What Makes a Book “Appropriate” for School?

From Publishers Weekly:

When I was a teen, I’d have given anything for a book like Ordinary Hazards. Of course, it hadn’t yet been written. What I did discover back then was A Tree Grows in Brooklyn by Betty Smith. In her novel, I found Francie, a character I resonated with deeply. We weren’t of the same race, nor were our lives a perfect replica, by any stretch. Still, Smith’s character and I both faced tough challenges in our young lives, and like me, Francie knew the color of hell by heart. Because of her story, I knew that I wasn’t alone in the world, and knowing that gave me strength for my own journey. This is the power of story. This is why I became a purveyor of story, myself.

Over the course of my long career, I’ve written fiction, nonfiction, historical fiction, and poetry on a wide variety of subjects, but the one thing I’ve always believed is that the single most important story I have to tell is my own. Ordinary Hazards, my memoir in verse, is that story. It is a story of darkness and childhood trauma, of a parent’s alcoholism and mental illness, of the seamy side of foster care, and of sexual assault. But it is also a story of love and light, of faith and grace, and of a young girl’s discovery of the power of the written word.

Mine is a story of triumph over darkness, and, as such, is ultimately a story of hope. The possibility of planting seeds of hope in the hearts and minds of young readers is why I wrote Ordinary Hazards. As agonizing as it was to rip open the wounds of memory, I knew there were young people who needed a story like mine—and a true story, at that. And thousands of readers across the country have already been inspired by it. This is why I was stunned when I learned that a school district in Leander, Texas, had elected to remove my award-winning memoir from their curriculum.

What???

It is one thing to rip a book from your own teen’s personal library, but to interfere with every other teen’s access to that book throughout your school district goes beyond the pale.

Leander’s issue with Ordinary Hazards—and Jacqueline Woodson’s Red at the Bone, and Laurie Halse Anderson’s Shout, among other titles recently removed—is that these titles are considered to have “inappropriate content.” I’m assuming the content in question in Ordinary Hazards is difficult subject matter, namely alcoholism, sexual assault, and mental illness. Difficulty, though, is no reason to remove a book from an age-appropriate reader’s easy reach.

The truth is, the lives of many teens are difficult. Some are homeless, or have parents in prison, or have been bounced from one foster home to another—or all of the above. Other teens live, as I did, in homes where a parent wrestles with mental illness or alcoholism, or may struggle with these issues themselves. Finally, though you may be unaware, countless teens of every gender, sitting in high school classrooms right now, have been sexually assaulted. Is this subject uncomfortable? Absolutely. But writing about the topic is hardly inappropriate, especially when it’s handled delicately.

Censors will find nothing salacious, graphic, or gratuitous in Ordinary Hazards. I specifically chose to write my memoir in poetry because the form allows for the delicate treatment of difficult content. As such, no one can reasonably charge the writing itself of being inappropriate. When it comes to sexual abuse, what is inappropriate—not to mention criminal—is the abuse itself. Writing about that abuse is both appropriate and necessary. Teens need to know that sexual assault is not a secret to keep.

Link to the rest at Publishers Weekly

Why Adults Should Read Middle Grade Books

From Book Riot:

The TV show Ted Lasso was not at all on my radar until I started to hear about it everywhere — from friends, on social media, and even on my professional Slack network. I am not a sports person, but I do succumb to peer pressure when it comes to certain media, and like many I devoured the AppleTV show in a single weekend. One of my favorite episodes in season 1 is episode 3, “Trent Crimm: The Independent.” In it, Coach Lasso is working hard to connect to his new football team and inspire them to make some essential changes in how they interact with one another. In order to accomplish that, he gives them all books that he hand-picks for their various needs and personalities. To surly, gruff team captain Roy Kent, who resents Coach Lasso’s upbeat attitude, Lasso gifts a copy of Madeleine L’Engle’s A Wrinkle in Time.

Roy reluctantly starts reading the book, which at first he dismisses as a book about a “little girl.” L’Engle’s classic is about Meg, a young girl whose father has disappeared. She learns that he is being held captive by an evil force on the other side of the universe, and she must rescue him with the help of three mysterious entities. In one of my favorite scenes in the entire first season, Roy is reading the book aloud to his niece when he comes across a passage that illuminates why Coach Lasso gifted him the book in the first place. “F****!” he yells when the realization hits, because he now understands what he needs to do next in order to bring his team together.

It’s one of the most relatable moments of the show for me, and I think it speaks to the subtle, quiet power of children’s books. Adults tend to view books written for children as childish or just silly entertainment, but those of us who write for kids (and teens) know that there is usually a lot more going on underneath the surface. We assume these books are childish, but that’s the deception: Children’s books tend to contain the same big, complex ideas about life that adult novels do…but they’re conveyed in such a way that a young reader can grasp them.

However, I don’t think that a children’s book has to contain a lesson or be emotionally complex in order to be valuable to child or adult readers. As adults, we read books that are entertaining or silly or simply fun escapes, and children’s lit can be that, too. The value in returning to these books as adults is in reminding ourselves what it’s like to be a kid, to gain a different perspective on the world, and to expand our understanding of different experiences and communities. And, of course, to be entertained.

The exciting thing about children’s literature is that it’s constantly changing, so if you’re an adult reading this, there are some amazing books that have been published since your elementary and middle school days, and children’s writers are constantly elevating the field with their incredible writing and stories. Even if you don’t have any kids in your life, there is no one stopping you from picking up some amazing children’s books that run the range from silly to serious and will help expand your perspective. 

Link to the rest at Book Riot

Hong Kong Police Arrest Five Over Children’s Books

From The Wall Street Journal:

Hong Kong’s national-security police arrested five people for allegedly conspiring to commit sedition through a series of picture books that portray sheep being targeted by wolves—an allusion to China’s crackdown on pro-democracy supporters in the city.

Hours after police detained five members of a speech therapists’ union, police displayed three illustrated books that they say incited hatred against the government among children as young as four. The cartoons simplified “political issues that kids wouldn’t comprehend and beautifies criminal activities,” Superintendent Steve Li Kwai-wah told a news conference. “They’re meant to poison the minds of children,” he said.

Described as teaching aids, the books were distributed through pro-democracy businesses, local political offices and online by the speech therapists’ union, which was founded in November 2019—a time when some activists formed workers’ groups as a way to organize protest actions against the government.

The books include one titled “The Guardians of Sheep Village,” which is set against the backdrop of antigovernment protests that rocked Hong Kong in 2019. It depicts a malicious plot by the wolves to take over the sheep’s village and devour them all.

Another, “12 Warriors of Sheep Village,” refers to a dozen activists who were caught by the Chinese coast guard during an ill-fated boat escape from Hong Kong last year. The third book in the series, titled “Street Cleaners of Sheep Village,” alludes to a medical workers’ strike last year when Hong Kong faced its first coronavirus infections imported from China, using cartoons of littering wolves to portray outsiders.

. . . .

Thursday’s arrests are part of an intensifying crackdown on dissent in the former British colony and were made on the same day that four former executives and journalists of pro-democracy newspaper Apple Daily appeared in court charged with violating the national-security law by conspiring to collude with external forces. Apple Daily, founded by jailed media mogul Jimmy Lai, was forced to cease publication last month after authorities seized its assets.

. . . .

Publishers have been among the targets of authorities since the national-security law was imposed last year. Media groups and opposition groups have raised concerns that free speech is being eliminated and so-called red lines about what amounts to a crime are being expanded to eliminate criticism of authorities.

“Even children’s picture books cross the red line,” Herbert Chow, a local businessman who supports the protest movement, wrote in a Facebook post referring to the arrests.

The five people arrested—two men and three women, aged between 25 and 28 years old—are board members of the General Union of Hong Kong Speech Therapists. They were detained under a colonial-era antisedition law rather than the security law imposed by China.

In its online mission statement, the union says it has chosen to align itself with the politically marginalized. “We are a group of speech therapists, we should walk with the unheard,” it said on its website. “Those who are lucky won’t understand that being able to speak is a luxury. But we resonate with this.”

Link to the rest at The Wall Street Journal (PG apologizes for the paywall, but hasn’t figured out a way around it.)

Summer Book Kit Giveaway at The New York Public Library

From The New York Public Library:

Starting Monday, July 12, visit your local NYPL branch in the Bronx, Manhattan, or Staten Island, and pick up one of our free summer book kits! With special contents tailored to kids and teens of all ages, including books to take home and keep, activity guides, and more, these kits are a great way for kids and teens to keep their skills sharp all summer long. Get yours but act fast—supplies are limited!

. . . .

The New York Public Library’s free summer book kits have been specially prepared for kids and teens of all ages:

  • Babies and Toddlers (Early Literacy)
    Includes a special NYPL tote bag containing NYPL’s ABC Read with Me in NYC board book, and an early literacy tip sheet for caregivers. 
  • Pre-K through 1st Grade
    Includes a red drawstring bag containing two free books to take home and keep, NYPL’s Summer Learning 2021 welcome kit, and the NYPL After School Activity Guide for Grades K–3 (28 pages, English/Español).
  • 2nd and 3rd Grade
    Includes a red drawstring bag containing two free books to take home and keep, NYPL’s Summer Learning 2021 welcome kit, and the NYPL After School Activity Guide for Grades K–3 (28 pages, English/Español).
  • 4th and 5th Grade
    Includes a red drawstring bag containing one free book to take home and keep, NYPL’s Summer Learning 2021 welcome kit, and the NYPL After School Activity Guide for Grades 4–6 (16 pages).
  • Middle School
    Includes a red drawstring bag containing one free book to take home and keep, a special NYPL bookmark, one pot of Play-Doh, and a stress ball.
  • High School
    Includes a red drawstring bag containing one free book to take home and keep, a special NYPL bookmark, one pot of Play-Doh, and a stress ball.

Link to the rest at The New York Public Library

See also Summer Reading Downloads which anyone can download to allow their children to record their summer reading and write a review of one or more of the books they’ve read.

Wizarding World launches free Harry Potter hub for school summer holidays

From The Bookseller:

Harry Potter online home Wizarding World has launched has launched a free virtual hub for the school summer holidays.

Called Harry Potter Reading Magic, it is billed as “a destination to discover more about the exciting story and themes of Harry Potter and the Philosopher’s Stone (Bloomsbury) and have some fun along the way”.

The initiative sits alongside Bloomsbury’s rescheduled seventh annual Harry Potter Book Night on 24th June, with fans all over the world joining in magical events and activities themed around Diagon Alley.

With the new hub, over five weeks, young audiences will be able to get to know more about the iconic characters of J K Rowling’s books alongside chapter challenges, quizzes, craft activities and weekly themes.

Housing easy to follow tips, the Harry Potter Reading Magic hub will also feature handy and helpful guides for parents, carers and teachers. This content comes from a partnership between all Harry Potter publishers, including Bloomsbury in the UK, Scholastic in the US and Pottermore publishing.

The initiative is set to become an annual fixture. It follows the success of the Harry Potter At Home hub launched by Wizarding World for lockdown during 2020, which attracted more than seven million visitors.

Additionally, the first Harry Potter audiobook is available to stream free on Alexa from Audible beginning on 23rd June and throughout the month of July by saying: “Alexa, read Harry Potter Book One.”

Link to the rest at The Bookseller

A Child’s Garden of Metaverse

From The Dubit Group:

When I used to read fairy tales, I fancied that kind of thing never happened, and now here I am in the middle of one!

– Alice’s Adventures in Wonderland

When you think about it, Wonderland may have been the original ‘metaverse’.

If that’s not a term you know, you’ll hear it a lot soon. The metaverse is a massive, immersive, global, always-on digital space where it’s possible to engage in all sorts of play, entertainment, communication, socializing, creative and commercial activities. There can be familiar and lifelike experiences and others that are entirely whimsical or even bizarre.

It’s a virtual “rabbit hole,” holding wonders and intrigues not unlike Alice’s literary journeys.

Will there be books and reading in the metaverse? Fortunately, what makes the concept unique is that it will be constructed, piece by piece, by its users. As the Cheshire Cat said, every adventure requires a first step, so publishers, authors, bookstores and librarians can ensure that they have presence by themselves conceiving and creating immersive, engaging spaces for literature.

What Is a Metaverse?

If you’ve read Ready Player One or Snowcrash, you may be anxiously envisioning dystopian near-future virtual refuges. That’s not where we’re headed (at least not soon). There is no fully-formed metaverse now; Roblox is nearest.

Roblox isn’t a game but the “YouTube of games,” with over 20 million different titles, most created by fans. Roblox draws 32 million daily users and 3.6 billion hours of monthly engagement. According to Dubit’s Trends survey, over half of US and UK children 9-12 play on Roblox at least weekly, with substantial percentages in other countries worldwide.

. . . .

The metaverse draws on familiar media and publishing concepts: multi-platform, cross-platform and transmedia. Beyond the above-noted role for user-creators, the difference is in the depth of immersion and extent of integration among the various elements. Roblox’ CEO David Baszucki’s eight characteristics of a metaverse align closely with Generations Z and Alpha social and gaming habits. His list includes:

  • Identity – persistent avatars that reflect players’ real or imagined selves;
  • Friends – the ability to socialize and play with real-world friends, and meet others;
  • Immersion – transportation from the day-to-day into a fully-formed alternative world;
  • Ubiquity – the capacity to create and play from anywhere, on all types of devices;
  • Variety – deep and wide content, accommodating all types of user;
  • Low friction – easy onboarding and transitions;
  • Economy – in-world goods and service markets that pay creators for their efforts; and
  • Trust and Civility – a welcoming, equitable, diverse and kind community.

But Is It For Children?

Like any place real or virtual, the metaverse will have kid-safe “neighborhoods” and others that are “adults-only.” The concept, though, will make complete sense to kids. Who could better benefit from a coherent, connected world of play, creation and learning?

This is why children and teens are already “kickstarting” the metaverse in their social play. During the pandemic, especially, “down on the corner” became “up on the server.” From 2019-2020, the percentage of 8-10 year olds who played Minecraft in the previous 24 hours rose 49%, and Fortnite 29%. Young people ‘hacked’ various platforms, many not meant for kids (e.g., Discord and Zoom), to socialize during the pandemic.

Amidst overwhelming options, everything competes with everything, and content is dispersed across many platforms. Today’s kids frequently become frustrated trying to find a new favorite video, game, book, movie or toy. A well-constructed metaverse will bring multiple media under its umbrella, supporting more seamless, intuitive navigation and recommendation.

Link to the rest at The Dubit Group

The boy who lived and lived and lived

From The Bookseller:

In every skirmish in the ‘culture war’, be it fought in universities, Twitter or Parliament, there’s an inevitable reference to Harry Potter. The Potter references can seem like a joke; the perpetual furore around the politics of a ‘mere’ children’s author more so. But it is no laughing matter. Harry Potter is a cultural force and a financial powerhouse, one that is, ultimately – and for some, frustratingly – ‘uncancellable’.

According to YouGov, British Millennials have a 95% awareness of Harry Potter and the Philosopher’s Stone. For context, this puts Harry Potter significantly above classics such as Winnie the Pooh (90%) and Alice in Wonderland (85%), or, for that matter, Marvel movies. It is uniquely high among all publishing properties. By comparison, The Hate U Give – a stunning contemporary book with massive cultural ramifications and prolonged sales dominance – has a 24% awareness in the same demographic. That level of familiarity is, for a book, incredibly impressive. But Harry Potter is a universal cultural touchstone.

And, again for context, “Millennial” means anyone born between 1980 and 1994, a group that now makes up nearly 14% of the population of Britain (and 90% of the headlines). The eldest Millennials are now in their late 30s and early 40s, and have children of their own. Yet, despite countless efforts by publishers and creators of all types, there is no “new” Harry Potter; no other property with the same ubiquitous cultural presence. 

How is it that a children’s book from three decades ago has successfully remained at the heart of every conversation?

The first reason is found in the story itself. There have been countless theses written on this very subject, but there is, unquestionably, something special about the boy. Henry Jenkins has examined the phenomena at length, and argues (to paraphrase) that the series’ appeal stems from its ability to allow readers to see themselves in Rowling’s world. It is, again, to paraphrase, just rich enough: readers are fascinated by the world, but there’s still room for them to fit in. It is welcoming, and more than that, participative. The loose fabric of the Potterverse invites its readers to indulge in passionate meddling, a form of imaginative activism that has translated to a long lasting, and real world, belief in the power to make change.

Secondly, it is impossible to underestimate the cultural supernova that was the release of individual Harry Potter books when they were first published. By the end of the series, it was a national obsession akin to, one suspects, Beatlemania. Pottermania united the British public – often in the queue at Sainsbury’s, where they would be patiently waiting to snatch up a copy. Readers – and even non-readers! – were all feverishly tearing through books on buses and trains, during lunch breaks and all through the night.

Potter’s explosion also took place before online retailers dominated the scene – in those innocent days when supermarkets were seen as the Dark Lords of book retail. People crammed into brick and mortar retailers, all physically coming together in their need for the book. This increased the visibility of the moment, and the sense of cultural unison. Wanting, buying, reading Harry Potter was the thing to do. Potter’s moment was made all the more unique, and bittersweet, by the fact it will not – and cannot – ever happen again. The retail and media landscape have fragmented too much, and take place in quieter, more personal, and less visible ways. It was, again to borrow from Jenkins, the “last gasp of mass culture”.

. . . .

The result is a creative property that is both culturally influential and an unavoidable, arguably essential, pillar of the publishing sector. Harry Potter is deeply woven into our culture. And Harry Potter is also a financial juggernaut, one that single-handedly keeps publishers and retailers afloat.

Link to the rest at The Bookseller

Anatomy of a Hoax

From The Paris Review:

Eric Carle, the author and illustrator of more than seventy books that captivated, amused, and educated generations of children, died last month at ninety-one. Carle’s work, and his seemingly effortless connection to young readers, was motivated by the privations of his own childhood. Raised in Nazi Germany, he was forced to dig trenches on the Siegfried line; his father, whom he adored, had become a prisoner of war in Russia. Carle’s later proclivity for vivid, exuberant colors was a reaction against the “grays, browns and dirty greens” of buildings camouflaged to protect against bombing. After the war, in America, he worked as a commercial artist, developing meticulous collages of tissue paper and acrylics that soon launched his career as an illustrator and children’s writer. His most famous book, The Very Hungry Caterpillar, came in 1969, and has sold more than 55 million copies worldwide. “I think it is a book of hope,” he said on its fiftieth anniversary, in 2019. “Children need hope. You—little insignificant caterpillar—can grow up into a beautiful butterfly and fly into the world with your talent.”

If you looked at Twitter after Carle’s death, you may not have seen that quotation. It was lost in the din surrounding another remark:

My publisher and I fought bitterly over the stomachache scene in The Very Hungry Caterpillar. The caterpillar, you’ll recall, feasts on cake, ice cream, salami, pie, cheese, sausage, and so on. After this banquet I intended for him to proceed immediately to his metamorphosis, but my publisher insisted that he suffer an episode of nausea first—that some punishment follow his supposed overeating. This disgusted me. It ran entirely contrary to the message of the book. The caterpillar is, after all, very hungry, as sometimes we all are. He has recognized an immense appetite within him and has indulged it, and the experience transforms him, betters him. Including the punitive stomachache ruined the effect. It compromised the book.

This story was drawn from Carle’s interview with The Paris Review for Young Readers, and tens of thousands of people shared it in praise and remembrance. “What a good man,” one wrote. Another posted, “Eric Carle said f*** the system eat cake and be unapologetically hungry.” A third was inspired to go big for lunch: “a chicken Parm and a whole ass order of garlic knots.” Nigella Lawson retweeted the story, Smithsonian Magazine included it in their obituary, and the parenting site Motherly noted that it had “a profound impact … Eric Carle recognized the harm in implying shame should be something a living creature feels simply for eating food they need to eat in order to grow.” On KQED, during a live broadcast, the radio host asked Carle’s son, Rolf, for more details about the stomachache quarrel. “That’s one of the stories I haven’t heard,” Rolf said, “and when you get an answer, please get it to me.”

He hadn’t heard the story because it never happened. Debunkers, including Snopes, soon pointed out that The Paris Review for Young Readers had originated in 2015 as an April Fools’ Day joke. There had been only a single issue of the “magazine,” which included a rewrite of American Psycho focused on haute couture lunchboxes, a word hunt that featured terms like chiaroscuro and post hoc ergo propter hoc, and a photo of the editor reading to an avid crowd of children, a cigarette hanging from the corner of his mouth. Though few had fallen for the Carle interview at first sight, the passage about the stomachache dispute had been republished in a 2019 book, Fierce Bad Rabbits, and its appearance in print, out of context, gave it a legitimacy that was hard to shake. Clare Pollard, the book’s author, had cleared the citation with the Review and a prominent literary agency. But institutional memory lapses quickly, and neither party knew to inform her that it was a hoax.

The Review issued an apology and attached a disclaimer to the article. Meanwhile, reactions to the ruse were divided. Some, wedded to the story’s message, would only reluctantly concede that it was fabricated. “It clearly resonated with many for a reason, though we do regret the error,” Motherly wrote in a retraction. Others were so delighted by the quotation that they chose to go on believing it anyway: “This is the reality I will be moving forward with, thanks!” But still more felt sorely deceived. The Very Hungry Caterpillar was wrapped up in intimate memories of reading to their children, or being read to, and those memories had been disturbed. Because, after Carle’s death, this fiction was crowding out the facts of his remarkable life, it risked tainting his legacy and should be expunged. An indignant reader felt that “whenever misinformation like this goes viral”—a phrase that may call for retirement, after a global pandemic—“the people who are MOST key to spreading it … are often so extremely reluctant to admit and correct it!” With these criticisms came others: the interview was too believable to pass as parody; it was fatphobic, and churlish in its implication that children’s literature is unworthy of deep discussion. “Satire needs a clear target and clarity of purpose,” Literary Hub warned. “If the point is unclear, your joke might be misconstrued as reality.”

I followed the story with great interest, because I’m the author of The Paris Review for Young Readers, including the notorious Carle interview. I was surprised to learn that a paragraph I wrote six years ago has, in all likelihood, found more readers than anything I’ve published under my own name. As the chaos unfolded, I experienced a combination of pride and dread—what I imagine it’s like to spend a counterfeit bill so old that you’ve forgotten it’s fake. Six years is not such a long time, but the world that bought into my Carle interview is in some ways unrecognizable from the one in which I wrote it: before alternative facts, before widespread concerns about information literacy, before 15 percent of Americans believed in adrenochrome-guzzling satanist pedophiles. A hoax is designed to be misconstrued as reality—a fact that seems to have eluded some people—and though mine has succeeded beyond my wildest Obama-era fantasies, it stirred up fragments of the past, broken links, and undigested, polarizing half-truths. It has, in short, given me a stomachache.

. . . .

In 2015, I resolved to do better. Children are precious; they were an obvious target. Children’s literature, at its worst, bottles and ferments that preciousness with adult insecurity, which is exactly what I hoped to do. The magazine had recently published an interview with the psychotherapist and essayist Adam Phillips, parts of which I’d committed to memory, I liked them so much. “One of the things that is interesting about children is how much appetite they have,” Phillips said. “How much appetite they have—but also how conflicted they can be about their appetites”:

Children are incredibly picky about their food. They can go through periods where they will only have an orange peeled in a certain way. Or milk in a certain cup … There’s something very frightening about one’s appetite. So that one is trying to contain a voraciousness in a very specific, limiting, narrowed way. It’s as though, were the child not to have the milk in that cup, it would be a catastrophe. And the child is right. It would be a catastrophe, because that specific way, that habit, contains what is felt to be a very fearful appetite. An appetite is fearful because it connects you with the world in very unpredictable ways.

These insights came back to me whenever I had a bowl of cereal—so, multiple times a day. As a preschooler, in the back of the family Honda, I’d once fallen into a tantrum and demanded a box of Lucky Charms. I was so relentless that my parents, usually strict, had given in, stopping at a supermarket to produce that manna, frosted toasted oats with marshmallows. And then I had eaten hardly any. This became an embarrassing chapter in the family lore. I’d attributed my breakdown, apart from my being a little shit, to the power of advertising: Lucky Charms were “magically delicious,” a slogan that generated a want that I confused for a need. Here was an alternate theory, an apoplexy of containment; all food was magic, all hunger dangerous.

I thought I could bring some of this into a spoof of The Very Hungry Caterpillar, another story of unbridled appetite. This is the gist of the book: the caterpillar eats. In the end he turns into a butterfly, which is nice, but the main attraction is his boundless craving. “But he was still hungry”: a refrain familiar to all who’ve lingered in the light of the refrigerator. Whatever Eric Carle’s feelings about psychoanalysis, the man was a student of appetites. Feeling clever, I dressed him up in the language of that student—ludicjouissance, and other favorites of the ivory tower—and had him argue vociferously for the merits of overeating. I thought this was a hilarious stance for a writer who’d risen to success on a wave of salami and cherry pie, and it got at something unique about Caterpillar, which flirts with the insatiable in a curious way. My imaginary Carle venerated children past the point of reason. He favored the abolition of adulthood. He mainlined Christmas music and spouted off like a drunken Lacanian. Yes, I thought, this is my masterpiece, so plausibly implausible. I cracked myself up imagining a magazine like Highlights for Children shot through with the pretensions of The Paris Review, collecting dust in some pediatrician’s waiting room until it caught the eye of a status-conscious parent. “Look, honey, Timmy can read the pull-out section on the objective correlative”—that sort of thing. When we launched the “magazine” on April 1, some were amused, but few were fooled. Their loss, I thought. Pearls before swine. As Phillips had said, “We are children for a very long time.”

It takes a certain blundering confidence to perpetrate a hoax. 

Link to the rest at The Paris Review

How Tove Jansson’s love of nature shaped the world of the Moomins

From The Guardian:

In 1964, when she was in her 50s, the Moomin creator Tove Jansson settled on her dream island. Klovharun in the Finnish archipelago is tiny – some 6,000 sq metres – and isolated, “a rock in the middle of nowhere”, according to Jansson’s niece, Sophia. It has scarcely any foliage, no running water and no electricity. Yet for Jansson, it was an oasis. For 18 years she and her partner Tuulikki Pietilä spent long summers there, heading out from Helsinki as soon as the ice broke in April, leaving only in early October. The island meant “privacy, remoteness, intimacy, a rounded whole without bridges or fences”.

Klovharun encapsulates something of Jansson’s originality as an artist and writer – and her human presence. Her illustrated Moomin books, which began to be published just after the second world war, brought her phenomenal acclaim and devotion. The tales of amiable troll creatures have been taken to generations of hippy hearts; their pear-shaped faces have adorned a million ties. Their marketing triumph – in which Jansson enthusiastically participated – has overshadowed her other achievements as a painter, novelist, short-story writer, anti-Nazi cartoonist, and designer of magazine covers

. . . .

In the last decade nature writing has surged in Britain, and proved extraordinarily varied. Robert Macfarlane has caused us to look at paths as revealing “the habits of a landscape”. Tim Dee has reminded us to look up at the sky and listen to the birds; Merlin Sheldrake’s studies of fungi are making us consider what fusions are going on under our feet; Alice Oswald’s poetry can make you hear water moving as if it were the blood in your veins. These investigations have reverberated strongly in cities over the last year, with lockdowners thrilling to the idea of unreachable wide open space and to the miniature excitements of their own neighbourhoods, the individual blooms they can entice into their flats.

. . . .

Tove Jansson’s writing is different. She has wonderful passages in which entire landscapes are made by peering at blades of grass and scraps of bark. Yet her main Moomin adventures are startlingly catastrophic. For all the light clarity of the prose – which is comic, benign and quizzical – these books show places gripped by ferocious forces, laid waste by storms and floods and snows. They speak (but never obviously) of characters resonating to the winds and seas around them. They include visions that now read like warnings of climate change: “the great gap that had been the sea in front of them, the dark red sky overhead, and behind, the forest panting in the heat”.

. . . .

There is some relish in these extremes: Jansson loved a storm and her island aesthetic is distinctive. Anti-lush, sculpted by the elements rather than softly shaped by a human hand. This is not like living in a garden. Everything is provisional, prey to winds and fogs and being swept away. It is the outdoor equivalent of chucking out your chintz. What’s more, this is writing about nature that provides not only wonder and leisure but a living. Jansson and Pietilä worked hard to support themselves on Klovharun: they chopped wood, made fires, rowed boats, gutted fish. Their attitude reminds me of James Rebanks, the inspiring Cumbrian sheep farmer, who points out that while visitors look at the fells and hills and see beauty, his fellow farmers see sustenance, income and labour.

Link to the rest at The Guardian

Why reading comprehension is deteriorating

From The Hechinger Report:

Before the pandemic, eighth graders’ reading comprehension declined substantially. Since then, scholars have been trying to figure out why their scores dropped so much between 2017 and 2019 on a highly regarded national test known as the National Assessment of Educational Progress or NAEP. 

Researchers at the American Institutes for Research, a nonprofit research organization, are digging into whether kids are reading less — perhaps distracted by their digital devices. The emerging answer is that yes, young teens seem to be reading less and enjoying reading less. But the decline in book reading might not be the main culprit in our national comprehension problem. And separate international studies of 15-year-olds and fourth graders indicate that eighth grade reading habits aren’t telling the whole story.

First, the numbers. In survey questions that accompany the NAEP test, eighth graders reported how much time they spent reading outside of school. The percentage of public school students who said they read 30 minutes or more a day, besides homework, declined by 4 percentage points from 53 percent in 2017 to 49 percent in 2019. These same young teens were also less likely to say they talked about books or went to the library. Positive attitudes about reading fell too. Eighth grade students were less likely to agree that reading was one of their favorite activities or that they enjoyed going to a bookstore.

At first, the declines in reading habits and attitudes seemed to fit together with the decline in reading scores and tell a simple story: those who read more scored higher. But when the researchers broke the data down by state, the neat correlation between reading and comprehension fell apart. There were some states, such as Mississippi, where students read less but scores didn’t drop. And in other states, such as Rhode Island, reading habits were more stable, but scores slid nonetheless. 

“It’s perplexing,” said Elena Forzani, an assistant professor of education at Boston University, in reaction to this reading data, which is still unpublished but was presented at two education conferences in April 2021. “We know that reading motivation causes kids to pick up books and read more. And the more and more you read, the better you get at it.”

Forzani, a reading specialist who was not involved in this analysis, wonders if current survey questions are out of step with our digital age and fail to capture all the new kinds of reading that young teens are doing every day. Perhaps reading posts on social media and clicking on article links in Google searches are useful types of reading too. Students might be learning new words and information and thinking critically about texts, boosting their comprehension skills in the same way that old-fashioned book reading does.

“If a kid just wants to sit and watch videos all the time, I wouldn’t want my kids doing that either,” Forzani said. “It’s a passive activity. But if they’re creating their own videos, that’s much more active and requires complex and critical cognitive processes. And I think that’s what matters more.”

Forzani said reading is “hugely important.” Her advice to parents is to allow kids to read whatever they want to, even if it’s “Captain Underpants” and you would rather an older child choose a more challenging book. “It’s always been the case that we want to let kids read whatever motivates them,” Forzani said, “because if they’re not motivated to read, nothing else is going to work.” 

Forzani thinks the slide in eighth grade test scores could be the result of the way that schools teach reading to struggling students. “We tend to take those kids and throw lower level instruction at them,” she said. “They get these rote phonics programs. It’s all focused on learning to read. They’re not having complex discussions about a text. At the same time, we’re also taking away science and history instruction where kids can develop knowledge and where they can put comprehension strategies into practice. We’re teaching kids to read in a content and motivational vacuum.” 

. . . .

Martin Hooper, a senior researcher at the American Institutes for Research who led the eighth grade reading study, has also been digging into reading habits around the world and he’s found an even earlier decrease in reading and reading attitudes in other countries. Between 2000 and 2018, fewer 15-year-olds reported reading for enjoyment in 31 out of 39 countries and jurisdictions surveyed by the Program in International Student Assessment (PISA), which also released its own report on reading habits in the digital age on May 4, 2021. The U.S. was one of the few exceptions, bucking the disappointing trend here.

Link to the rest at The Hechinger Report

The difference between children’s and adult books

From Nathan Bransford:

Authors often get into trouble when they’re writing books for children or adults and end up blending the two in an awkward way. I’m here to clear up confusion around the differences between children’s books and adult books.

Particularly when authors write “coming of age” novels or fictionalized versions of their childhood, they sometimes end up writing novels that feel like they’re not quite for adults and not quite for children. Others set out to write crossover novels that appeal to both adults and children that wind up feeling like strange mishmashes.

While some children’s novels do indeed become popular with adults and become crossover successes like The Hunger Games and The Hate U Give, novels need to have a base readership. There aren’t really crossover publishers, just adult publishers and children’s publishers, with some “new adult” sprinkled in. And even if you’re self- or hybrid publishing, it’s very helpful to know your genre.

If you twist yourself into knots trying to make your novel appeal to everyone it might end up appealing to no one. If you’re writing for adults, write for adults. If you’re writing for children, write for children. If it crosses over, that’s great.

So what’s the difference between a children’s novel and an adult novel, and how do you avoid writing a novel that’s not quite for adults and not quite for children? How do you figure out what kind of a novel you’re really writing if you’re currently straddling these lines? What do you do if parts of your novel are from a child’s POV but it’s adult on the whole?

I’m here to help.

It’s not about the protagonist’s age

A common misconception about what makes a novel an adult or children’s book is that it’s ultimately about the age of the protagonist. Not the case!

There are plenty of novels featuring young protagonists that really feel more like adult novels, whether that’s Catcher in the Rye, Carrie, or the opening of Where the Crawdads Sing. Just because you have a child at the center of the events doesn’t necessarily mean you have written a children’s novel.

This can also happen in reverse, particularly in novels that start adult but then flash back to a character’s childhood. A novel that started off feeling like an adult novel can quickly start feeling like it veers into being a children’s book and might confuse a reader about what exactly they’re reading.

So set aside the age of the protagonist. Here’s what matters.

What’s the lens?

The first element to consider is the “lens.” Is the overall voice of the novel a child’s voice experiencing childhood in the moment or is it an adult looking back on childhood from a more mature distance?

Even authors who are explicitly setting out to write a children’s novel sometimes get tripped up on this. They end up inserting accidental adult viewpoints along the lines of “I would learn much later just how important this was.” Think of this as the “Wonder Years” effect, where it’s an adult narrating a child’s experiences.

Other authors might write their child characters the way they see children from their now-adult vantage point rather than writing for the way children see themselves.

So again, set aside the protagonist’s age and think about the lens. If it feels like an adult’s viewpoint it will feel like an adult novel, even/especially if it’s an adult looking back on childhood, and if it feels like a child’s vantage point it will feel more like a children’s novel.

Link to the rest at Nathan Bransford

How to Write Science as Entertainment

From Publishers Weekly:

As a doctor, writer, and mother of a middle schooler, I was ready to scintillate the sixth graders when I volunteered for the chicken wing dissection class, demonstrating the exciting connection between muscles and tendons and bones. I opened and closed the wing, placed it in their hands, showed them the thin strips of tissue coordinating all the action. Did I see fascination? Excitement? Feigned interest of any sort? Sadly, no.

Surely they’d want to hear about my journey to becoming a doctor, then. And they did. But they were much more enthusiastic about a different topic they were studying: mythology. Greek gods, beasts with multiple heads, fathers who swallowed their children whole—they learned about all of it in school, but they already knew everything there was to know and then some.

Why? Rick Riordan’s Percy Jackson and the Olympians series. If there was an obvious career path involving mythology, they’d be all in.

Fiction provides a framework to make any piece of information interesting and entertaining. Most information is interesting on its own, but it’s inevitably much more enjoyable when embedded in a story. Add action and suspense and humor and a kid who could be any of us, and we are captivated. But is there such a fiction series about medicine? The human body? Ailments and health? The excitement of biology or chemistry or engineering or math? Excluding books that deal with video games, very few.

. . . .

I set out to create a thrilling tale weaving in maladies, much like the Percy Jackson books weave in mythology. In The Antidote, 12-year-old Alex Revelstoke discovers a family secret: he can see disease. And not just disease—he can also see injury, illness, and anything else wrong with the body. He sees skin melt away to reveal the organs beneath, much to his shock and horror. He comes from a family of doctors with this extra gift, going back generations, helping, healing.

Link to the rest at Publishers Weekly

Scholastic Halts Distribution of Book by ‘Captain Underpants’ Author

From The New York Times:

A children’s graphic novel by the creator of the popular “Captain Underpants” series was pulled from circulation last week by its publisher, which said that it “perpetuates passive racism.”

Scholastic said last week that it had halted distribution of the book, “The Adventures of Ook and Gluk: Kung-Fu Cavemen from the Future,” originally published in 2010. The decision was made with “the full support” of its author, Dav Pilkey, the company said, adding that it had removed the book from its website and had stopped fulfilling orders for it.

“Together, we recognize that this book perpetuates passive racism,” the publisher said in a statement. “We are deeply sorry for this serious mistake.”

The graphic novel, which purports to have been written and illustrated by characters from the “Captain Underpants” series, follows Ook and Gluk, who live in the fictional town of Caveland, Ohio, in 500,001 B.C. The characters are pulled through a time portal to the year 2222, where they meet Master Wong, a martial arts instructor who teaches them kung fu.

. . . .

Mr. Pilkey’s “Captain Underpants” books, featuring a superhero in briefs and a red cape, have been on The New York Times children’s series best-seller list for 240 weeks. In a letter posted on his YouTube channel on Thursday, Mr. Pilkey said he had “intended to showcase diversity, equality and nonviolent conflict resolution” with “The Adventures of Ook and Gluk,” about “a group of friends who save the world using kung fu and the principles found in Chinese philosophy.”

“But this week it was brought to my attention that this book also contains harmful racial stereotypes and passively racist imagery,” Mr. Pilkey wrote. “I wanted to take this opportunity to publicly apologize for this. It was and is wrong and harmful to my Asian readers, friends, and family, and to all Asian people.”

. . . .

Mr. Kim said he contacted Scholastic and spoke with a senior executive there, and he later spoke with Mr. Pilkey by videoconference for about 40 minutes. Mr. Pilkey, he said, apologized to him and his older son.

While Mr. Kim was glad the book was being pulled, he wrote that “the damage has been done.”

“Every child who has read this book has been conditioned to accept this racist imagery as ‘OK’ or even funny,” he wrote.

Cristina Rhodes, an English professor at Shippensburg University in Pennsylvania, said that Scholastic should have been aware of the racially insensitive imagery in the book a decade ago.

Stereotypical images and tropes can give young readers a distorted view of certain groups, Professor Rhodes said — as with Asians in this case. “Children see themselves reflected in books,” she said.

Lara Saguisag, an English professor specializing in children’s and young adult literature at the College of Staten Island, said she was surprised to see these images from Mr. Pilkey, who she said had energized children and appealed to “reluctant readers” by teaching them to love books and reading.

“I think it’s part of the alarm about these books because it’s been going under the radar,” she said.

Professor Saguisag said she hoped that Scholastic and other publishers would evaluate other books for racially insensitive imagery.

. . . .

“As long as profit is at the center, I feel like these such acts of pulling books from bookshelves will be the exception rather than the rule,” she added. “I hope I’m proven wrong.”

Link to the rest at The New York Times

Another screw-up by one of the curators of our literary culture. With a book that was published just 11 years ago.

Is it possible we need an entirely different group of curators?

Given their domination of children’s books sold in traditional bookstores, are we endangering children by allowing large publishers like Scholastic and other giant New York publishers to continue their careless and damaging corporate ways?

News Corp to Buy Houghton Mifflin Harcourt’s Consumer-Publishing Arm

From The Wall Street Journal:

News Corp has agreed to buy the consumer arm of educational publisher Houghton Mifflin Harcourt Co. for $349 million, marking the media company’s second deal in less than a week.

The deal adds a portfolio of high-profile novels from authors such as George Orwell, Philip Roth and J.R.R. Tolkien to News Corp’s HarperCollins Publishers division. The Wall Street Journal on Sunday reported that the companies were nearing a deal.

The sale would allow Boston-based Houghton to pay down debt and focus on its digital-first strategy in education, goals that the company had set when it put HMH Books & Media on the block last fall.

The deal indicates that New York-based News Corp, which in addition to HarperCollins owns Wall Street Journal publisher Dow Jones & Co. and news organizations in the U.K. and Australia, among other assets, is looking to expand through select acquisitions after a period of slimming down through sales of noncore businesses.

. . . .

“Timeless writing is a timely source of revenue and the potential to create highly profitable audio and video works flourishes with each passing digital day,” News Corp Chief Executive Robert Thomson said.

News Corp is focusing investments on growth areas including books, digital real estate, and the Dow Jones unit, a person familiar with the situation said.

In an interview, HarperCollins Chief Executive Brian Murray described Houghton’s catalog of children’s and adult titles as a “crown jewel.” The unit’s children portfolio includes the “Little Blue Truck” and “Curious George” series, and other favorites such as “The Polar Express” and “Jumanji.”

Mr. Murray also cited Houghton’s focus on transforming its children’s titles and brands into streaming and interactive-gaming opportunities. “They have a good team and it should help us accelerate our own children’s activities on that front,” he said.

. . . .

HarperCollins has been a strong performer during the pandemic, which helped propel book sales. In its most recent quarter, the unit posted a 23% growth in revenue to $544 million and 65% jump in profitability to $104 million.

Houghton’s consumer-publishing unit generated revenue of $191.7 million in 2020, accounting for approximately 19% of Houghton’s net sales. Other core properties of HMH Books & Media include the Peterson Field Guides, which cover topics ranging from birds to fish to wildflowers; lifestyle titles from Martha Stewart ; and the Carmen Sandiego franchise.

HMH Books & Media also boasts a strong line of cookbooks that includes titles by Jacques Pépin, Mark Bittman and Priya Krishna.

. . . .

The deal marks the second sale of a well-known publisher in less than six months. German media giant Bertelsmann SE, which owns Penguin Random House, last November agreed to buy Simon & Schuster from ViacomCBS Inc. for almost $2.18 billion.

Link to the rest at The Wall Street Journal (PG apologizes for the paywall, but hasn’t figured out a way around it.)

For PG, the key information bit was “transforming its children’s titles and brands into streaming and interactive-gaming opportunities.”

Perhaps he’s biased, but this didn’t sound like a ringing endorsement of books on paper. Again, he wondered whether the buyer or the seller is going to look like it got the best out of this deal in 5-10 years.

Paper beats pixels on most picture books, research finds

From The Hechinger Report:

Digital picture books have been a godsend during the pandemic. With libraries shuttered and bookstores a nonessential trip, many parents have downloaded book after book on tablets and smartphones to keep their little ones reading. The technology allowed my daughter to read the Berenstain Bears, a classic picture book series, to a younger cousin over Zoom when a family trip was canceled. Despite my wistful sentiments for paper and colored ink, I marveled at the bond that could be sustained over screens and pixels. 

But when the pandemic is over, many parents will face a dilemma. Should they revert back to print or stick with e-books? Do kids absorb and learn to read more from one format versus the other?

A new analysis of all the research on digital picture books, published in March 2021, helps to answer this question. The answer isn’t clear cut: paper generally has an edge over digital but there are exceptions. Digital books can be a better option with nonfiction texts and for building vocabulary. Some digital storybooks were better; researchers found that certain types of story-related extras seemed to boost a child’s comprehension but they were rare. 

In large part, the research on digital picture books for children echoes what we’ve seen in studies of e-books for adults. Reading comprehension is superior on paper but the benefit of paper appears to be stronger for adults and smaller for children. Scholars think the reasons behind the brain’s preference for paper may be different for the two groups. In the case of adults, it may be a lack of effort that we’re putting into reading on screens. In the case of children, it may be that many of the bells and whistles that are commonly added to digital picture books — buttons to click on, pop ups, games and sounds — are distracting.

Digital picture books have been around since the 1980s but there’s surprisingly little research that directly compares how much young children absorb in digital and in print and measures learning in a reliable way.

. . . .

Children up to age eight were included in the studies. Some were old enough to read independently but listened to an audio narration of a digital book with headphones. In a study of the youngest children, under two years old, parents held their children in their laps for both formats. In the digital version, a recorded voice read a book about animals aloud as a parent tapped the screen to turn the digital pages. In the print format, the child heard her own parent’s voice reading the names of the animals that were pictured on the pages, such as a horse or a koala.

By chance, this toddler study showed stronger learning outcomes for the digital picture book. Gabrielle Strouse, an educational psychologist at the University of South Dakota who ran this experiment, told me many of the children in her study had never seen a digital book and the novelty of it may have been mesmerizing, causing the children to pay more attention.

In most of the other studies, children were able to navigate the digital books themselves. Sometimes the digital texts were static just like the printed page. Other times, the text moved or changed to a bold font as the child heard the words.

Children were attracted to the many types of interactive buttons, pop ups and games that are embedded in digital books. A tap in the right place might play a noise. Children could seek treasures hidden on the screen. A retelling of Little Red Riding Hood might ask the child to color the character in with a virtual paintbrush or drag the character to perform an action. “It’s fun and enjoyable but it has nothing to do with the story,” said Natalia Kucirkova, a professor of early childhood development at the University of Stavanger in Norway.

Kucirkova, one of the authors of the March 2021 picture book meta-analysis, explained that her team wanted to learn which digital enhancements were working and which weren’t. They categorized all the add-ons as either story related or not story related. They found that the more unrelated bells and whistles, the worse a child’s comprehension was after reading the digital version of the story, compared to the print version.

Kucirkova believes that many digital books are overstimulating children and the unrelated add-ons are overtaxing a child’s “cognitive load.”

“With digital books, children get a lot of stimulation from the different senses,” Kucirkova explained, as they take in letters and pictures with their eyes, sounds with their ears and tap the screen with their fingers. “The amount of information that an individual needs to process is bigger if you have a lot of stimulation. The feedback they get from the digital device overwhelms children.”

By contrast, the researchers found that story-related enhancements reinforced the narrative and improved comprehension. Repetition of new vocabulary words that were central to the story helped. One book prompted children to use the story characters in the digital book to build their own story. “Those creativity games are very conducive to story recall,” said Kucirkova.

Another digital book asked the child to share the story with someone else. Other effective digital prompts were directed at a parent, telling her or him what to point out or ask while reading a digital book with a child. In a book about a little frog, a parent could point and ask a question, “Could the frog be here?” simultaneously connecting with the child and the story line. In other words, actively reading a digital version of a picture book with your child is good for comprehension.

“Even small digital enhancements actually make a lot of difference both ways, they can work well, or they can distract the child,” said Kucirkova.

. . . .

Indeed, when the authors looked at the books in the 39 studies by genre, the digital version was generally better for nonfiction, where there often isn’t a narrative story line to follow. Fiction, by contrast, was generally better on paper.  

I talked with Virginia Clinton-Lisell, a reading specialist at the University of North Dakota who has studied digital books. She pointed out that the slight harm to reading comprehension may be worth it if the digital books are so engaging that your child reads more books. None of these 39 studies looked at whether children read more when they had access to digital books. 

“A parent shouldn’t be overly concerned about a small difference in comprehension for a particular book,” said Clinton-Lisell. “Bottom line, if it’s a digital book that gets your kid to read, that’s great.”

Link to the rest at The Hechinger Report

PG notes that the title of the OP doesn’t take some of the material in the OP into consideration.

Additionally, he will note that the technology and design of modern printed books has been honed and improved for hundreds of years, generally speaking to maximize commercial success (which is not a bad thing at all). Most children’s ebooks with which PG is familiar are adapted from printed books as opposed to being born digital.

The iPad was introduced 11 years ago. The first Kindle was introduced 14 years ago. If you were to pick up the latest iPad or the latest Kindle and compare it to the first version, PG suggests that the first version would seem very outdated. Screen technology, interface design, size and weight have all evolved at a very rapid pace. That evolution is far from over.

As the OP implies, publishers of ebooks for children are all over the place with the technology they build into their content. PG would remind one and all that the trade publishers of books for children are, by and large, owned by the same people who own and run trade publishers focused on adults. Scholastic is the exception with both trade titles (Harry Potter, Hunger Games, Goosebumps, Magic School Bus) and titles marketed through school book clubs, book fairs, etc.

PG can’t speak to Scholastic (also headquartered in New York City), but the other big trade publishers are not noted for their technology accomplishments and willingness to pay the salaries necessary to hire really good tech types.

PG’s bottom line on ebooks v. print for children is that the ebooks, including both the content and the device components, are a long way from reaching their full potential. He has nothing against printed books for either children or adults (and still owns a lot of printed books for children and adults, some of which are regularly used by various offspring), but he wouldn’t bet against ebooks for children over the long run.

Picture Books for Older Readers

From Publishing Perspectives:

In the pandemic autumn of 2020, [Claudia Zoe] Bedrick and Enchanted Lion announced Unruly, which she says is “a new imprint dedicated to making space for picture books created with older readers in mind. Innovation and genre-bending, complexity and difficult themes, philosophical ponderings and poetry have been hallmarks of Enchanted Lion from the start, but all of its titles were written as children’s literature.”

While the press remains committed to children’s literature, she says, “it still doesn’t capture the picture book’s full potential as a medium.

“Unruly titles will stand apart as visually complex works of fiction and nonfiction created for older readers.” Asked how old is “old,” she says, “Some books for readers 10 and older, others for teen and adult readers.”

There’s some evidence of this interest—can we call this a crossover title?—in Enchanted Lion’s lists. Drawing on Walls: A Story of Keith Haring, for example. It’s written by Matthew Burgess and illustrated by Josh Cochran, and on awards both as a “book for kids” (New York Public Library and the Washington Post), simply as a “picture-book biography” (Kirkus) and a “best pick of 2020” (Chicago Public Library).

And Bedrick points to a Guardian editorial from Friday (March 19) about Nobel winner Olga Tokarczuk—with whose work Publishing Perspectives’ readers are very familiar—embarking on a picture book treatment of The Lost Soul with artist Joanna Concejo. Tokarczuk says she sees the form as “able to get through to anyone—regardless of age, cultural differences or level of education.”

What Bedrick says she sees happening in “reframing the readership’s age,” is a chance for Unruly to “open up space for a more complex exploration and instantiation of the relationship between text and image, while also inviting consideration of more mature topics. And these works will push the form through hybridization of picture book, graphic novel, artist’s journal, and art book conventions, while never relinquishing narrative, however experimental.”

The first Unruly title is to appear in June, The True Story of a Mouse Who Never Asked for It, a feminist retelling of a Spanish folktale written by Ana Cristina Herreros, illustrated by Violeta Lópiz, and translated from Spanish by Chloe Garcia Roberts.

Link to the rest at Publishing Perspectives

The Phantom Tollbooth Author Norton Juster Has Died at 91

From BookRiot:

Norton Juster, an architect and children’s book author best known for writing The Phantom Tollbooth, has died at age 91 at his home in Northampton, Massachusetts. His daughter Emily Juster said he had been dealing with health complications related to a stroke.

Juster was born in Brooklyn in 1929 to Samuel Juster and Minnie Silberman. Samuel Juster was a Romanian immigrant and became an architect, and Norton’s brother Howard was also an architect. Norton studied architecture at the University of Pennsylvania and then later city planning at the University of Liverpool. His penchant for children’s stories came out during his time in the Civil Engineer Corps of the United States Navy, which he joined in 1954.

During his ascent to Lieutenant Junior Grade, he started writing and illustrating children’s stories while stationed at the Brooklyn Navy Yard. Juster also started an exclusive membership group called the Garibaldi Society that existed solely to reject prospective members. These early days of his interest in children’s literature and meeting Jules Feiffer for the first time is outlined in The Annotated Phantom Tollbooth, which was published in 2011 for the 50 year anniversary of the book.

. . . .

In 1958, Juster started working as an architect in New York City and received a grant from the Ford Foundation to write a book about cities for children. This work got boring for him after a little while, and he was stuck in the Doldrums. He then began to write the story of Milo and his unintentional journey into the Lands Beyond. Jules Feiffer provided illustrations, and The Phantom Tollbooth came to readers in 1961. It went on to be adapted into an live action/animated film and a musical.

Link to the rest at BookRiot

The evolution of pandemic-era children’s book author events

From The Washington Post:

Jeff Kinney needs a shovel: a six-foot shovel, to be exact.

The creator of the extraordinarily popular “Diary of a Wimpy Kid” series has been one of the few children’s book authors to host in-person events throughout the pandemic, even if they weren’t his usual raucous affairs. Back in 2019, during what he calls “the old days,” Kinney took his interactive tour to theaters across the United States and to seven countries, selling out huge venues at every stop.

“The travel, the thousands of people,” Kinney recalled, “it just seems so naive now.”

But in early 2020, like all his colleagues in the children’s book universe, Kinney couldn’t go to the corner store, much less a packed theater. And for an author who admits that he needs the payoff of seeing his readers engaged and happy, the thought of not being around kids didn’t sit well.

“Touring gives me closure,” Kinney said last fall. “It’s a lonely business to write and illustrate, and I need that connection.”

Kinney is not the only author who feels that way.

“Oh, I need it,” author-illustrator Jay Cooper said. “Actual interaction with kids is a well of energy. You don’t always realize how empty your well is when you’re writing, but you can sure tell when kids fill it up again.”

Lamar Giles, a young adult author and founding member of We Need Diverse Books, knows that feeling. Giles had packed more than 30 author visits into the first couple of months of 2020 and had a full schedule for the rest of the year, but during the first week of March, he found himself stranded in a Seattle hotel room after his series of school visits in the city was canceled due to the coronavirus pandemic.

“My first thought was, how am I going to get home?” he said. “But my second thought was, I am really going to miss seeing these kids.”

But grief gave way to reality: If authors wanted to interact with their readers, they were going to have to get creative.

“It’s difficult to engage on a screen, especially with really young children,” Newbery winner Meg Medina said. “As an author, the last thing I want is to ask teachers and parents, who are already stretched so thin, to take on more work to keep their kids engaged while I am talking into a computer.”

Phil Bildner “has to be a magician” to keep kids engaged when he does his virtual author visits, he said. But Bildner is also a booking agent, so he knows that these virtual events are an absolute necessity, no matter the steepness of the learning curve.

Link to the rest at The Washington Post

PG has opined previously about what a waste of time he believes that traditional city-to-city book tours are for most, perhaps all, authors.

He’ll let visitors to TPV opine about whether book tours by children’s authors are worth the time and strange hotel rooms that may be less than ideal for writing. Including the recovery time following a book tour.

PG just considered how much Amazon advertising could be purchased for the cost of a book tour. The efficacy of that comparison would, of course, assume that the publisher was willing to hire someone who actually knew how to create, purchase and place online ads effectively. (Note: People who are really good at that sort of thing and who can generate results tend to be in high demand and charge accordingly.)

6 Dr. Seuss books won’t be published anymore because they portray people in ‘hurtful and wrong’ ways

From CNN:

Six Dr. Seuss books will no longer be published because they “portray people in ways that are hurtful and wrong,” the business that preserves the author’s legacy said.The titles are:

  • “And to Think That I Saw It on Mulberry Street”
  • “If I Ran the Zoo”
  • “McElligot’s Pool”
  • “On Beyond Zebra!”
  • “Scrambled Eggs Super!”
  • “The Cat’s Quizzer”

. . . .

“Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises’s catalog represents and supports all communities and families,” it said.The announcement was made Tuesday, the birthday of the famed children’s book author.

. . . .

Seuss, born Theodor Seuss Geisel, is one of the best-known authors in the world, the man behind beloved classics like “The Cat in the Hat,” “Green Eggs and Ham” and “How the Grinch Stole Christmas,” among others. Over 650 million copies of his books have been sold worldwide, the Washington Post reported in 2015.

But Dr. Seuss had a long history of publishing racist and anti-Semitic work, spanning back to the 1920s when he was a student at Dartmouth College. There, Dr. Seuss once drew Black boxers as gorillas and perpetuated Jewish stereotypes by portraying Jewish characters as financially stingy, according to a study published in the journal “Research on Diversity in Youth Literature.”

That study, published in 2019, examined 50 books by Dr. Seuss and found 43 out of the 45 characters of color have “characteristics aligning with the definition of Orientalism,” or the stereotypical, offensive portrayal of Asia. The two “African” characters, the study says, both have anti-Black characteristics.

. . . .

Two specific examples, according to the study, are found in the books “The Cat’s Quizzer: Are YOU Smarter Than the Cat in the Hat?” and “If I Ran the Zoo.”

“In (“The Cat’s Quizzer”), the Japanese character is referred to as ‘a Japanese,’ has a bright yellow face, and is standing on what appears to be Mt. Fuji,” the authors wrote.

Regarding “If I Ran the Zoo,” the study points out another example of Orientalism and White supremacy.

“The three (and only three) Asian characters who are not wearing conical hats are carrying a White male on their heads in ‘If I Ran the Zoo.’ The White male is not only on top of, and being carried by, these Asian characters, but he is also holding a gun, illustrating dominance. The text beneath the Asian characters describes them as ‘helpers who all wear their eyes at a slant’ from ‘countries no one can spell,'” the study authors wrote.

Link to the rest at CNN

PG doesn’t question the commercial decision that lead to this action and other similar cessations of publication, but he is annoyed by the accompanying school-marmish lecture that is appears to be designed to educate the unwashed masses concerning the right way of looking at and thinking about nearly everything.

PG would have preferred something like, “Although these books were not deemed offensive by most Americans when they were published, times and community standards have changed and they are regarded as offensive by some people today. So, we’ve made the decision to cease publication of these books. We think that Dr. Seuss would agree with this decision if he were alive today.”

PG will note that the OP describes now-offensive behavior of Seuss/Geisel when he was a student at Dartmouth one hundred years ago.

For those visitors to TPV from outside the United States, Dartmouth is a prestigious academic institution and a member of the Ivy League, which includes some of the most respected and highly-ranked colleges and universities in the country.

Presumably, we know of the Dartmouth creations of Seuss/Geisel because they were published at the time. PG is not an expert concerning Seuss/Geisel or Dartmouth, but he is not aware that Seuss/Geisel was expelled from Dartmouth or was condemned by the faculty or his fellow students for his behavior and creative output at that time.

One of the now-condemned Dr. Seuss books, If I Ran the Zoo, was published by Random House, a major New York publisher, and an undoubted “curator of the literary culture” in the United States.

Random House was co-founded by Bennett Cerf (Columbia, 1919, 1920), who became a well-known and respected public figure and television celebrity in this country.

Cerf was instrumental in obtaining publishing contracts with a large number of highly-successful and respected authors, including William Faulkner (Nobel Prize, 1949), John O’Hara, Eugene O’Neill, James Michener and Truman Capote.

In 1933, Cerf won United States v. One Book Called Ulysses, a landmark court case against government censorship, and thereafter Cerf and Random House were the first in the United States to publish James Joyce’s unabridged Ulysses, which had been previously declared as pornographic and banned from publication. Pornography was a previous generation’s version of what is sometimes described as political incorrectness today.

Here is the Random House’ s description of If I Ran the Zoo from the Amazon listing for the book:

Animals abound in Dr. Seuss’s Caldecott Honor–winning picture book If I Ran the Zoo. Gerald McGrew imagines the myriad of animals he’d have in his very own zoo, and the adventures he’ll have to go on in order to gather them all. Featuring everything from a lion with ten feet to a Fizza-ma-Wizza-ma-Dill, this is a classic Seussian crowd-pleaser. In fact, one of Gerald’s creatures has even become a part of the language: the Nerd!

Here is the Amazon.com Review of If I Ran the Zoo:

“It’s a pretty good zoo,” said young Gerald McGrew, “and the fellow who runs it seems proud of it, too.” But if Gerald ran the zoo, the New Zoo, McGrew Zoo, he’d see to making a change or two: “So I’d open each cage. I’d unlock every pen, let the animals go, and start over again.” And that’s just what Gerald imagines, as he travels the world in this playfully illustrated Dr. Seuss classic (first published back in 1950), collecting all sorts of beasts “that you don’t see every day.” From the mountains of Zomba-ma-Tant to the blistering sands of the Desert of Zind, Gerald hunts down every animal imaginable (“I’ll catch ’em in countries no one can spell, like the country of Motta-fa-Potta-fa-Pell”). Whether it’s a scraggle-foot Mulligatawny or a wild-haired Iota (from “the far western part of south-east North Dakota”), Gerald amazes the world with his new and improved zoo: “This Zoo Keeper, New Keeper’s simply astounding! He travels so far that you think he would drop! When do you suppose this young fellow will stop?”

But Gerald’s weird and wonderful globe-trotting safari doesn’t end a moment too soon: “young McGrew’s made his mark. He’s built a zoo better than Noah’s whole Ark!” Some of the text and illustrations–imaginative as they are–are obviously dated, such as the following passage: “I’ll hunt in the mountains of Zomba-ma-Tant/ With helpers who all wear their eyes at a slant,/ And capture a fine fluffy bird called the Bustard/ Who only eats custard with sauce made of mustard.” And your children may be the first to recognize that attitudes have changed since the xenophobic ’50s. But that doesn’t mean this tale need be discarded; instead, it should be discussed. Ironically, Seuss was trying here–in his wild, explosive, and sometimes careless manner–to celebrate the joys of unconventionality and the bliss of liberation! (Ages 4 to 8)

PG has gone on for too long, but he predicts that, in the long-standing tradition of human nature, one hundred years in the future, someone, somewhere will be loudly condemning the unforgiveable insensitivity and primitive stupidity of the clods and Neanderthals of 2021.

Scholastic and PRH Remain Untouchable as Top Children’s Publishers

From Publishers Weekly:

Scholastic’s trade group has been on a hot streak for over a year, and that performance is reflected in the publisher’s dominance of PW’s children’s fiction bestseller list in 2020. The company had 53 books that made the frontlist fiction chart last year, up from 43 in 2019. Those titles also averaged longer stays on the chart, occupying 574 bestseller list positions. There are 25 titles on each of PW’s weekly children’s lists, for a total of 1,300 positions on each list over the course of a year—meaning that Scholastic had 44.1% of the frontlist fiction bestseller positions, up from 28.8% a year ago.

Scholastic author Dav Pilkey’s Fetch-22 (Dog Man #8) was on our frontlist fiction chart every week in 2020, and Scholastic published six of the top 10 titles with the longest runs on last year’s bestseller list. Another title in Pilkey’s Dog Man series, For Whom the Ball Rolls, spent 34 weeks on the list.

Pilkey is a mainstay of PW’s annual review of the children’s fiction bestseller lists, but Scott Cawthon, while a bestselling author, has not always finished high in our year-end tallies. In 2020, though, he had two books in his Five Nights at Freddy’s series with long frontlist fiction chart runs: The Silver Eyes was on the list for 44 weeks, and Into the Pit had a 33-week run. Other Scholastic top sellers were the 10th volume in Aaron Blabey’s Bad Guys series, The Bad Guys in the Baddest Day Ever, which had a 35-week stay, as did J.K. Rowling’s Harry Potter and the Goblet of Fire, illustrated by Jim Kay.

Scholastic’s tremendous 2020 showing on the children’s frontlist fiction chart meant down years for most other publishers. Simon & Schuster took the biggest hit in 2020, falling from second place on the ranking in 2019 to fifth place. In 2019, S&S’s bestseller performance benefitted from the release of the movie Five Feet Apart; the original Five Feet Apart novel by Rachael Lippincott was on our list for 35 weeks, and the tie-in edition had a 28-week run.

HarperCollins slipped into second place on the children’s frontlist fiction bestsellers by corporation ranking, with a 10.5% share of chart positions. HC had two titles with long frontlist fiction bestseller runs last year: The One and Only Bob by Katherine Applegate hit the list for 33 weeks, and FGTeeV Presents: Into the Game!, published by HarperAlley, stayed on the list for 32 weeks.

Link to the rest at Publishers Weekly

Offbeat European Children’s Books For Adults

From Electric Lit:

I have a confession to make: with nearly half a century behind me, I still read children’s books. The best are truly ageless—think Alice in WonderlandThe Little Prince, Winnie-the-Pooh. No other genre, to my mind, is as consistently capable of reawakening our sense of wonder and joy, of brushing the dust off our somewhat faded vision of the world.

In fact, I drew on my lifelong love of fairy tales and nursery rhymes in my own fourth novel, The Charmed Wife, a genre-bending mix of fantasy and realism that plays with storytelling conventions as it upends the familiar narratives of Cinderella, Sleeping Beauty, Bluebeard, and many other childhood favorites. True, my book features talking mice and divorce proceedings alike, and is decidedly not for the little ones, but I myself continue to find something deeply soothing in settling down with a cup of tea and a proper children’s book—and even more so now, during these anxious days of health worries, political unrest, and isolation.

So, if, like me, you gravitate toward more innocent pleasures as your comfort reads but have already exhausted all the old staples, here are some lesser-known offerings that may appeal both to the children in your family and to the child in you. Fair warning: many of these are darker, sadder, or odder than your regular boy-wizard, unicorn-princess fare. All are very good.

. . . .

The Moomin Series by Tove Jansson

Quite simply, these are the best children’s books I know. I grew up in Russia, and the Moomin trolls were a vital part of my childhood, as they have been for every child in Scandinavian countries since their appearance some three-quarters of a century ago. They are beginning to gain a devoted following in the U.S. too, but are not a household presence yet. By all rights, they should be.

Written and illustrated by the Finnish Tove Jansson (1914-2001) and inspired by her bohemian upbringing, these books—eight novels, a collection of short stories, and a number of picture books and comics—cover the adventures of the easy-going, fun-loving Moomins and their quirky friends. The stories celebrate family, openness to new things and new people, love of nature, simplicity, hospitality—the most important things in life, in short—and they do so with subtle humor, charm, and wisdom.

The earlier books (Finn Family MoomintrollMoominsummer Madness) are filled with summery pleasures, as delicious as strawberries savored amid carefree laughter at a June picnic. The later (Moominland MidwinterMoominpappa at Sea, and Moominvalley in November) are more somber in spirit, with a distinct vein of wintry sadness running through them, but, in my opinion, they are the most rewarding of the lot. Oh, and whatever book you choose to start with (and once you start, you will read more), it is very important to remember: Moomins are NOT hippos.

Link to the rest at Electric Lit

Encouraging Reading for Pleasure While The World Is on Fire

From Book Riot:

Reading for pleasure has never been more important. Yes, the world might seem slightly less on fire after November 7, but it’s still a pretty scary place.

. . . .

I’ve written before on the importance of reading for pleasure and empathy. We need these books more than ever.

. . . .

Here are some of the ways I’m trying to create a safe, welcoming place in the library, and how I hope that they will forget some of their worries for a little while when they enter the doors within the school.

READING ALOUD

Reading aloud carries with it several benefits, and not just for those under ten. I read aloud to ages 11–13 on a daily basis. One of the fun ways I read aloud are using Choose Your Own Adventure stories. I read a few pages, or I get a student to read aloud a few, then the class votes on the direction the character can take. It generates a lot of debate, a lot of laughs, groans and students asking if we can start all over, which is great. Also, reading aloud a story that explores different emotions and situations provides a safe space for students to have those feelings and experiences alongside the characters.

. . . .

MANGA CLUB

Our manga club is more popular than ever. We are in our ninth year at Glenthorne High School, and we watch anime, do crafts, play games, have quizzes, and of course talk about manga. I purchase a lot of manga for the school, rely on the students for suggestions and have older students work with the younger ones to create art, enter competitions, and simply have a lot of fun. It’s an escape that’s important to them, which is evident in the large numbers of students who are coming in to take part after school.

Link to the rest at Book Riot

So Your Favorite Children’s Books Didn’t Age Well

From HuffPost:

Many parents love reading with their kids; it’s a bonding experience — one that promotes learning and a love of storytelling.

But what happens when you’re reading a beloved favorite from childhood with your kids only to realize it hasn’t aged so well? Recently, I was excited to reread “Charlie and the Chocolate Factory” with my older son. I quickly discovered, though, that it features fat-phobic language and has downright racist and sexist undertones. In the moment, I wondered, “How should I handle reading this and other books like it with my kid?”

And I’m not alone. “Even as a librarian, I’ve struggled to find appropriate read alouds for my children,” said Rosemary D’Urso, who runs a book blog and Instagram account called LibraryMom. “Like many people, I have naturally gravitated toward books that I loved as a child or stories that are considered classics. Reading them as an adult, however, has left me feeling uncomfortable at times.”

. . . .

Margret Aldrich of the Little Free Library agreed, advocating that parents address the words or themes “head-on.” She added, “We recommend parents talk about each section that depicts hurtful stereotypes or racist themes, going in depth as to why those ideas are not OK. If you do encounter a questionable passage, pause to talk to your child about why it’s wrong and antiquated, how the world has changed, and what your family does to be an ally to others.”

Indeed, taking the time to explain how times have changed is important, no matter the activity.

LaNesha Tabb, a kindergarten teacher who also runs the successful Instagram Education With an Apron, explained how she talks to her kids about problematic books.

“For me, racist depictions in illustrations because ‘the story is so cute’ is a hard pass. However, a fairy tale with strong ‘wait on a man to rescue a woman’ or ‘appearance over everything’ vibes could be a teachable moment,” she said. “I can read the story and ask my children how they feel. Then, I can intentionally ask them questions that might cause them to think about the story in a different light. A nice part of living in this day and age is the fact that fairy tales, while not perfect, offer children characters that are smart, level-headed and independent. I might ask a fairy tale-loving child how Cinderella differs from Elsa, then we can discuss how being viewed as a ‘hero’ is different in both stories. This is a great chance to develop your child’s critical thinking skills.”

Link to the rest at HuffPost

PG was going to opine, but decided not to do so.

He’s happy to hear from visitors to TPV on this topic, however.

Children’s Books Never Go Out of Style

From The Independent Publishing Magazine:

Fifteen years ago, I wrote a children’s book to teach the seven continents to my second-grade students who could not imagine a world outside of their own community. Amy’s Travels became the first children’s picture book to teach all seven continents. Based on the true story of my college suitemate Amy, the example of Latina children’s literature has been used in homes, schools, and events in over twenty-six countries on six continents. The book has even been turned into a musical by the Latin Ballet of Virginia. This November, Amy’s Travels will celebrate her quinceanera-just another milestone that shows how children’s books never go out of style.

Think about your favorite children’s book. Is it a new title or a classic? When this question is asked to adults today, common answers include titles by Dr. Seuss, the Berenstain Bears series, or another classic book like Charlotte’s Web or The Giving Tree. Children’s books are a sense of comfort that provide us with feelings of happiness and joy. I often call our favorite children’s books “comfort books” because like comfort food, we often have a positive memory associated with the title.

Children’s books are often written to teach a life lesson and are a powerful learning tool. When we can read books about characters that look or act like us and have life experiences similar to us, we are learning something. It could be problem solving, perspective, or possibility. As a literacy specialist, I encourage teachers to implement children’s books and stories to teach content, social issues, and character development. As a publisher, I publish engaging and educational children’s books that can easily support an educational curriculum and fill a need. Therefore, I have published books about teaching reading for parents and teachers as well as a children’s book about recycling and more recently a children’s travel series. While I originally chose to publish the children’s book series to promote travel and global awareness, it is now appropriate to provide children with the ability to travel through the pages of the book while the travel industry around the world has changed dramatically since the pandemic.  Thanks to these books, families can visit London, Paris, and New York City during the holiday season from the comfort of their home.

I believe the best children’s books are titles that meet the needs of many people and scenarios. For example, while Amy’s Travels clearly teaches geography, it also happens to be one of the few children’s books representing the LatinX community, since the main character and protagonist is a Peruvian girl.  Our book Turtle About a Home is used to teach recycling as well as conservation, litter prevention, and animal ecosystems. When a book can serve a dual purpose, its value significantly increases, and there is always a new audience to enjoy the story. About 140 million babies are born every single year; these babies become our newest and youngest readers as they enter kindergarten. This means we automatically have 140 children that haven’t heard about the children’s books we have written and published. Do you want to write a children’s book? Through creative storytelling and marketing, your children’s book will never go out of style. Here are five tips to ensure your book remains relevant.

1. Fill a need in the children’s book industry

Everyone has a story to tell. The key is to find a story that is missing in the children’s book industry. When I was teaching, I went to the library searching for a fictional story about the seven continents and could only find nonfiction books for each continent. I ended up checking out seven books instead of one. That prompted me to write Amy’s Travels. My children’s book became the first picture book to teach the seven continents. What is a topic you believe we need to talk more about? How many books currently exist on the subject matter? Filling a need or gap in any book industry is impactful. In the children’s book industry, a book that becomes a necessity may also become a classic as the titles outlive the authors who wrote them.

. . . .

3. Determine how your book best supports the educational sector

The educational market is a wonderful place for your children’s book to make a difference. Every classroom and every elementary school library across the country can benefit from a book. Teachers and librarians are always on the lookout for a new title to share with children. Does your book match an element of academic curriculum? Does your book teach character traits, character development or match social emotional learning? When you learn the current trends in education, you can produce a book that supports what is already in place. My company creates book guides and lesson plans for every book we publish or consult on. This makes your book stand out as a must-have resource for the classroom. I am always looking for academic focused titles to add to my professional development session entitled Teaching with Trade Books.

Link to the rest at The Independent Publishing Magazine

It’s Not All About Pub Date

From Publishers Weekly:

I have come to realize that some books arrive into the world like fireworks. They shout from the skies, “Here I am!” But some books take time. They land softly, gently singing, “Here I am.” These voices may be quiet, but they still are strong and steady. Books by disabled and chronically ill authors who may be struggling with serious medical issues at the time of their book releases may fall into this second category. In an industry eager to include more diverse writers, including disabled writers, it is important to give these books space to land and to grow. For this to happen, we must create a writing community in which disabled writers can safely voice their needs, struggles, and victories without fear of judgment or shame—a community in which their books have room to grow even if they have quieter releases.

Chronically ill writers face many challenges beyond physical pain. They struggle to be believed not only by strangers, but by their own doctors, family, and friends. They may face blame for their illnesses and may fear that publishing professionals will view them as too much trouble to work with. They often are forced to tackle their most difficult times alone, either shut out by their world or too fearful to open up about the reality of their situations. They may at times feel completely silenced.

. . . .

It wasn’t until three months after the release of my book that I would be diagnosed with a rare but serious adrenal disease and that life-saving treatment could be started. That day in August, though, I did not celebrate Serendipity. I sent out an obligatory tweet announcing the release, and then I went to sleep.

The people I thought loved me most were not supportive. I felt no love, no sense of pride. I believed I was a disappointment to my publisher, to my agent, to my readers, and that none of them could ever understand, because at the time I didn’t even understand what was happening to me. All I knew was that I was sick, but I worried that, if I opened up to anyone about what was happening, my sickness would be seen as too burdensome for the fast-paced publishing world. I felt like a failure as an author and as a person. Worst of all, I felt like my voice didn’t matter.

I know now that my voice does matter. For chronically ill writers, our voices are ones of steady strength, of vulnerability, perseverance, and agency. Our voices set us free, and, when we write, we strive to set our readers free, too, because we know what it is to be cornered into silence. We know what it is to fight for a voice. If we as an industry are to be champions of diverse books, we must give breathing room for books that land more quietly. We never know what a writer is going through at the time of a release. Stories are about what it means to be human. Let writers be human, too, and let the voices of chronically ill and disabled writers be heard—even if it takes a little longer for their books to take off.

Link to the rest at Publishers Weekly

Green Eggs and Shoes: Dr. Seuss Licenses Footwear

From Publishing Perspectives:

Kust when you thought it was safe to step out in your new Vans National Geographic sneakers without fear of being out of date, the Dr. Seuss empire is ready to put you on a different path with a new collection licensed to Skechers.

As the Seussians like to say, the Skechers people are “stepping into the iconic world” of Theodor Geisel. No need to tiptoe around the obvious metaphors, right?

The characters laced up in the new line of Skechers are from The Cat in the Hat. And, like the National Geographic kicks at Vans, these Seuss slippers are made for both children and adults who hope that walking in whimsy might offer traction on the slippery slope that is 2020.

In describing Skechers’ rationale, the company’s president, Michael Greenberg, starts with the obvious, saying in a prepared statement, “Dr. Seuss is one of the world’s biggest cultural icons—read, shared and celebrated by millions since the 1950s.”

Greenberg gets closer to the actual issue, then, saying, “We’ve taken our most popular footwear styles and infused them with Dr. Seuss’s one-of-a-kind designs, delivering the unique charm that only he [the late Geisel] can offer—even creating matching pairs that parents and their kids can wear together.”

. . . .

And as it turns out, branding specialists are fond of shoes not least because, as Emma Bedford wrote at Statistica in July, the American consumer averages US$392 on footwear over the course of a year. The biggest age demographic for the popularity of shoes, the report tells us, is 35 to 44 years. Much of the trend is concentrated across the age breaks of 25 to 54—lots of those folks old enough to know Seuss, right?

As we know, Seuss Enterprises is an expansive juggernaut of rights and licensing, most recently, as we reported, going into Slovenia, Albania, and Germany with new and/or broadened licensing agreements.

Link to the rest at Publishing Perspectives

PG noted that the publisher of The Cat in the Hat, Penguin Random House, may not be the one doing the licensing (and receiving the licensing fees). Per the OP, licensing is conducted by “Seuss Enterprises” (formally, Dr. Seuss Enterprises, L.P.)

Per the Dr. Seuss Enterprises, L.P. link above:

Dr. Seuss Enterprises is a leading children’s entertainment company committed to care taking Theodor Seuss Geisel’s (Dr. Seuss) legacy, ensuring that each generation can experience the amazing world of Dr. Seuss. Established in 1993 and based in San Diego, CA, the company’s global portfolio complements the roster of iconic Dr. Seuss books, and includes films, TV shows, stage productions, exhibitions, digital media, licensed merchandise, and other strategic partnerships. Ted Geisel once said he never wanted to license his characters to anyone who would “round out the edges” – a guiding principle at Dr. Seuss Enterprises. For more information about Dr. Seuss and his works, visit seussville.com.

Keeping a Connection to Your Library

From Publishers Weekly:

As news of school closures spread throughout New York City, I frantically took books off of shelves and shoved them into my students’ arms, explaining, “You can take out six books now!” On every table in our middle school library, I piled book sets, urging students to check out the same book as their peers and form book clubs with their friends. Students were confused and grateful—unsure of why, exactly, I was urging them to stockpile, allowing them double the usual amount of checkouts.

. . . .

From March through June I Zoomed with students, and somehow, probably through the magic of kids’ resiliency and flexibility and imaginations, we created a space that felt not completely like a library, but close to it. We wrote and read and drew and laughed together. We recommended books to one another. We bookmarked passages and read them out loud.

Most importantly, we kept our beloved book clubs going. I host a recess and after-school book club for students in grades four through eight. These spaces—of shared literary love, deep conversation, and casual hanging out—proved a very important part of students’ remote learning experience, because they were one of few opportunities where students could bond socially.

. . . .

Encourage student preparation. I have found that the most engaged discussions are sparked when students actually read fewer pages per week but have done some discussion preparation. Assigning shorter sections of the text allows students to easily recall the section they read. Asking them to do the work of the facilitator readies them for facilitating! I ask students to prepare discussion questions or track character development and themes. Not only does this mean you’re no longer the only facilitator (teacher trick) but it means that students are better prepared to engage more deeply, even if it is with a shorter section of the text.

Open with a go-around. Begin with an opening question where students call on one another. Go-arounds, which can range from silly to serious questions, have always been a core element of the book clubs I lead. Their importance became clearer in the Zoom classroom, where some shyer students hide behind their mute buttons. When students begin by responding to a question or providing their opinion about a book, they are primed to talk. The group hears everyone’s voices and adjusts to expect everyone’s voices. Students calling on one another keeps the discussion flowing and spontaneous; it also makes them keep tabs on the people who have or haven’t spoken yet (another teacher trick).

Link to the rest at Publishers Weekly

Children’s book wins Australia Book of the Year award for first time.

From The New Publishing Standard:

The Australian Book Industry awards, affectionately known as Abias, is hosted by the Australian Publishers Association to recognize excellent Australian writing, although of course with a bias towards sales rather than literary quality.

In that respect it was only a matter of time before a Bluey book came up for an Abias award.

Published by PRH Australia imprint Puffin, titles from the Bluey board book series were the 2nd, 3rd and 4th bestselling books in the country in 2019, and derive from the Emmy-winning Australian children’s TV series of the same name. Bluey being a dog, the antics of which have earned sales totaling over 1 million across 7 titles in the series.

Link to the rest at The New Publishing Standard

PG checked and Amazon (US) does appear to carry Bluey books.

A Wrinkle in Time

About fifteen years ago, when I was fresh out of college, I taught middle school, sixth and seventh grade English. It was a trip. I knew nothing about anything, let alone the thematic depth of The Red Badge of Courage or all the things a noun can be (person, place, idea, emotion, name, et cetera). I spent my first year, as I imagine many novice teachers do, just trying not to drown. Mostly, I was terrified that my students would find out I barely knew what I was teaching them. I’d stay up late the night before, read a few chapters ahead, and then put together a weekly assignment sheet that suggested an authority I did not have. The next day, we’d go over their homework, and I’d stand at the front of the class sweating through my blazer and praying my voice wouldn’t break. Then I’d preview the coming unit as if I really knew the future, feigning confidence, meaning to reassure them. I could see the path ahead absolutely, could see it all the way to its glorious end in June.

When the lockdown began in Oregon, when it became clear that my five-year-old daughter would not be returning to school for the year, I thought back to those early teaching experiences. It seemed I was again in the same boat: unprepared, ill-equipped, drowning in my own ineptitude. My only option was to do as I had done before, to try as hard as possible. For a while, I really did. I made a schedule that transitioned her, every thirty minutes, from “educational” iPad games, to some kind of art-making, to free play, to basic math, and so on. That lasted one week. My own work piled up (I’m fortunate to be an instructor at a university, and my teaching, like everyone else’s, has gone remote). I decided very quickly to scale back, to ask one thing of her a day. I decided we would try, for the first time, to read a chapter book together.

We didn’t choose Madeleine L’Engle’s A Wrinkle in Time for any other reason than it was already in our house. A friend had gifted my daughter the complete series for Christmas. My daughter can sound out words fairly well. The struggle is, of course, with patience, with seeing a new and unfamiliar term and not allowing its length and phonetic combinations to overwhelm her. The work is slow, and I remember from teaching middle school that I must marshal my own patience before I can help with hers.

Together, we attempt a chapter a day, often less. I ask her to read or sound out only four sentences during each session. If she does this, she earns a piece of sugarless gum as her prize, which she loves because she desperately wants to figure out how to blow bubbles. She can’t always sit still while I read, so she wanders about the room, touching scattered stuffed animals, rearranging LEGO sets, putting her model horses in a row and making them eat hay. I sometimes quiz her to see if she’s following along. She always is. She recalls everything without effort, and it startles me, the dynamism of her memory:

“Who’s Charles Wallace?” I ask.

“Meg’s little brother,” she replies.

“What does Meg’s mother do for a living?”

“She’s a scientist.”

“Where is their father?”

“He’s missing.”

Link to the rest at The Paris Review

Leo Tolstoy’s Children’s Stories Will Devastate Your Children and Make You Want to Die

From The Los Angeles Review of Books:

The Russian novelist Leo Tolstoy, also a gentleman farmer, operated an ancestral estate called Yasnaya Polyana that included a small school for the children of the peasants who labored there. Tolstoy was known to drop by from time to time and read stories that he wrote himself, which in his typical modesty, he predicted would be read by “thousands, even millions.”

In 1988, the children’s novelist and Russia expert James Riordan translated several of these for a collection called The Lion and the Puppy: And Other Stories for Children, published first by Henry Holt and Company. The cover has a nice picture of a lion and a puppy; the illustrations by Claus Sievert are lovely throughout. My children fell in love with that picture, and they wanted me to read them the book. My first thought was: Children’s stories by the author of the inspirational The Death of Ivan Ilyich? But pestilence has closed the schools and home reading was important. Tolstoy wrote them; they couldn’t be that bad. Now I sincerely wish I had never touched them.

The first story turned out to be the only one we endured together. It’s about a hungry lion in the zoo, whose keepers comb the streets for stray cats and dogs to feed him. Tolstoy recounts the lion coming for a puppy that got lost by its master: “Poor little dog. Tail between its legs, it squeezed itself into the corner of the cage as the lion came closer and closer.”

The lion decides not to eat this puppy, and they become friends. Until we get to page two, when the puppy, now a year old, suddenly sickens and dies. So what does the lion do? “[H]e put his paws about his cold little friend and lay grieving for a full five days. And on the sixth day the lion died.” The end.

“Daddy,” my stunned four-year-old son asked, “why did the lion die?”

“Daddy Daddy,” my daughter asked, still wondering about the now-dead lion’s lifestyle, “why did the people feed the lion puppies?”

So I took the book away and hid it from the children. Later I read it through. If you do this, be sure to read something lighter afterward, like perhaps Anna Karenina’s suicide scene, or a biography of Sylvia Plath. The rest of the stories are just as dark as the first one. So we have:

“Escape of a Dancing Bear.” The bear runs away after the master gets drunk. He’s too strong to capture directly, so they play his dancing music and he dances again. This allows the keepers to grab onto his chain. “The bear saw the ruse too late, roared helplessly, and tried to escape. But the master clung on tightly.” The end.

“Death of a Bird-Cherry Tree.” A property owner orders a tree cut down, then reconsiders. “It seemed a shame to kill such a beautiful thing.” But the woodcutter has already started, so he takes up an axe and lends a hand. “And then an unnerving sound came from inside the very soul of that tree. It was as if someone was screaming in unbearable pain, a tearing, wrenching, long, drawn-out scream.” The woodcutter says, “Whew, she don’t die easy, Sir!” Then the tree falls. The end.

Link to the rest at The Los Angeles Review of Books

Helping youngsters confront their fears in our lockdown era

From The LittleHampton Gazette:

Samuel and the Monster has been self-published by Alexia Pinchbeck at £9.99.

. . . .

Alexia, aged 38, who lives in East Wittering, said: “Samuel and the Monster, a picture book for two to five-year-olds, is a short, simple story with brightly coloured, bold illustrations that overnight put a stop to my four-year-old son Samuel’s nightmares and broken nights. It is written and illustrated by me.

“After experiencing six months of horrendous nightmares and disrupted nights with my then three-year-old, Samuel, as well as the demands of a newborn baby, I was beside myself with sleep deprivation.

“Then, one night, everything changed. Trying a completely different approach, I got Samuel out of his bed, told him take a deep breath and declare with conviction ‘There are no monsters!’

“We repeated this until he was giggling, happy and in a relaxed state, when I asked him to repeat the mantra ‘I am Samuel, I am Samuel, I am Samuel and I am amazing!’

“By the end, he was a different child, and went back to bed relaxed and happy. Overnight, his nightmares disappeared. And, rather than reclaiming my night’s sleep, I went down to the kitchen and wrote and illustrated this simple story between 2am-6am.

“It was very spontaneous, with no planning whatsoever, and the words and illustrations have altered little since that initial 2am version. By the time Samuel woke at 7am, I had a story and pictures to accompany it and I read it to him. He was thrilled. And, more importantly, he has slept through the night since.

. . . .

“With everything that is going on currently, I questioned whether now is the right time to launch, but after much thought I realised that now more than ever we need a book which provides a discussion point for fears, anxieties and our monsters for youngsters between 2-5 years old.

“I believe this book now has more relevance to a child who might be experiencing greater anxiety around their existing fears, or new worries. That, and of course all of us parents at home are needing more books to read with our children than ever before.”

Alexia added: “The actual experience of writing and illustrating the initial idea was exciting. It is a simple story and idea, with brightly coloured illustrations and loveable characters. Even the monster. The whole time I was painting I was full of energy from 2am-6am, motivated by the possibility of helping Samuel to sleep and, by association, the rest of the family.

“It then took a year to get to this initial point through to publication, some points of which have been really quite challenging. It took me many months to come to the conclusion that I would self-publish, namely after a conversation with a friend who has both published and self-published books made me realise that, even if successful in eventually getting an agent, it could be two years before I would then see the book on the shelves.

“So, having run a – very different – business already, at the beginning of the year, I made the decision to self-publish. I got my website up and running, worked with a graphic designer and a book designer to turn the book into a book of the standards of a traditionally published book, explored all of the print, production, packaging and postage.”

. . . .

“Samuel and I are working on a sequel to Samuel and the Monster together, as it turns out there is more to the story that we are learning about at the minute. As he is home with me homeschooling, we’re using it as an opportunity to work on our writing and storytelling skills. His tales are marvellous.”

. . . .

“But it was only a few years ago, shortly after having my first child, Samuel, now nearly five, that I actually got really honest with myself about wanting to write and illustrate books. “Whilst initially this was children’s books, recently the desire to write something longer form has started to niggle at me, so I’m finding a few minutes every day to start to write that.

“If not writing, the words start to build up in my head, and its almost like they curdle into something negative if not siphoned off for good purpose.”

. . . .

“The feeling writing gives me is addictive, whether analogue: a gorgeous black pen spooling out across a smooth blank page of a notebook or, slightly less satisfying but still enjoyable nonetheless, letting out a flood of words on to the blank screen of my computer.”

Link to the rest at The LittleHampton Gazette and here’s a link to the author’s website, where you can order a copy.

Unfortunately, PG was unable to find the book for sale or pre-order on either Amazon or Amazon-UK.

PG was unable to resist a photo on the author’s website of Ms. Pinchbeck reading to Samuel. Click on the photo to see the author’s Portfolio and more photos.

Kids’ Authors Go Digital

From Publishers Weekly:

School closures and stay-at-home orders may have forced the nation’s readers inside, but children’s and YA authors and illustrators have stepped up in unparalleled ways. From storytimes to drawing lessons and online festivals, the work these authors do each day ensures that those who are fortunate to have digital access can discover new worlds.

Kids’ Authors Go Digital is an occasional column that shares brief news on the most creative, interesting, and inspiring author initiatives that are coming across our screens. Sometimes the columns will feature lists of trends we see, other times they will focus on a single unique effort. All of them will share the goal of helping highlight places for authors and readers to come together and imagine things beyond the confines of home.

For our first column, we are taking a look at seven digital efforts that capture some of the diversity of what is available for children and teens right now:

KidsAskAuthors podcast with Grace Lin

Conceived before the pandemic, Kids Ask Authors is the brainchild of Newbery and Caldecott Honor recipient Grace Lin. The podcast, which is geared toward elementary and middle school children, gives readers the opportunity to ask a question of their favorite author or illustrator. Children can submit questions on the podcast website. Each short episode features a different question, ranging from “What do you do when your brain does not come up with any ideas?” to “How do you get drawings or paintings into a book?” The podcast’s growing catalog of 16 episodes includes authors Jeanne Birdsall, Linda Sue Park, Don Tate, and Jane Yolen.

YALLSTAYHOME Virtual Book Festival

One of the greatest hits the kids’ lit world has taken is the cancellation of book festivals nationwide, including YALLWEST in Santa Monica, Calif. Undeterred, organizers managed the monumental task of taking the entire festival online. The weekend bash, which will take place online on April 25 and 26, will feature more than 70 YA authors for a YALLSTAYHOME Book Festival. Authors Melissa Albert, Kacen Callender, Stuart Gibbs, Leah Johnson, David Levithan, Angie Thomas, Sarah Watson, and others will participate in panels, readings and contests. Signed books will be available for purchase from Blue Bicycle Books. Details and schedule information can be found on the festival’s website.

Link to the rest at Publishers Weekly

The Frabjous Delights of Seriously Silly Poetry

From The Wall Street Journal:

Today, when public language can seem slippery or unreliable, we might, for pleasure as well as reassurance, check in with the masters of English poetry. They may sometimes use gibberish, gobbledygook or balderdash for fun but, in the end, they leave us delighted rather than confused. Some kinds of nonsense are consoling.

Consider Lewis Carroll’s “Jabberwocky.” For nearly 150 years, it has provoked happy squeals in children, and inspired serious analyses in lit-crit scholars. The poem comes from “Through the Looking-Glass, and What Alice Found There” (1871), the sequel to “Alice in Wonderland” (1865). Its origin goes further back. Stanza one appeared, in 1855, in “Mischmasch,” a periodical Carroll made for his family:

‘Twas brillig, and the slithy toves

Did gyre and gimble in the wabe:

All mimsy were the borogoves,

And the mome raths outgrabe.

On its face, this may seem like nonsense, and in fact Alice herself has problems with it: “It’s very pretty, but it’s rather hard to understand.” She’s wrong. It may distort sense, but it is not nonsense. If you know English syntax and parts of speech, you know immediately that “toves” and “wabe,” like “borogroves” and “raths,” are nouns, even if you have no idea what else they are. “Gyre” and “gimble” are verbs, “mimsy” and “mome” adjectives. “Brillig” and “outgrabe” are ambiguous. In poetry, all words are important, and the odder they are, the more provocative.

. . . .

Carroll’s creatures, like his words, initially seem weird. But they, too, have meanings or insinuations, in context. Carroll tried to help (or perhaps to confuse) his reader. In the book, Humpty Dumpty offers Alice some definitions. He calls toves “something like badgers” but adds they are also like lizards, and like corkscrews. Carroll’s notes in “Mischmasch” have it a bit differently: A tove is “a species of Badger with smooth white hair, long hind legs and short horns like a stag” that lives “chiefly on cheese.”

Subsequent commentators have made their own interpretations. A variorum edition of the work (such as Martin Gardner’s “The Annotated Alice”) resembles a scholarly Bible or Talmud, with layers of commentary heaped on prior commentary, as one scholiast responds to another.

Is there an original truth? Or is the poem’s meaning the sum total of all the possible interpretations? Whom to believe? As Alice might say, “curiouser and curiouser.”

. . . .

“Snicker-snack” is delicious. And “Galumphing” and “chortled,” words of Carroll’s own invention, have entered our shared vocabulary. We have inherited his creations, the words as well as the characters. They are no longer strange but familiar, part of our linguistic stock in trade.

In poems, sounds gather meaning through suggestion. (This is why rhyme is important.) “Wabe” sounds like “wave,” and “Callooh! Callay!” isn’t far from “Hip-Hip, Hooray!” Some of the words are original portmanteau coinages. “Frabjous” combines “joyous” and a hint of “fabulous.” “Mimsy,” according to Humpty, is “flimsy” and “miserable.” No wonder everyone loves “Jabberwocky”: it turns readers into etymologists. They can make their own definitions.

John Tenniel’s famous illustration is itself a visual portmanteau. It enhances Carroll’s vivid language—which doesn’t really describe the beast—and gives the poem a greater frisson. The Jabberwock is like one of those ancient mythical creatures composed of heterogeneous parts. His neck is a dragon’s; he has rabbit teeth and bat wings. Oh, and he’s wearing a waistcoat.

Link to the rest at The Wall Street Journal (PG apologizes for the paywall, but hasn’t figured out a way around it.)

Marotta launches NHS colouring download

From The Bookseller:

Pavilion-published children’s illustrator Millie Marotta has launched an initiative to get the nation colouring while supporting the NHS.

The Animal Kingdom (Batsford) author has launched a Love NHS illustration to combat stress and anxiety during the coronavirus crisis.

Designed to show a heart with the NHS logo underneath, it will be made available as a download.

Link to the rest at The Bookseller

Sales soar 2,000% for Little Princess picture book on handwashing

From The Guardian:

Parents desperate to persuade their children to keep washing their hands have been turning to Tony Ross’s anarchic creation the Little Princess for help, with sales of the picture book I Don’t Want to Wash My Hands! booming by more than 2,000% over the last month, following new hygiene advice related to the coronavirus outbreak.

First published in 2001, the children’s book follows the Little Princess as she’s asked to wash her hands repeatedly, after playing outside, playing with her dog, going on her potty and sneezing. “‘WHY?’ said the Little Princess. ‘Because of germs and nasties,’ said the Maid.”

Publisher Andersen Press said that it had seen “unprecedented demand” for the book, with sales increasing more than 2,000% from February to March 2020. It has placed an “immediate hasty reprint” of the title.

Link to the rest at The Guardian

Give older children story time to halt fall in young readers, urge experts

From The Guardian:

Experts have called on the government to make story time an intrinsic part of the school day for children right up to their teens, after two major new pieces of research revealed a decline in both the number of children being read to daily and the number reading for pleasure by themselves.

The findings of Nielsen Book Research’s annual survey into the reading habits of British children, to be revealed on Tuesday at an industry conference, show that only 32% of British children under 13 are read to daily by an adult, for pleasure, down four percentage points on the previous year, and nine percentage points down on 2012.

Most parents stop reading to their child by the age of eight, with just 19% of eight to 10-year-olds read to daily by an adult, across all socio-economic groups, down 3% on last year. Boys were less likely to be read to daily than girls at 14%, compared with 24%.

A second major survey of 27,000 children and young people, carried out by the National Literacy Trust ahead of World Book Day on Thursday, found that the number of eight to 18-year-olds reading for pleasure has now dropped to 52.5%, from 58.8% in 2016, with only a quarter (25.7%) reading daily, compared with 43% in 2015. The majority of boys and over half of girls in every age group said they preferred screentime to reading.

Publisher Egmont, which co-funded the Nielsen research, said that the steep decline in parents reading to them “signals a significant threat to children’s wellbeing, with potential longer-term social impact”. It highlighted a strong correlation between older children being read to, and children choosing to read independently for pleasure; 74% of eight to 13-year-olds who were read to each day also read independently, compared with just 29% of those who were read to less than once a week.

Link to the rest at The Guardian

Excitable Edgar under fire: John Lewis plagiarism claims are now Christmas tradition

From The Guardian:

There are two traditions that are rapidly becoming as good markers to the start of the festive season as an advent calendar: John Lewis releasing its Christmas ad and children’s authors accusing the retailer of ripping their books off.

Five years ago, readers spotted similarities between Oliver Jeffers’ Lost and Found, about a boy and a penguin, and John Lewis’s ad about a boy and his penguin. Last year, it was the turn of former children’s laureate Chris Riddell, who noticed similarities between John Lewis’s blue furry monster that hid under the bed, and his own creation, the blue furry Mr Underbed. “The idea of a monster under the bed is by no means new but the ad does seem to bear a close resemblance to my creation – a big blue unthreatening monster who rocks the bed and snores loudly,” said Riddell at the time; Mr Underbed went on to sell out.

This year, more than one children’s writer is feeling aggrieved about John Lewis’s new ad, Excitable Edgar, in which a small dragon keeps spoiling festivities for a village – burning down the tree, melting a snowman – until a girl finds him a job to do (lighting the Christmas pudding). Author Jen Campbell wrote on Twitter: “If you enjoyed this year’s John Lewis Christmas advert, then you’ll love our book Franklin’s Flying Bookshop, all about a dragon called Franklin (who the locals are scared of) & his best friend, a red-haired girl called Luna. Y’know. Just saying.”

Link to the rest at The Guardian

‘Only a quid’: woman reunited with childhood book in museum shop

From The Guardian:

A woman has been reunited with a copy of The Secret Garden she owned as a child, serendipitously discovering it for sale on the shelves of the Museum of English Rural Life shop.

The MERL, which made news last year for sending an 18th-century schoolboy’s doodles of a chicken in trousers viral, acquired the Ladybird Children’s Classics edition from a charity shop in Wallingford for its collection of second-hand books. On Friday, it was picked up by its former owner, Zoe Andrews, who looked inside and saw it had her sister’s name in the front cover, written in characters that she’d dreamed up as a child.

The MERL’s digital editor Joe Vaughan tweeted about the discovery. “Today, the past sent something back, in our museum, in our strange house of time, like a letter returned to sender,” he wrote. “It’s not every day that you pick up a book, open it, and, in the inside cover, find your sister’s name, in hieroglyphics … the ones you wrote when you were kids.”

Andrews “couldn’t believe it when I found this book … Had to repurchase it. What are the chances?!” She couldn’t remember any details about the secret language her and her sister had written on the book. “I had a grid on a sheet of paper with a ‘key’ as to what symbols meant what. This is going back many years, probably 1993/94.”

MERL director Kate Arnold-Forster said: “One of the most unexpected yet fascinating aspects of libraries is discovering books that bear traces of their readers’ lives, moving us to speculate about how they were read and enjoyed. That it’s The Secret Garden – a novel that has survived generations and provided a magical escape for so many readers – makes this story all the more wonderful.”

Link to the rest at The Guardian

Here’s the original cover of US edition of The Secret Garden, first published in 1911:

The Secret Garden by Frances Hodgson Burnett (1849-1924). Publisher: New York: F.A. Stokes, 1911.

 

And here’s the original frontispiece from the 1911 edition.

The Secret Garden by Frances Hodgson Burnett (1849-1924). Publisher: New York: F.A. Stokes, 1911.

 
And an illustration from the 1912 British edition:

‘The Secret Garden’ by Frances Hodgson Burnett, illustrated by Charles Robinson. Published 1912 by William Heinemann, London.

. . .
And a 100th Anniversary edition (yes, PG knows it’s been more than 100 years) available on Amazon:

Dav Pilkey credits his ADHD for his massive success

From The Washington Post:

By any measure in publishing, cartoonist Dav Pilkey is a rock star.The children’s author created his characters Captain Underpants (a superhero for grade-schoolers) and Dog Man (a hound-supercop) while an Ohio second-grader, sitting alone in the hall during class as a result of his ADHD.Now Pilkey is 53, and “Dog Man” — a franchise that has sold millions — is perched atop the New York Times bestsellers list for children’s series, while “Captain Underpants” is at No. 8 (both books have sat on the list for years).

. . . .

Q: You have used puns like “The Hallo-weiner” in your books. What’s your most shameless pun?

A: It might be “Hally Tosis.” And I can’t take credit for that — that’s my dad’s joke. We had a dog when I was a kid and her name was Halle, and she did have a horrible breath. My dad used to call her “Halle Tosis.” And I just thought that was a funny, cutesy little name until I was a little bit older and I realized what it was.

Q: At what age were you diagnosed with attention deficit and dyslexia?

A: I was probably about 8. They didn’t have the term ADHD. They called it extreme hyperactivity disorder. Back in those days, the specialists prescribed caffeine for me, so I was drinking coffee for breakfast.

Q: How did that work out?

A: The only way I could get it down was, my mom would put in chocolate syrup with cream. I think I was so buzzed off the sugar that it didn’t quite work out.

Q: And you had to sit in the hall in elementary school?

A: So little was known about those conditions back in those days, and I think it was just seen as I was distracting everyone in the class with my silliness. I couldn’t stay in my chair and keep my mouth shut. So the teachers from second to fifth grade just put me in the hall. It ended up being kind of a blessing for me, too, because it gave me time to draw and to create stories and comics. I guess I made lemonade out of it.

Q: So you created Captain Underpants while in school?

A: I did. And Dog Man, as well. They were the first comics that I remember creating. In fact, my second-grade teacher gave me the idea for Captain Underpants. She mentioned underwear in class and everyone laughed and I was like: “Oh, that’s a good subject. I’ll do something with that.” And so that was that.

Q: So while you were sitting in the hall, you were also sitting on a future publishing empire?

A: Making comics was a way for me to stay connected to my classmates. I wasn’t just a kid in the hallway. I guess in a way I’m still trying to connect with my readers.

Link to the rest at The Washington Post

How the American Girl Series Shaped My Reading, Imagination, and Humor

From Book Riot:

As an elementary school girl in the ’90s who loved reading and history, I was the target consumer for the first generation of the American Girl dolls. The dolls were all preteen girl characters from different ethnicities, eras, and regions. For my 8th birthday in July 1997, I got a Kirsten doll—one of the three original historical dolls. Kirsten Larson is a Swedish immigrant who lives with her family on the Minnesota frontier in the 1850s.

Each doll had her own clothing, accessories, furniture, and book series. Collecting all of it would have been very expensive, but I kept the doll and her items in pristine condition. If I’d been a couple of years younger, I wouldn’t have taken good care of the doll or been interested in the history yet. I had one American Girl doll with a bed and a few outfits, but I read all the books. If I’d read the books first, I would have chosen Addy Walker, an African American girl who reaches freedom, instead.

. . . .

For Christmas, almost six months after I got my Kirsten doll, my parents bought me the computer game The American Girls Premiere. The game allowed players to create multiple-act plays starring the characters. We could select the main character, her supporting cast, sets, props, lighting, and more. Computer animation and AI from the ’90s would seem slow and clunky today. As my cousins and I typed dialogue, we realized that the robotic voice would speak in run-on sentences unless we punctuated them. We found it hilarious that it hadn’t been programmed to pronounce Addy’s friend M’Dear’s nickname correctly. We made each other laugh uproariously just by making the deadpan voice say, “Hell-O, EM-Deer!”

Link to the rest at Book Riot

Give Kids Good Books And They’ll Love Reading Forever

From The Huffington Post:

Is it weird that I’m almost 30 and my favorite books are kid’s books?

The first book I read this year was Renee Watson’s 2018 children’s novel “Piecing Me Together.” I picked it up thanks to its beautiful cover and relatively short chapters. But those brief sections of text held a complex story about a young Black girl trying to navigate identity, privilege and history in her hometown of Portland, Oregon, that my adult self found wholly relatable.

Sales of children’s books and young adult, or YA, fiction have boomed in recent years, especially for books that tackle mature subject matter, from gender and sexuality in Alex Gino’s “George,” to the movement for Black lives as featured in Angie Thomas’ “The Hate U Give.” In Jenny Han’s 2014 book “To All The Boys I’ve Loved Before,” kids can learn lessons about love and friendship in the 21st century; in R.J. Palacio’s 2012 book “Wonder,” they can develop language around chronic illness and acceptance; through Tiffany Jackson’s “Monday’s Not Coming,” they can get a better grasp on headline-making stories, such as that of the missing Black and brown girls in Washington, D.C.

. . . .

Some of the most popular books currently on bookstands are intended for younger readers. There are so many graphic novels, chapter books, picture books and poetry collections written just for kids, all of which teach them important lessons on life that grown-ups will get a kick out of too. While at 28 years old, I’m devouring these titles, sadly the intended audience is barely nibbling on the rich literature available to them.

. . . .

A love of reading and storytelling sets kids up for socioeconomic success as they grow through life. But if the numbers are to be believed, as kids advance in age, they tend to fall out of love with reading. And who can blame them, really, when what they’re told to read becomes increasingly dense and outdated as they make their way through school? Common Core standards have long been criticized for taking the fun out of English class, as students are given nonfiction and articles to read since that’s the type of content they’ll encounter in college. Just before this school year began, Florida’s Department of Education unveiled their student reading list for Kindergarten through 12th grade. With few exceptions, most of the books on the list were published between 1800 and 1950 and featured mostly white characters penned by mostly white male authors.

Link to the rest at The Huffington Post

For the record, PG does not agree with the premise that correlating the race and gender of an author with those of a reader is the key to permitting a child or teenager with a book.

PG will note that JK Rowling certainly knew/knows how to connect with boys with her books. Nicholas Sparks seems to know how to connect with female readers.

See also Fox in the Hen House? Romance Authors You Didn’t Know Are Men and Meet the Male Writers Who Hide Their Gender to Attract Female Readers.

See also The Fountainhead, by Ayn Rand, featuring testosterone-poisoned Howard Roark, and Frankenstein, by Mary Shelley, who, if PG remembers correctly, was 18 years old when she started writing the book, which many would have considered completely unsuitable for a young woman in her time.

Enid Blyton had racist views. But I still read her

From The Guardian:

in 1965 the eminent American science-fiction writer John W Campbell wrote an essay titled The Barbarians Within. In it, he recommended that “the barbarian” – and it was clear he meant African Americans – be injected with cocaine and heroin in order to be kept under control. It was a plan that, he said, “has the advantage … of killing him both psychologically and physiologically, without arousing any protest on his part”. He also claimed that slavery was “a useful educational system”, supported segregation, and argued that “the Negro race” had failed to “produce super-high geniuses”. Black sci-fi writers were unable to “write in open competition” with whites.

Incidentally, Campbell also believed in telepathy, and once argued that there was “a barely determinable possible correlation between cigarette smoking and cancer”. His opinions never got in the way of his success. As the editor of Astounding Science Fiction magazine, he was hugely influential on the genre during the 1940s, 50s and 60s; not just the authors he worked with (Isaac Asimov, Arthur C Clarke and Robert A Heinlein), but also those he kept out. All three of those writers were positive pinkos compared to Campbell; even Robert A Heinlein, who was an anti-communist rightwinger who proselytised the positives of nuclear weapon testing. In 1941, he wrote Sixth Column, a novel based on a story by Campbell, in which “pan-Asians” enslave the US, which fights back with a ethnic-specific ray gun that can kill the “slanty” and “flat face”. Heinlein would later voice his regret over the openly racist novel. Campbell would not.

Last month, while accepting the John W Campbell award for best debut writer in science fiction and fantasy (awarded by the latest editor of the magazine), British author Jeannette Ng called him “a fucking fascist”. Campbell, she said, had set a tone that was “stale, sterile, male, white, exalting in the ambitions of imperialists, colonialists, settlers and industrialists”. Within days, the prize was no longer named after him. It was a lesson in efficiently dealing with the legacy of influential, if morally questionable artists: the prize organisers considered the implications and made a decision.

The same day Ng got on stage it was revealed that, in 2016, the Royal Mint had considered Enid Blyton for the face of a commemorative coin, but decided against it as she was “known to have been a racist, sexist, homophobe and not a very well-regarded writer”. This verdict sparked much blustering about censorship and “political correctness gone mad” in certain pockets of British media. Richard Madeley and Toby Young, for example, lamented the mistreatment of a beloved author who had sold hundreds of millions of books. Young even blasted the decision as “transphobic”, given that Blyton had created George, the short-haired tomboy of the Famous Five.

. . . .

Both English children’s fiction and American science fiction of that era undoubtedly have a reactionary dimension. Just as 1960s sci-fi gave me a particular view of the world – full of cigar-chomping, gun-toting paternalists saving Earth from invading forces – so did Blyton. The baddies were often foreign or Travellers in her mysteries. Her fantasy villains were alternately golliwogs or ugly goblins, depending on whether I was reading her original text or a sterilised, modern edition. The adventures of her polite, white children were affirmative in many ways for me, a child in 1990s Australia who owned a golliwog – and not an old relic “of its time” but a brand spanking new one, given to me by adults who would not have seen much wrong in Blyton’s vision of the world.

When a beloved literary figure from the past is refused some kind of recognition as a result of their personal views, a backlash against modern “culture warriors” inevitably follows. This is understandable to a degree. After all, records of human communication only go back so far; we can only guess what Shakespeare’s opinions on trans people would be (actually he would have loved them, have you seen his plays?). To recognise racism in canonical authors like Blyton and Campbell is not to advocate for a Year Zero approach, blitzing the literary canon until only good-hearted, liberal authors remain.

Link to the rest at The Guardian

PG says it is not unusual, during a stage of their development, for children to regard their parents as clueless/stupid/outdated, etc.

In some cases, the children will continue to think themselves correct for the remainder of their lives. In most circumstances, however, the old aphorism, “The older I get, the smarter my parents become,” comes into play.

It is nice to think that, had we lived during an earlier era when some moral evil was prevalent in society, we would not have accepted it and our condemnation of the manifest error of societies of that sort would have been clear to all who knew us or learned of us through our later work.

Had we lived in Germany in 1937, we would have been ardent and unflinching opponents of Adolph Hitler and all he stood for.

Had we lived in Atlanta in 1860, we would have been proudly exiled from society because of our beliefs about slavery.

Had we lived in Britain or the United States in 2019, we would have condemned the totalitarian, self-righteous and childish impulses that lead so many of the students, faculty and graduates of expensive institutions of higher learning to remove books written by earlier authors from libraries and curricula and erase such people from history.

I have read a number of articles and books written in the late 1940s and early 1950s that report the great difficulty of locating any Germans who were supporters of Hitler before or during World War II. Evidently the bombing and shelling by invading Allied armed forces were extremely accurate, only killing committed Nazis, as those militaries overran Germany.

PG finds the intolerance for those who lived and wrote in earlier times when their books were solidly within the contemporary mainstream to be childish. He will also predict that the college-aged youths of 2060 will find a great deal to condemn about the political correctness, accompanying mental rigidity and cowardly fear of societal criticism on the part of those who held such foolish, blinkered and intellectually bigoted beliefs during the ignorant and retrograde early decades of the 21st Century.

Usborne recalls batch of That’s not my monkey…

From The Bookseller:

Usborne is recalling a batch of its That’s not my monkey… books over fears of mould due to a problem with warehouse cartons.

The firm announced it was recalling copies with the batch number 01849/29 and ISBN 9780746093368, sold between July and August this year.

In a statement online, the company said: “This is due to a humidity problem found with some cartons at the warehouse containing this UK batch, causing the potential safety concern of mould forming.

“While not all copies are affected, we are recalling this delivery to ensure customers are not potentially put at risk.”

Link to the rest at The Bookseller

PG says books growing moldy in a warehouse is an appropriate metaphor for a great many things in traditional publishing.

35 Children’s Books That Teach Empathy And Kindness

From The Huffington Post:

Parents today are very concerned about raising kids who will be forces for good in the world. There are many ways to teach children empathy and understanding, and one very simple yet powerful approach is through books.

Countless children’s books offer beautiful lessons about friendship, acceptance, kindness and compassion. We’ve rounded up a sample of 35.

. . . .

Last Stop on Market Street

This Newbery Medal-winning book follows a boy and his grandmother as they witness beauty, kindness and joy on the bus.

Those Shoes

“Those Shoes” tells a story of generosity and selflessness in the midst of peer pressure.

 

Link to the rest at The Huffington Post

PG is a bit cynical about HuffPo articles with numbers in their title (old internet formula) and he’s not current on much in the children’s books field, but FWIW.

The Time I Called out a Children’s Book Author for Letting Girls Down

From Medium:

A few years back, I read a children’s book about the moon landing to my then-3-year-old daughter. It’s a great book in so many ways. But one thing stood out to me: Men.

Men, men, men. The word men over and over, in glowing terms, and nowhere a mention of anybody else.

The book, Moonshot: The Flight of Apollo 11, written and illustrated by Brian Floca, is a gorgeous, informative read, made to inspire another generation of stargazers. Unlike many dry books on the topic, this one has a gripping narrative. It managed to keep even my 3-year-old engaged.

Still, as I read I found myself changing words to make the story more gender-inclusive. Instead of “men,” I said “people,” “astronauts,” “scientists.” I wanted my daughter to be able to picture herself on that rocket ship, or in Mission Control.

Our storytime happened to take place in October 2017, just as the #MeToo movement was starting to gain momentum. Women were going public with stories of sexual harassment and outdated, gendered power structures. My own #MeToo stories were swimming in my head when I read Moonshot to my daughter. That night, I could not abide one more message of men’s competence alongside women’s invisibility. Fired up, and bursting with anger at the patriarchy, I did something I don’t usually do: I wrote the author to complain.

. . . .

Raising a kid in this highly gendered society is hard, I told him. The only thing stopping my daughter from imagining herself as one of those astronauts were stories like his that say it’s only something men do. I didn’t expect him to respond — I was used to men overlooking their privilege, ignoring their blind spots, and doing everything to preserve the status quo.

Then two days later, he wrote me back.

. . . .

In his email, Floca thanked me for writing and admitted he had known at the time he was writing the book that he was leaning exclusively on “men.” He said he’d tried “people,” but found the word to be clunky on the page. Plus, in reality, the three Apollo 11 astronauts were men, and he believed each person in Mission Control was a man as well. So he chose the gendered framing because it felt honest, simple, and specific.

Floca did, in his email, mention Sally Ride, the first American woman in space, and an interview where she discussed how she wished she’d seen other women astronauts when she was a girl. She was inspired by the Apollo program, Neil Armstrong specifically. Floca said he hoped my daughter would find inspiration in the Apollo 11 story as well.

But there was one line in his response that stood out, a sentence that told me my own work here wasn’t done: “If anyone can find the story of a woman who was working there,” Floca wrote, “I’d be happy and interested.”

I emailed him back one more time.

I found plenty of resources about women’s contributions to Apollo 11. There was Frances “Poppy” Northcutt, the first woman engineer in Mission Control, starting with Apollo 8. Or Joann Morgan, Margaret Hamilton, and Katherine Johnson. But it wasn’t just well-known scientists or astronauts who were left out of the narrative. As I told Floca, female spectators experiencing this historic, cultural event, were omitted from the story. And you would never know from reading Moonshot that in 1969, 17.5% of NASA workers were women, most of them working low-wage jobs.

I didn’t want Floca to draw in imaginary women or to change the focus of the book. I just wanted to put the issue on his radar — we can do a lot better than just saying the moon landing is something men did.

. . . .

Then, this month, out of the blue, I got another email from Floca.

Dear Darcy,
What’s your address?

Floca mailed us a free, signed copy of the new expanded edition of Moonshot, released in honor of the 50th anniversary of the first moon landing. He made changes. Wonderful changes. I cried, with the realization that my anger, my voice, had made a difference.

The word “men” still shows up often in the book, but it’s not there alone anymore. On the Launch Control/Mission Control page, just as I requested, he changed “each man” to “everyone.”

Link to the rest at Medium

The Island Girl

From The Wall Street Journal:

Growing up in a remote island convent, 11-year-old Margaret has long wondered about her origins. From her assiduous quizzing of the sisters of St. Elysia, the girl knows that she was brought to the island as a baby, but she doesn’t know why. Margaret’s true identity is but one of the mysteries woven into Queen of the Sea” (Walker, 394 pages, $24.99), an engrossing graphic novel by Dylan Meconis set in an alternative Tudor realm in which England is Albion, Scotland is Ecossia, and the Virgin Mary and Jesus are known as the Mournful Mother and the Sorrowful Son.

Twice a year a ship arrives with provisions for the Elysian order, as we see in the clear lines and restrained palette of Ms. Meconis’s illustrations. Margaret’s understanding of the convent and its occupants—or are they prisoners?—begins to expand when the ship delivers first a boy her own age and then a haughty, sharp-featured young woman who chafes under the constant observation of a tyrannical chaperone. In unspooling an exciting story of political intrigue drawn from the real life of Elizabeth I, the author introduces readers ages 10 to 16 to the disciplines of cloistered life, treating with interest and respect such practices as the veneration of holy relics and the codified gesturing of silent meals. And who is Margaret? Let’s say that she is not the only redhead on the island to bear a resemblance to a certain broad-chested, oft-married Tudor monarch.

Link to the rest at The Wall Street Journal (Sorry if you encounter a paywall)

Encyclopedia Brown and the Case of the Mysterious Author

From Crime Reads:

Let me tell you about the most popular mystery author you’ve probably never heard of.

He sold 50 million of copies of his books worldwide. His work was translated into a dozen languages. The Mystery Writers of America gave him a special Edgar. The character he created became a cultural icon—spoofed by The Onion, the star of a short-lived television series, and the subject of a nasty lawsuit over the movie rights.

His name was Donald J. Sobol. He was World War II veteran and New York City native who moved to Florida in 1961. Two years later he created his “Sherlock in sneakers,” boy detective Leroy “Encyclopedia” Brown.

Smarter than the Hardy Boys and wittier than Nancy Drew, Encyclopedia Brown solved mysteries for nearly 50 years and never charged more than a quarter. Although “born” in 1963, young Brown remains forever 10.

His beat is an idealized Florida beach town named Idaville. It exists in the era before cellphones, video games, and Arianna Grande, when kids went fishing or rode bikes for fun. He runs his cut-rate detective agency out of his family’s garage on Rover Avenue.

Sobol’s sleuth has a keen eye and a prodigious memory for arcane facts—hence his nickname. (These days he’d have to be Wikipedia Brown, which just doesn’t sound as authoritative.) He solves small mysteries for his friends and sometimes helps out on big cases that baffle his police chief dad, exposing robbers and con men by spotting the clue everyone else missed.

. . . .

But the real mystery wasn’t inside the books. The real mystery was: Who’s Donald J. Sobol?

Most authors would love to be a big name—a Stephen King, a James Patterson, a John Grisham. People buy their books not for the title or cover image or first page, but because it’s the new King, the new Patterson, the new Grisham.

Not Sobol. He preferred nobody know who produced all those books.

“What I really wanted, and couldn’t achieve—it was just a pipe dream—was to remain anonymous,” Sobol once told his college alumni magazine. “That never worked.”

He came close, though. He never gave a single television interview. When he talked with newspaper and magazine reporters, he did so by telephone. That way they couldn’t take his picture or even describe what he looked like. A photo of the author only appeared in one book, and he said that was by mistake.

“I am very content with staying in the background and letting the books do the talking,” he told the Oberlin Alumni Magazine in 2011.

. . . .

He was the most unlikely of authors, joking once that “I am totally unqualified to be a writer. My childhood was unimpoverished and joyful. Even worse, I loved and admired my parents.”

Donald J. Sobol—the J was just that, no middle name, just an initial—was born and raised in New York City, where his father owned gas stations. As a child, he was more like Brown’s frequent nemesis, inept gang leader Bugs Meany, than his hero, “but only in that I thought up devilish pranks. I never had the courage to act out on them.”

He didn’t read mystery stories. Instead, he was attracted to tales of adventure. As a kid he wanted to be a police officer, or a firefighter, or a shortstop for the Yankees. In high school he tried his hand at sculpting.

In World War II, he was part of a combat engineer battalion, then attended Oberlin College on the GI Bill. He took the college’s only creative writing course, and was hooked. After the last class, he asked the professor if he could take an advanced writing course. The professor explained that there wasn’t one. Sobol said later he just stared at the professor “like a dim-witted penguin watching water freeze.”

Then the professor asked he’d seen action during the war. They talked about that a bit, and finally the professor agreed to teach an advanced writing course for just one student.

“Without his help, I probably never could have had a career as a freelance writer. I owe him so much,” Sobol told the alumni magazine. Not only did the professor help him become a better writer “but he instilled faith in me, in myself. I will always be grateful.”

Two of the stories Sobol wrote for his advanced class wound up selling to the pulps, and he was on his way.

. . . .

Sobol cranked out the first book in the series, Encyclopedia BrownBoy Detective, in just two weeks. That first book contained all the elements that would show up in all the other books: the idyllic setting, the 25-cent fee, the roster of regular baddies like dimwitted Bugs Meany, leader of the Tigers gang.

In inventing his hero, Sobol started with Brown’s nickname, then fleshed out the character from there. “I wanted a name that would appear on the cover and tell readers that this was a book about a smart youngster,” he told an interviewer in 1984.

Link to the rest at Crime Reads


 

Marie Kondo to Publish a Children’s Book!

From Book Riot:

Marie Kondo fans: check it out. Kondo will be publishing a picture book this fall called Kiki and Jax, to be illustrated by Geisel Honor­–winning author/illustrator Salina Yoon.

The book, which will have a 250,000 first print run, will hit shelves November 5. Kiki and Jax is inspired by the KonMari method, as it follows two best friends — Kiki, a collector, and Jax, a sorter — as they work through what it means when their friendship has to navigate things. When those things begin to get in the way, they learn the power of how their friendship works: the spark of joy.

Kondo said, “I’m pleased to share this timeless story about friendship, and I hope that the characters of Kiki and Jax inspire children and families to tidy and embrace joy!”

Link to the rest at Book Riot

PG has been “tidying” his office over the past few days. He hasn’t found any joy to embrace yet.

One question for visitors to TPV, what’s the difference between cleaning and tidying?

Another question, this time involving gender – Do men tidy? Or do they clean? Or do they haul trash? In big noisy trucks?

Is tidying the new cleaning? Or, as Marie suggests, is it more transformative than cleaning?

Can PG properly tidy while wearing sweat pants? Before he takes a shower?

PG would love to be able to back a trash truck up to the door of his office.

Nine-Year-Old Author Shares Her Story and Seeks to Publish

Apparently a press release. PG has added paragraph breaks. The italics are part of the original.

From LifePulseHealth:

Mantua resident and Centre City elementary school student MaKayla Rose had a problem one night at bedtime. She couldn’t find a book that she wanted to read. She couldn’t find a story that represented her family and her point of view.

MaKayla is a problem solver, however, and knew that the best way to fix the problem was to write a story of her own! This was the beginning of “Why Bedtime Sucks: The Opposite of a Bedtime Story”, and a journey for her whole family.

Once MaKayla had written her story and hand drawn her illustrations, she shared it with her peers and teachers. Other students were inspired by her initiative and began writing stories of their own.

This is when her mother, Shalina, knew that Why Bedtime Sucks was a story that could reach and inspire so many other young people to relate and create for themselves, and she began the process of making MaKayla’s tale into a book.

One of the first steps was to connect with the right illustrator. All the illustrations in Why Bedtime Sucks are hand created in collaboration with artist Isabel Rivera of Cancun, Mexico.

To retain the creative independence and MaKayla’s true voice in the story, the Hubbs have decided to self-publish launching the project as a campaign on Kickstarter. Why Bedtime Sucks is an opportunity to provide diversity into illustrated children’s books that would benefit all children.

Link to the rest at LifePulseHealth