Where are we in this year, this year that’s seen the paradigm shift, this year of evenings where everything made sense and then mornings where it didn’t, this year of hope and of fear and of confusion and of sheer raw confusion, confusion, confusion, where are we now?
I have written about this before, fogged, pained, post-Brexit, and here I am again, reflecting on the political world we live in and exploring it through the frame of my love, of books and of reading and of children formulating themselves against a scaffold of words and images and ink.
Children’s literature is a politicized space; it is, always, driven by the ideological and cultural and personal instincts of those who write it and make it and publish it. A book exists because somebody wants it to exist, and that want is driven, always, by a need to speak. To say something, anything sometimes, but normally something. A vivid, bright, pointed something that can be said only by the writer of that book at that point in time, a message that only they can give.
I ran a creative writing workshop last week and told them of the theory that there are only seven stories in the world, and that what made them different was not the story they told but how they told it. Voice. Voice, always voice, identity and nuance and crafted, pointed, passionated voice.
Voice comes from context and context, sometimes, is forgotten. The superhero saves the day, the villain gets his just desserts, the world is righted, the girl gets the girl gets the boy gets the boy gets the girl, patterns. Always patterns.
And when they are jagged and broken, then it is hard to know where to begin again, where to find the fit in the shards of glass because patterns matter. We understand patterns but we also pattern ourselves; we turn left, catch that train, have a coffee at eleven, a sneaky extra drink on a Friday night. Structure. Pattern. Books fix those patterns within us at a young age because they are a mirror when we are doing nothing but looking and trying to figure out who we are.
Children’s literature matters, undoubtedly, always, indubitably. But it is political. It is a fought for space, from those stories which urge to be part of it and should never have a space within it, from those stories which are part of it and could never be anywhere else. But they are always political, perhaps not within themselves, perhaps not without themselves, but there is always, always, a discourse of politics around them. From the way they’re shelved, to the sex and gender roles of the children they represent, from the way they mask adult concerns around childhood, or from the way they reflect a dialogue around the idea of childhood, a collaborative attempt to understand this space, not through talking down, nor talking up, but rather, simply, talking; of articulating, of dialogue, of discourse.
Children’s literature is not a safe space. This is not to deny that it can and should be safe, that children deserve and long for this space where their stories can be heard and understood, that to feel safe and complete is something that children’s literature should not do. Of course it is a safe space. But that is not all it is.
Children’s literature is dangerous, challenging, other. From the picture books which ask the single child to consider the presence of a new sibling in their life to the books which tell teenagers how to live when all around them is dark and horrific, children’s literature questions what makes us human.
To navigate that space requires an understanding of self, and the relationship of that self towards this sector of literature. To navigate that space successfully often requires an absenting of the desires of that self. It isn’t easy. But to participate within children’s literature, particularly as an adult, is to participate in a politicized and political space. To be that adult in this sector is to be transgressive, other. Powerful.
(“Hope is a very unruly emotion” – Gloria Steinman)