From a long, very interesting, essay by Katherine Rundell, herself an author of books for children, "Why children’s books?":
.... It was W.H. Auden who said: ‘there are good books which are only for adults, because their comprehension presupposes adult experiences, but there are no good books which are only for children.’ The great discipline of children’s fiction is that it has to be written for everyone: because if it is not for everyone then it’s not for anyone at all. It offers us the specific joy of finding our commonality: we can all meet on the pages of A.A. Milne in a way that we cannot on the pages of Jacques Derrida. .......[T]here are common threads that run through the children’s books that have endured and the new books that children currently devour. If, as a practitioner, I were to draw up a list it would include: autonomy, peril, justice, secrets, small jokes, large jokes, revelations, animals, multitudinous versions of love, inventions – and food.Food gives both solid reality and delicious longing to children’s books. Brian Jacques, author of the Redwall series about monastic chivalric mice, was a milkman when he began volunteering to read at a school for the blind. He found himself horrified by the quality of the books he was reading, and decided to write his own – and, because the children were blind, he accentuated senses other than sight: smell, sound, temperature, texture and, most important of all to children, taste. The food in Redwall is the thing most of its readers remember....Perhaps the best book ever written about postwar rationing is Charlie and the Chocolate Factory. Published in 1964, ten years after rationing ended in Britain, it has an entire nation’s hunger for fresh tastes and wild luxury encoded in its pages. And there is The Lion, the Witch and the Wardrobe, written in 1950, when sugar and fruit and treats were still scarce (in 1942, according to a survey, many children did not believe that bananas were real): Edmund’s Turkish Delight stands in for every lost and longed-for glory. What child forgets the seismically disappointing discovery that the English version tastes like jellied flowers dusted in soap powder? ....What is fantasy for? You do not suddenly start needing philosophy on your eighteenth birthday: you have always needed it. Fantasy is philosophy’s more gorgeously painted cousin. You can’t just tell a child a blunt fact about the human heart and expect them to believe you. That’s not how it works. You can’t scribble on a Post-it note for a 12-year-old: your strangeness is worth keeping, or your love will matter. You need to show it. And fantasy, with its limitless scope, gives us a way of offering longhand proof for otherwise inarticulable ideas: endurance and hatred and regret, and power and passion and death. As Tolkien said, in an interview in 1968, ‘human stories are practically always about one thing, aren’t they? Death. The inevitability of death.’ ....C.S. Lewis wrote that tales of the marvellous are their own, real thing: fictional, yes, but also solid pieces of knowledge. They are ‘actual additions to life; they give, like certain rare dreams, sensations we never had before, and enlarge our conception of the range of possible experience.’ The greatest children’s fantasies were worth your time when you were twelve, and they are equally worth it now. They keep the imagination sharp, and big, and hungry. They remind us that the imagination is not an optional extra, which we can humour in our children but safely discard in adulthood. It is at the very heart of everything. It is deadly serious, the necessary condition of political change, of love. It is the sharpest tool of ethics. Edmund Burke popularised the term ‘moral imagination’ to describe the ability of ethical perception to step beyond the limits of the fleeting moment and beyond the limits of a single person’s experience. ....There’s no doubt that reading for pleasure as a child can change your life. It is a key predictor of economic success later in life. But the main reason to help children seek out books is this: if you cut a person off from reading, you’re a thief. You cut them off from the song that humanity has been singing for thousands of years. ....To write those books is to insist that though the world burns, and there is more fire to come, it will always be worth teaching children to rejoice. It will always be worth showing them how to build an internal blueprint for happiness. Nothing about being alive demands joy. But, over and over, the great children’s books insist on it: on joy as a way that humans both create and are given meaning. Joy is insisted on through talking spiders, and rats in rowing boats, and in the vast promise of an opening line: ‘In a hole in the ground there lived a hobbit.’ .... (much more)
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