left: 36.0pt;">
<span class="googqs-tidbitgoogqs-tidbit-0"><span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;">Classic
literature is at risk of dying out in schools, the Education Secretary warned
today.</span></span><span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;"></span></div>
<div style="background: white; margin-left: 36.0pt;">
<span class="googqs-tidbitgoogqs-tidbit-0"><span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;">Michael
Gove said fewer than one in 100 teenagers</span></span><span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;"> who sat one exam board's English literature GCSE last
year had studied novels published before the 20th century.</span></div>
<div style="background: white; margin-left: 36.0pt;">
<span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;">He
claimed only 1,236 out of 300,000 students read Pride and Prejudice, 285 read
Far From The Madding Crowd and 187 studied Wuthering Heights as part of the
test.</span></div>
<div style="background: white; margin-left: 36.0pt;">
<span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;">More
than 90% of exam papers were based on three books alone - Of Mice And Men, Lord
Of The Flies, and To Kill A Mockingbird - all of which were published after
1930.</span></div>
<div style="background: white; margin-left: 36.0pt;">
<span lang="EN" style="color: #444444; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-ansi-language: EN;">He
added: "We're not picking up enough new books, not getting through the
classics, not widening our horizons. In short, we're just not reading
enough."</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is not a world that Arthur Ransome and his characters
and readers would have recognised. Leaving aside the dateline, and the feeling
that we might have been having our legs pulled, the clear implication of Mr
Gove’s argument is <i style="mso-bidi-font-style: normal;">not </i>that we’re not
reading enough – it is easily argued that we’re all reading more than ever –
but that there is something in the ‘classics’ that makes them <i style="mso-bidi-font-style: normal;">more </i>worth reading.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well, obviously, or they wouldn’t be classics. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Of course, <i style="mso-bidi-font-style: normal;">that </i>statement
doesn’t bear much examination, but we should look carefully at another
implication - that classics should be read in their original form – their
original language. What happens to classics if their language is changed? What
does that mean for the readers?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the real world, children obviously come to ‘classics’
from very impure directions – film, or comics or other media impact first. Mr
Gove is still being challenged: Frank Danes, head of English at King’s Ely Senior
School, Cambridge, wrote to <i style="mso-bidi-font-style: normal;">The Times </i>in May this year:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
‘That Mr Gove thinks we should
force a 900-page 19<sup>th</sup> century novel [<i style="mso-bidi-font-style: normal;">Middlemarch</i>] on teenagers who barely read at all – the fault of the
zeitgeist, not of teachers – is more proof that he has no idea what happens in
a classroom.’</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So, what happens in the classroom has changed. Titty has
read (happily, one assumes) <i style="mso-bidi-font-style: normal;">The Tempest </i>–
she has also read Keats and Defoe and Macaulay – but if she had read them – as
many children now do, in modified, altered, or abridged forms, what difference
would that have made?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If children today – inside and outside of books –<span style="mso-spacerun: yes;"> </span>read different things from their
predecessors,<span style="mso-spacerun: yes;"> </span>let us look at some of the
ways in which the language of the classics has been changed to suit new
generations of children. Then we can ask</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
- what difference does it make which version we read?</div>
<div class="MsoNormal">
- if the language changes, does the whole nature of the
‘classic’?</div>
<div class="MsoNormal">
- is this a matter of literacy, culture, politics … or
something in between?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of the many definitions of a classic is a work that has
entered the public domain - <span style="mso-spacerun: yes;"> </span>the public
culture - and so it is fair game for constant re-interpretation. After all,</div>
<div class="MsoNormal">
Shakespeare has survived Baz Luhrmann, Franco Zeffirelli and
Mel Gibson, productions with every kind of modern dress and undress, twins of
different<span style="mso-spacerun: yes;"> </span>races, and a female Prospero.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The difference with children’s classics is that the adaptations
tend to be reductive in content and form. (Of course, in the case of
Shakespeare (and, indeed, most books) there is much that the inexperienced
reader wouldn’t understand – much that most readers wouldn’t understand – but
where children are concerned, reductiveness rules.) </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is plenty of evidence that with time and patience even
young children can take on complex original texts, but it is commonly assumed
children prefer narrative, and that they can’t cope with ‘difficult’ language</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And the result?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Take a scene from <i style="mso-bidi-font-style: normal;">As
You Like It</i>, in which <span style="mso-spacerun: yes;"> </span>Rosalind’s
wicked (or misguided) Uncle banishes her: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPpFLPCBSYBp94XXfeYhgbXJ6uaW8zDgRe2aeyLBkI_sbfieD9d-2M3ZNPHoiggSnUiwfRLJp3fqGxy5IpW9XUEWB5SUHv8uYj0fvcZs6J-lvG862ahfYMkttz__yKx_hdRa6kdWPLpFk/s1600/warwick+Shakespeare.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPpFLPCBSYBp94XXfeYhgbXJ6uaW8zDgRe2aeyLBkI_sbfieD9d-2M3ZNPHoiggSnUiwfRLJp3fqGxy5IpW9XUEWB5SUHv8uYj0fvcZs6J-lvG862ahfYMkttz__yKx_hdRa6kdWPLpFk/s320/warwick+Shakespeare.jpg" width="211" /></a></div>
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<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Duke Frederick</i>:
Mistress, dispatch you with your safest haste</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>And get you
from our court.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Rosalind</i>: <span style="mso-tab-count: 2;"> </span>Me, uncle?</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Duke Frederick</i>:<span style="mso-tab-count: 3;"> </span>You, cousin:</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Within
these ten days if that thou be’st found</div>
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<span style="mso-tab-count: 1;"> </span>So near our
public courts as twenty miles,</div>
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<span style="mso-tab-count: 1;"> </span>Thou diest
for it.</div>
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<i style="mso-bidi-font-style: normal;">Rosalind</i>: I do
beseech your grace</div>
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<span style="mso-tab-count: 1;"> </span>Let me the
knowledge of my fault bear with me…</div>
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<i style="mso-bidi-font-style: normal;">Duke Frederick</i>:
Let it suffice thee that I trust thee not…</div>
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<span style="mso-tab-count: 1;"> </span>Thou art
thy father’s daughter; there’s enough.</div>
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Edith Nesbit, who held the somewhat paradoxical view that
‘the stories are the least part of Shakespeare’, but that the best way of
giving Shakespeare to children was to give them the stories, thought that that
scene was all to complex. In 1897 she tried her hand at adapting:</div>
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‘You must leave the court at once’ [the Duke] said to
Rosalind.</div>
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‘Why?’ she asked.</div>
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‘Never mind why,’ answered the Duke, ‘you are banished… If
within ten days you are found within twenty miles of my court, you die.’</div>
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Never mind why, indeed.</div>
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But what about books that were originally designed for
children? Surely there is no need to change <i style="mso-bidi-font-style: normal;">them</i>.</div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Take Frances Hodgson Burnett’s <i style="mso-bidi-font-style: normal;">The Secret Garden </i>– a steady seller for just over a hundred years:
surely that does not need adaptation? <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i><span style="mso-spacerun: yes;"> </span>How
on earth</span>, one might ask, <span style="mso-spacerun: yes;"> </span>does
this description of Mary Lennox in the first chapter of <i style="mso-bidi-font-style: normal;">The Secret Garden </i>in 1911
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<span style="color: blue;">…by the
time she was six years old she was as tyrannical and selfish a little pig as
ever lived. </span></div>
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end up in the Macmillan Readers, ‘Pre-intermediate Level:
about 1400 basic words’ version in 2008: </div>
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<span style="color: blue;">Mary
quickly became a very difficult and selfish child.</span></div>
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Changes like this over a hundred years are fascinating, if
not disturbing – and in Part 2 of this blog strand, we can look at some more
examples.</div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-28049243325743096552013-06-03T12:46:00.000+01:002013-06-03T12:57:02.815+01:00How reading has fashioned readers: rethinking the past<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;"> by Kim Reynolds</span></div>
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<span style="font-family: Calibri;">Recently I spent a day with a group of historians of children’s books listening to papers about how the children’s book business developed. Not for the first time in the last two years I was struck by how many long-standing ideas about the origins and developments of publishing for children are being challenged and what this tells us about attitudes to reading, reading practices and images of readers. A good example of the kinds of changes to established histories I have in mind was provided by Jill Shefrin, an independent Canadian historian who used to be based in the wonderful Osborne Collection of Early Children’s Books in Toronto (</span><a href="http://www.torontopubliclibrary.ca/osborne/"><span style="color: blue; font-family: Calibri;">http://www.torontopubliclibrary.ca/osborne/</span></a><span style="font-family: Calibri;">). For the last decade Jill has been working on what she calls children’s pastimes and education aids – printed materials associated with reading, but not books. This has opened up several very productive lines of enquiry into how children in the past learned to read, what they read, and how reading, play and education interacted at different times that call into question the traditional view that the children’s literature business began in 1744 with publishers such as John Newbery. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">She offered examples of print culture in the early 1600s that have all the hallmarks of much later commercially produced material, though her examples were not in book form. As our knowledge about the history of children’s reading evolves our ideas about how children thought of themselves and were figured as readers are changing too. Other speakers also offered new food for thought. Andrea Immel of Princeton showed that, at least in the case of John Newbery, there was much less in the way of recycling of illustrations than has usually been assumed, while Nigel Tattersfield showed how what was available to children varied considerably – and surprisingly in the case of pirated editions – according to where they lived. This regional dimension seems well worth pursuing for insights into relationships between reading and readers. The event was organised by the Children’s Books History Society, a fabulous organisation for those interested in the history of children’s books. The newsletter alone is worth the modest membership fee. There is no UK website but details can be found at: </span><a href="http://www.torontopubliclibrary.ca/osborne/childrens-books-history-society.jsp"><span style="color: blue; font-family: Calibri;">http://www.torontopubliclibrary.ca/osborne/childrens-books-history-society.jsp</span></a><span style="font-family: Calibri;">.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">It’s not just the distant past that is being revised. One of the most interesting representations of children as readers that I’ve been writing about for my own current research is a magazine produced by radicalised teenagers at public schools in the 1930s. Called <i style="mso-bidi-font-style: normal;">Out of Bounds: Against Reaction in the Public Schools</i>, it was edited by by Giles (1916-1917) and Esmond Romilly (1918-1947), nephews of Winston Churchill. Both were pupils at Wellington before Esmond was expelled. The magazine became a <i style="mso-bidi-font-style: normal;">cause célèbre</i>; not least because by the second number, upwards of 3,000 copies were being printed and distributed. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1f497d; mso-ansi-language: EN-US;"> image © National Portrait Gallery, London. </span><span lang="EN-US"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="color: #1f497d; mso-ansi-language: EN-US;"><a href="http://www.npg.org.uk/">http://www.npg.org.uk/</a><o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The four numbers of this magazine are valuable for this project because they preserve the voices of actual young people, though admittedly only of an elite, male-dominated group rather than a cross section of the school population (there was one girl on the editorial board). Of particular interest to a consideration of how young people used reading to develop their thinking and fashion an image of themselves are the book reviews. These show what this group of young people was choosing to read, why, and what they thought of it. The reviews reveal that their reading was eclectic, but tended to favour information books sold by left-wing publishing houses. Works reviewed included titles such as <i style="mso-bidi-font-style: normal;">Memoirs of the Unemployed</i>, <i style="mso-bidi-font-style: normal;">Progressive Schools</i>, <i style="mso-bidi-font-style: normal;">The Menace of Fascism</i>, a Young Communist League pamphlet called <i style="mso-bidi-font-style: normal;">Ten Points Against Fascism</i>, and Geoffrey Trease’s <i style="mso-bidi-font-style: normal;">Bows Against the Barons</i>, a retelling of the Robin Hood legend as a left-wing novel for children.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The young reviewers for <i style="mso-bidi-font-style: normal;">Out of Bounds</i> tended to make no distinction between books for adults and children, and they were equally pleased to read information books and fiction. In every case they wrote seriously about the arguments being made, how these related to their own, privileged experience, and how they understood the need to transform society. The magazine and the activities surrounding its production and distribution provided a master class in how young people saw readings as a way of shaping identity in inter-war Britain.<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-67913523168176082642013-05-27T10:30:00.000+01:002013-05-27T13:08:39.415+01:00The Consequences of Becoming Literate<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Evelyn Arizpe</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">One my original ideas behind this project
on children’s books about reading was to write about books with<span style="mso-spacerun: yes;"> </span>plots that hinged on the life-changing
consequences of illiterate characters becoming literate. At first I was
thinking about the more traditional and didactic stories where learning to read
makes it possible for someone to go to university or get a job or become
president. The more I read however, I began to think of books, some of them now
considered ‘classics’ but also some more recent ones, where the consequences of
coming into contact with books or other texts becomes a pivotal narrative
device for characters that are expected by society – mainly, the establishment
and the authorities – to be and to remain illiterate. When they do learn to
read, the consequences are not always the traditional benefits that the reader
might predict: there are further rejections, complications and even dangers.
However, one of the underlying consequences perhaps remains the same for all
books about characters who become literate: they are revealed as ‘good’, as
defined by the traditional values of being kind, generous and noble, under the
layers of poverty, ignorance, dirt, rubbish or whatever other reasons for their
illiteracy and no matter what their previous ‘crimes’ –as defined by that
establishment and those authorities-<span style="mso-spacerun: yes;"> </span>may
have been. Most importantly, it is through this ‘goodness’ of character that
these initially marginalized and parasitic characters often, in their turn,
alter or cause transformations in the very same society that rejected them to
begin with.<o:p></o:p></span></div>
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<a href="http://www.takepart.com/photos/read-book-ten-telling-photo-literacy-around-world"><span style="font-family: "Helvetica","sans-serif";"><span style="color: blue;">http://www.takepart.com/photos/read-book-ten-telling-photo-literacy-around-world</span></span></a><span style="color: #333333; font-family: "Helvetica","sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Poverty and/or homelessness are the main
causes of illiteracy in these books, so the characters tend to be children and
young adults who live on or off the street or rubbish dumps,<span style="mso-spacerun: yes;"> </span>usually uncared for and often abused by
adults. In almost all these books, the child characters are on the margins of
society, <span style="mso-spacerun: yes;"> </span>usually looked down upon or
even loathed by the establishment which they prey upon and live off, mostly by
stealing. Their ‘ignorance’ is meant to go side by side with a lack of interest
or ability to appreciate literature but, as it turns out, they make up for
their illiteracy not only by having imagination and creativity and by the
desire to learn to read or at least, by having a fascination with words and
stories. Their rather inexplicable attachment to a text or book is perhaps a
reflection of some kind of intuition that these may be a ticket out of poverty,
a way to an alternative future and<span style="mso-spacerun: yes;">
</span>underneath the signs of poverty, minor delinquency, ignorance, rubbish
and dirt, they have kind hearts. As a consequence of becoming literate or
‘literary’, both their creativity and good nature is enhanced and thus they
change the course of their own and others’ lives.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Some of the books that I am working on
and will discuss in my paper for the conference in October (see May 27 blog)
are the following: <i style="mso-bidi-font-style: normal;">Smith</i> by Leon
Garfield; <i style="mso-bidi-font-style: normal;">Lee Raven Boy Thief</i> by
Zizou Corder; <i style="mso-bidi-font-style: normal;">Holes</i> by Louis Sachar; <i style="mso-bidi-font-style: normal;">Trash</i> by Andy Mulligan and <i style="mso-bidi-font-style: normal;">The Baby and Fly Pie </i>by Melvin Burgess.
Although these books are different in many ways, starting with the fact that
they are set in different countries and/or different historical periods (both
past and future), there are several general similarities between them: first,
the main characters mostly are all boys and they are orphaned or estranged in
some way from their parents; second, they accidentally find or mistakenly steal
something that does not belong in their normal, everyday circumstances: a
wallet, a baby, a magic book. In the case of Smith and of Lee Raven, the
objects are actually a document and a book which they cannot read. These
objects act as triggers for the rest of the story because the teenagers are
reluctant to return or give up the glimmer of hope they offer for the future.
Because of this reluctance they suffer a variety of dangers: persecution,
imprisonment and even torture. In all cases, learning to appreciate what it
means to read is pivotal to the plot and in all cases, accepted notions of the positive consequences of becoming literate are questioned.</span></div>
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Evelynhttp://www.blogger.com/profile/02949768250166287251noreply@blogger.com1tag:blogger.com,1999:blog-5279859337387710510.post-65825366568662981402013-05-20T11:34:00.000+01:002013-05-21T16:09:23.373+01:00Pragmatism, postmodernism and economics<div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0cm 0cm 10pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9xRouOV5a5eSq3jkVhLUPdl4wg9r6CfvVf_Oz67EqYmPI-GXO4GkGzOaujv4J0g37Ac4gA6ZOUUaALHPzWC74upCKOqV7iWTgLBE0vk5wosUPPbd5RfmX_QIKDS02xVmzxyIHUo2X6PY/s1600/goblins.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9xRouOV5a5eSq3jkVhLUPdl4wg9r6CfvVf_Oz67EqYmPI-GXO4GkGzOaujv4J0g37Ac4gA6ZOUUaALHPzWC74upCKOqV7iWTgLBE0vk5wosUPPbd5RfmX_QIKDS02xVmzxyIHUo2X6PY/s320/goblins.jpg" width="208" ya="true" /></a>by Vivienne Smith</div>
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I am enjoying reading <i style="mso-bidi-font-style: normal;">Goblins and Dwarves,</i> by Philip Reeve. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnvNgWSGpC7m2jDQjTg7-GoqrmLqtcQnVdDXILiWrYjUmROe0aaiOrbeZAkios-lEvhMW22mPretMObCWaY3S5jbdTltGsI3adlsFi3AJ2bDqCOW13a8ZLhu6RZkzU44trQpmm8ys_7I/s1600/goblins+v+dwarves.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnvNgWSGpC7m2jDQjTg7-GoqrmLqtcQnVdDXILiWrYjUmROe0aaiOrbeZAkios-lEvhMW22mPretMObCWaY3S5jbdTltGsI3adlsFi3AJ2bDqCOW13a8ZLhu6RZkzU44trQpmm8ys_7I/s1600/goblins+v+dwarves.jpg" ya="true" /></a><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It is the second volume of a trilogy. First </span>there was<i style="mso-bidi-font-style: normal;"> Goblins</i>. In this Skarper –the only goblin who has ever learned to read is thrown out of his home (literally: by catapult!) because he is too clever by half and therefore irritating to the everyday sort of goblin thug. He meets <span style="mso-spacerun: yes;"> </span>Henwyn, a heroic, but not very bright cheesemaker; <span style="mso-spacerun: yes;"> </span>Ned, an aging and engagingly sensible princess who bakes scones; a giant; a troll;<span style="mso-spacerun: yes;"> </span>three charlatan magicians; some sulky cloud maidens <span style="mso-spacerun: yes;"> </span>and some <span style="mso-spacerun: yes;"> </span>magical twiggy creatures. In an unlikely but entertaining romp they overthrow the cross-dressing Goblin king, and settle down to live happily ever after. <span style="mso-spacerun: yes;"> </span>But of course they don’t. <i style="mso-bidi-font-style: normal;">Goblins and Dwarves, </i>continues their adventures, and the third volume, when it is published, will continue them still.<o:p></o:p></div>
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<span style="font-family: Calibri;">I am not a great fan of fantasy adventures. On the whole, I can do without elves and hobbits and their high-minded quests. I don’t want to read about Evil Overlords. I prefer domesticity and in these books, Reeve provides it. <span style="mso-spacerun: yes;"> </span>Amidst the (mostly incompetent) questing, the magic, the pull of power and the battles are cups of tea and buttered scones, and cheesemaking. <span style="mso-spacerun: yes;"> </span>Princess Ned’s common sense gently brings into focus the absurdity of the tropes of fantasy fiction and fairy tale, but the adventure is still there, fast and funny. Reeve, as ever, is clever, witty and entertaining.<span style="mso-spacerun: yes;"> </span>And, of course, his prose is faultless. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">But, for the Reading Fictions Project, it is the bookishness of these books that interests me. In <i style="mso-bidi-font-style: normal;">Goblins</i>, Skarper’s ability to read is a major engine of the plot, and the denouement, when it comes is achieved because of what he had read. Despite the jokes and the silliness, reading really matters here. In <i style="mso-bidi-font-style: normal;">Goblins and Dwarves </i>there is less reading, but more books<i style="mso-bidi-font-style: normal;">.</i> Dr Quesney Prong, 'the Voice of Reason' is an academic. He has spent his life proving beyond doubt that magic does not exist. It is unfortunate for him that in the very week his great book on the subject is published, magic floods back into the city. Of course no-one buys it. Of course he is ruined. We meet Dr Prong subsisting in a shack by the river. The shack is built from his unsold books. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">It made me laugh. It made me imagine a similar fate for Richard Dawkins. And it made me think that what we say about books in books for children has moved on again. Here are books as objects: they are things you can build with. They are not precious and they are not special. They lack authority. <span style="mso-spacerun: yes;"> </span>They are not containers of truth and they will not make you clever or wise. They can be wrong.<span style="mso-spacerun: yes;"> </span>Perhaps even more interestingly, <span style="mso-spacerun: yes;"> </span>they are commercial entities. They can make your fortune and they can ruin you. They are part of the economy.<o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>Pragmatism, postmodernism and economics. Is this what books are for in the twenty-first century? <o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/04205768237585598398noreply@blogger.com0tag:blogger.com,1999:blog-5279859337387710510.post-36070716511336942742013-05-03T17:44:00.000+01:002013-05-20T16:07:15.074+01:00Why is reading fiction valuable?<div align="JUSTIFY" lang="en-GB" style="line-height: 150%; margin-bottom: 0cm; orphans: 2; widows: 2;">
<span style="font-size: small;">by Maria Nikolajeva </span><br />
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<span style="font-size: small;">People who work with books, reading and literacy have
always known that reading fiction is good for you. With the recent
development of brain research, we now have hard facts to prove that
reading fiction is not merely a pleasurable, yet meaningless pastime,
but is crucial for our survival as individuals and as a species.
Storytelling is our way of understanding the world, other people and
ourselves. Reading fiction stimulates attention, imagination, memory,
empathy – brain functions indispensable or our cognitive, social
and emotional development. </span></div>
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<span style="font-size: small;"> </span>
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<span style="font-size: small;"> In the age when the value of deep reading is
questioned, when libraries and schools invest in computers and
tablets rather than books, when the books themselves undergo a medial
transformation from print to digital, it is all the more important to
consider what reading does to us. There are alarming reports about
irreparable changes in our brains inflicted by our engagement with
information. We tend to get shorter attention span; as a result,
young people have difficulties reading books with slow pace, long,
compound sentences, and a large number of characters; writers and
publishers adapt their products accordingly. Our semantic memory is
deteriorating since factual information is easily available to us
with one click on an electronic device. We supplant our real-life
experiences with virtual ones, especially through social media, thus
decreasing our social skills. </span></div>
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<span style="font-size: small;"> </span>
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<span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"> On
the other hand, recent statistics show that the massive advance of
electronic reading devices has had a positive impact on reading: on
the average, we read more today than ten years ago, and sales of
electronic books in some countries have caught up and even surpassed
the printed book. </span></span></span></div>
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<span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"> </span></span></span>
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<span style="font-size: small;"> A recent newspaper publication in the USA caused a
storm of debates when an arrogant mother stated that reading
picturebooks would not take her three-year-old to Harvard. The mother
was wrong: reading baby books, picturebooks, comics, chapter books,
and novels will potentially take young people to Harvard and beyond,
toward the Nobel Prize. Reading fiction is a matter of social
justice. Reading fiction is the best investment parents and educators
can offer the new generation. </span></div>
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<span style="font-size: small;"> </span>
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<span style="font-size: small;"> In this blog we will share our findings and insights
from a project about reading fiction in the twenty-first century. </span>
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