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Posts Tagged ‘Children’s literature’

Metaphor Map (from the Makers of Allegory Atlas), and Other News

July 1, 2015 | by

The University of Glasgow’s Metaphor Map.

  • Our Summer issue features illustrations by Jason Novak for the first installment of Chris Bachelder’s new novel, The Throwback Special. Now you can see them here—including a particularly enchanting representation of an oviraptor ...
  • With his suicide, David Foster Wallace set into motion a saccharine revisionism that has now, with the release of the movie The End of the Tour, reached full power. The film is “high-gloss true-story after-school special”; the writer is gone; a weird kind of self-help saint has taken his place. “A writer who courted contradiction and paradox, who could come on as a curmudgeon and a scold, who emerged from an avant-garde tradition and never retreated into conventional realism, he has been reduced to a wisdom-dispensing sage on the one hand and shorthand for the Writer As Tortured Soul on the other … ”
  • Are you lost on the roadside of figurative language? Fumbling in the dark through the land of the simile? Friend, consult the Metaphor Map, “which contains more than 14,000 metaphorical connections sourced from four million pieces of lexical data, some of which date back to 700 AD.”
  • If you’re feeling down, spend a little time with pro-Confederacy children’s books, and you’ll feel no better at all. In fact, you’ll enjoy only a sense of deep inner turmoil. In Debra West Smith’s Young Heroes of the Confederacy, for instance, “readers are told that the children of a particular plantation-owning family were always taught to respect their slaves; on the next page, the patriarch is horse-whipping a cook … In one of the book’s rare direct mentions of slavery, Smith compares slavery to a foreign diet: ‘Whether we grow up eating snails in France, sushi in Japan, or crawfish in Louisiana, the foods we know are what we consider to be “normal.” ’ True so far as it goes, but Smith never quite gets around to saying directly that slave-owners, ‘known from their diaries and letters to be moral people,’ were doing anything worse than eating something icky.”
  • In which two “unbearably sad” newish novels with life in their titles face off: A Little Life versus Preparation for the Next Life. “In A Little Life, the dirt is on the inside, hiding in a shadowy group of monks and suburban pedophiles, and in the psyche if their victim; in Preparation for the Next Life, it’s on the outside—it’s on our streets and our food and our national conscience.”

Civilization Was a Crust

June 22, 2015 | by

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From the cover of Frankweiler.

Long before museums were pandering to callow visitors bearing selfie sticks, they were trying to attract young people the old-fashioned way. Any big collection worth its salt has had some sort of children’s guide for decades now: museums encourage kids to look for dogs and cats in Dutch tavern scenes, giving them Bingo-style checklists, colorful maps, and bits of trivia. (Fact: pointillist paintings are made up of lots of little dots.)

The Met has always had an especially good kids’ program, and one indication of this is how enthusiastically—and diplomatically—they embrace the classic E. L. Konigsburg novel From the Mixed-Up Files of Mrs. Basil E. Frankweiler. For the uninitiated, though I suspect there are few of you: this book chronicles the exploits of the Kincaid siblings, who run away and hide out in the Metropolitan Museum. There, they sleep in a sixteenth-century bed, bathe (and fish for coins) in a fountain, and, into the bargain, solve an art-world mystery. Read More »

Say Your Prayers

June 18, 2015 | by

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Christopher Robin Milne with Winnie the Pooh in 1928.

Christopher Robin Milne’s first two memoirs, The Enchanted Places and The Path Through the Trees, are in the canon of great ambivalence books. Perhaps you’ve read that Christopher Robin, as A. A. Milne’s son and muse, grew to loathe his fame and the hordes of Pooh fanatics who stalked him even as an adult. (Milne fils supported himself as a successful bookseller; all the royalties went into a trust fund for his disabled daughter.) “It seemed to me almost that my father had got to where he was by climbing upon my infant shoulders,” he wrote, “that he had filched from me my good name and had left me with the empty fame of being his son.”

But the books don’t read as an angry indictment so much as an attempt to grapple with his condition. Yes, there’s some record straightening—but the author’s sense of frank exploration is sympathetic, and it feels honest. Although he’d ultimately detach from his remote parents, his feelings are complex, and he describes his experiences with sensitivity and nuance. Milne died in 1996; in later life, he’d even come to embrace his father’s legacy, gamely showing up at the occasional official event coming to appreciate the love of nature bestowed by his Sussex childhood. Read More »

Juvenilia

April 1, 2015 | by

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From the April 1923 issue of St. Nicholas.

The introduction of The Paris Review for Young Readers seems like a good time to think about one of its predecessors: St. Nicholas Magazine, which was published from 1873 to 1940. Though it wasn’t the only children’s magazine of its time, during its heyday St. Nicholas was generally considered the best—a showcase for fine adult writers and a lab for young ones. 

Scribner’s, a magazine run by the famous publishing house, approached the successful children’s author Mary Mapes Dodge to be St. Nicholas’s editor. At its inception, Dodge wrote that her publication would not be just “a milk-and-water variety of the periodicals for adults. In fact, it needs to be stronger, truer, bolder, more uncompromising than the other.” She felt that because children spent their days at school, “their heads are strained and taxed with the day’s lessons. They do not want to be bothered nor amused nor petted. They just want to have their own way over their own magazine.” Read More »

Introducing The Paris Review for Young Readers

April 1, 2015 | by

TPR-Young-Final“Anyone who writes down to children is simply wasting his time,” E. B. White told this magazine in 1969. “Children are … the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth. They accept, almost without question, anything you present them with, as long as it is presented honestly, fearlessly, and clearly.”

We couldn’t agree more. That’s why we’re proud to announce The Paris Review for Young Readers, the first magazine that writes up to children. (No offense to Cricket or Highlights.) Imagine a space for children’s literature that doesn’t condescend, cosset, or coarsen; that’s free of easy jokes and derivative fantasy; that invites open discussion and abundant imagination. A space, in other words, that offers the same caliber of fiction, poetry, art, and interviews you expect from The Paris Review, for readers age eight to twelve.

Today marks the release of TPRFYR’s first issue, and we think the table of contents below speaks for itself. Among its poetry and fiction, you’ll find old classics and new favorites—plus some puzzles, quizzes, and advice columns inspired by literature. There’s a portfolio of drawings from Richard Scarry’s lost years, and, at the center of it all, an interview with Eric Carle, the author of The Very Hungry Caterpillar. “A child is an almost platonic reader,” Carle says. “His imagination remains unbounded.” Read More »

If I Had a Ribbon Bow

October 31, 2014 | by

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From the cover of In a Dark, Dark Room.

As we all know, the world divides, evenly or otherwise, between those of us who grew up reading In a Dark, Dark Room and those who did not. Those of us who have read it (I got my copy at one of those sponsored school book sales, noteworthy for its bake sale and wealth of Klutz-brand books, one of which came with a Koosh ball) will never look at a green ribbon the same way again.

Spoiler alert for “The Green Ribbon”: Girl has green ribbon around her neck. Grows up, marries, ages, dies. Ribbon is untied, head falls off. It is a perfect scary kid’s story: simple, terrifying, pleasantly idiotic. Certainly, I didn’t feel it to be in any conflict with the basic facts of anatomy. Certainly not doll anatomy. In Alvin Schwartz’s 1984 I Can Read! version, the girl—Jenny—looks sort of like Laura Nyro and rocks a really good look. 

If I have a beef with most modern fright-fests, it’s that they’re too complicated: over-plotted, spilling over with various malignancies and kinds of dark magic. “The Green Ribbon” is an antidote to this. Unlike, say, the Koosh ball, it has aged well. After its fashion, it is the perfect scary story. But you don’t have to take my word for it!