Archive for the ‘my writing’ Category

I’ve now actually begun to write a draft of one of the chapters in my study of alternating narratives, and so I’m feeling less need to make notes here on the books I’ll be considering–which is why there have been so few entries lately.  I may use the blog occasionally to figure out where I’m going next in the draft, but that’s all. If anyone reading this comes across a novel for children or young adults with alternating narratives, I’d be pleased to hear about it.  I’m working just now on a section about alternating narratives as puzzles, focusing on Diana Wynne Jones’s Merlin Conspiracy,  Melina Marchetta’s On the Jellicoe Road, Kathleen Duey’s Skin Hunger, A.M. Jenkins Beating Heart, Karen Hesse’s Brooklyn Bridge, and Jan Mark’s Hillingdon Fox.

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While avoiding work on alternating narratves, I’ve put together a book trailer for Ghosthunters 2: The Curse of the Evening Eye,  the sequel to The Proof that Ghosts Exist.  Here it is:

Lerer, Seth.  Children’s Literature: A Reader’s History from Aesop to Harry Potter.  Chicago and London: University of Chicago Press, 2008.

This book, it seems, has just been named as a finalist for the National Book Critics Circle 2008 awards for criticism.  According to its website, the National Book Critics Circle consists of “more than 900 active book reviewers who are interested in honoring quality writing.”  If so, they’ve made a surprising choice with this one.  Lerer’s book is, I think, quite dreadful–very bad scholarship indeed.  As someone who’s devoted some decades to taking children’s literature criticism seriously, reading it made me very, very angry.  To me, honouring it in this way can only suggest a depressing lack of knowledge of the nature and history of children’s literature on the part of these supposedly quality-minded critics.  Let me try to say why without too much ire.

Lerer describes the book as “a reader’s history of children’s literature: a study of the figurations of the reading child from antiquity to the present; but a report as well, on my own life of reading and the critical interpretations that my literary scholarship brings to the texts of childhood”  (1-2).  In other words, the reader whose history is being explored is an amalgam of a generalized “reading child” and one very specific reading scholar.  On the face of it, these readers seem unlikely to have all that much in common.  It’s not surprising that the book sometimes fluctuates erratically between them and sometimes uneasily combines them, so that it’s hard to tell where the child’s reading leaves off and Lerer’s ingenious but highly subjective theorizing begins.

Part of the problem is Lerer’s lack of clarity about just who the child reader he;s concerned with is–what he means by “the figurations of the reading child.”  He claims his book is “a history of reception” (2).  But except for Lerer himself and his own son (once or twice), this so-called history of “the reading child” offers almost no reports of how any actual child readers received or responded to the texts he discusses   Instead, Lerer focuses on describing his readings of texts themselves in terms of what they suggest to him about who their readers were or ought to have been.

Lerer claims that “the study of children’s literature is cultural studies” (9) because it draws on “literary, socio-historical, and economic methods of analysis” (9).  I think that’s true–and certainly much children’s literature criticism of the last few decades has made us all increasingly aware of just how very true it is.  But Lerer’s book offers nothing obviously economic in its methodology and little that a cultural studies scholar would recognize as socio-historical: no ideological analysis of class or race, no ethnographic information. Perhaps most significantly, Lerer never engages in the critique that features centrally in cultural studies–the effort to be aware of what texts might be, for good or more often for ill, inviting readers to take for granted.  Lerer describes how various texts confirm what I take to be gender stereotypes without any apparent awareness of them being stereotypes–as if they were true, as if all girls or all boys shared gender-specfic characteristics.  He also speaks of early Greek readers as generalized “children” without seeming to notice they are all male–indeed, never comments on the fact that the intended child readers of all the texts he discusses across thousands of years of history were exclusively male; and when books for girls do start to exist, he isolates them in the ghetto of a separate chapter, safely away from the history of books for “children.”  Furthermore, he describes ancient Greek children as in the care of slaves in a way that blots out the possibility that some children back then might actually have been slaves, or had slaves for parents.

This is not to say that Lerer avoids comment on how texts relate to their time and culture.  “Modern children’s literature remains an Edwardian phenomenon” (253), he asserts in a typical comment, and he claims that twentieth century American children’s literature is “nothing less than a literature of winners” (274).  But he offers very little in the way of historical or ethnographic evidence to support these astonishing conclusions.  He just puts them out there as and then acts from that point on as if they were true.

The book is filled with similarly vast, similarly unsupported generalizations.  “Slavery is central to the history of children’s literature,” (19) Lerer claims without evidence–and then doesn’t refer to the idea again.  Or again, “All children’s literature recalls an unrecoverable past, a lost age before adulthood.” (83-4).  All?   Every single bit of it?  And if it always does that, does it do it for child readers, too, and if so, what age earlier than childhood are they recalling?  Or again, “The job of children’s literature is to make sense of things” (107).  So much for nonsense verse.

Childhood, meanwhile, is as generalizable as its literature iis for Lerer.  It “is a time of exploration, an arena of adventure.  Every shipping box becomes a canoe or a spaceship” (150).  So third-world youngsters who actually live in shipping boxes and have never encountered a canoe in life or in books don’t count as real children?  Or again, “Nothing delights a child so much as tools.  But nothing delights a boy so much as new words for those tools” (154).  So much for boys like I once was who can take tools or, preferably, leave them, along with their high-falutin’ names.  Meanwhile, Montgomery’s character Anne of Green Gables is “a lesson in the ways a pictorial and dramatic imagination shapes the lives of female children” (236)–all female children always, apparently.  Lerer is surprisingly assured that children are unaffected by history and culture, alike in all times and places, and that boys and girls are inherently quite different from each other in ways that never change across time.

These surely incorrect assumptions seem to underlie Lerer’s decisions about what texts to discuss.  To begin with, he has a very generous sense of what counts as children’s literature.  In early chapters about Greece, Rome, and the middle ages, periods in which, as far as we now know, no literature specifically identified as being intended for children actually existed, he assumes that texts with qualities like those found after children’s literature did come into existence must be children’s literature also–an assumption necessarily based on the ongoing similarity of children and adult ideas about childhood across history.  For instance, he claims just about any didactic text as a text for children, presumably because people in need of learning things must have been young, an assumption the history I’m aware of (and indeed, the people I now know) don’t support.  He also asserts that the medieval play Mankind must have been intended for a young audience because its imagery “fills the play with what could only be an adolescent’s imagination” (67)–as if older people didn’t sometimes like testicle jokes also.

On the other hand, Lerer’s focus narrows sharply as he describes the eras when writing specifically intended for children does come onto existence.   While he claims that one of his goals “is to realign what has become a largely Anglophone focus for children’s literary study” (9), he discusses few texts in languages other than English and never discusses texts written anywhere outside of Europe or America, nor even many European texts beyond British ones. Furthermore, his children’s literature includes none of the didactic texts by writers like Edgeworth and Barbauld that figured prominently in the early nineteenth century; none of huge outpouring of religion-oriented texts in the Victorian period and after; no Nancy Drew or Hardy boys, no Babysitters Club or Goosebumps, indeed, none of the many series books that have characterized popular writing for children in our own century; no science fiction or teen romance; no comic books or Golden Books or Disney books and only a few very picture books; no books for babies or informational books for children of any age; none of the late twentieth century outpouring of books by and about African or Hispanic Americans, no books “for young adults” in general.  There is also no mention of a long list of important children’s writers, from Edgeworth through Charlotte Yonge, Mrs. Molesworth and George MacDonald to Beverley Cleary, Wanda Gag, Philippa Pearce, E.L. Konigsburg, William Mayne, Robert Cormier, Alan Garner, Virginia Hamilton, and R.L. Stine.

What Lerer actually does focus his attention on are well-known texts that might be found in the homes of literary-minded parents without much scholarly expertise in children’s literature.  While these books are certainly varied, they tend to be more like each other than like the kinds of undiscussed books I’ve listed above–and perhaps they are so because they accord in various ways with the tastes of contemporary literary-minded parents, something that might not be true of a text by Maria Edgeworth or R.L. Stine.  The focus on them seems to allow Lerer his many generalizations in a way that a wider and more accurate history wouldn’t.

That Lerer’s history of children’s literature is mostly a history of the books he and many other non-specialists already know and like would be acceptable if Lerer weren’t so intent on making such vast generalizations based on such a narrow range of texts, or so focussed on making the generalizations evidence of his own ingenuity.  At one point, he frets that it’s hard to come up with “something new” (192) to say about Carroll’s Alice books–as if engendering clever new ideas, true or not, were the point of doing literary research.  Perhaps it’s not surprising, then, that while he points readers to a range of scholarly studies of children’s literature in his endnotes, he often describes them inaccurately there, and rarely if ever actually refers to them in his discussions of the relevant topics.  If he actually did read all these books, he certainly didn’t let them affect his thinking very much.  He’s alweays seems to be far more interested in his own clever insights than he is in the context of existing scholarship and research.

Towards the end of the book, Lerer refers to Harry Frankfurt’s On Bullshit in order to announce the typically overconfident generalization that “the boys of much contemporary literature are artists of the game” (315).  Lerer goes on to enthuse about the “a vertiginous quality of bullshit, a thrill that the bullshitter gets of making up the details, forming a persona, raising expectations,” and he includes himself among the boys who indulge in it: “we can feel almost an ecstasy in our own imagination” (316).  In the light of this book’s wild theorizing woven out of a surprisingly limited number of texts and verifiable facts, I have to conclude that Lerer found putting it together to be a thrilling experience.  Readers in search of usefully accurate knowledge of children’s literature aren’t likely to share his ecstasy.

The most depressing thing for me is that the singling out of a book like this for special recognition by a reputable national American organization seems somehow unsurprising.  Contemporary readers–the ones who accept the truth of made-up memoirs because they tell them things the like to hear–might well prefer easy generalizations to a more carefully researched conclusion based in a more exact and less incomplete knowledge of the material.

I seem to be turning into a typical grumpy old codger scandalized by what the world’s coming to nowdays, with all these dumb young punks in charge.  I’d better stop right now.

After the various positive comments for The Proof That Ghosts Exist, the novel by Carol Matas and me, that I recorded earlier (see Responses to the Proof That Ghosts Exist) comes this late bloomer, from School Library Journal:

MATAS, Carol & Perry Nodelman. The Proof That Ghosts Exist. Bk. 1. 216p. (The Ghosthunters Series). Key Porter, dist. by PGW. 2008. pap. $6.95. ISBN 978-1-55470-014-1. LC C2007-906679-8.

Gr 4–7—Molly and Adam have been given the task of watching their father closely during their lakeside vacation. Several of the men in his family have died the day before their 35th birthday, and the Barnetts are determined to protect Tim’s life. Meanwhile, the siblings connect with the ghost of Tim’s father, who helps them piece together the mysterious deaths. The book ends on a cliff-hanger. A cut above generic series fiction, Ghosthunters nonetheless is a serviceable, not stellar mystery. It contains the requisite spiders, screams, and knives, but the story itself is workmanlike. Molly and Adam are obvious foils for one another, and the dialogue tries too hard to point out character development. The authors explain clues rather than allowing the plot to reveal information, and the story is linear rather than three-dimensional. Ghost stories by Marion Dane Bauer, Mary Downing Hahn, or Betty Ren Wright will serve as well or better.—Caitlin Augusta, The Darien Library, CT

Oh dear.  So much for “endearing and intrepid protagonists, and a mystery complex enough to sustain interest across volumes”  (Bulletin of the Center for Children’s Books). So much for “Simply put, The Proof that Ghosts Exist is a fun book to read from start to finish” (CM Magazine).   We are, in fact, merely linear and serviceable–and, it seems, above all, nothing to laugh at.

Those who don’t mind a little comedy mixed in with their ghosts or characters with a little self-awareness or a plot that doesn’t require special glasses to make sense of it might he pleased to hear that Book Two of The Ghosthunters, The Curse of the Evening Eye, will be forthcoming soon in Canada and will be available a few months later in the U.S.

curse-evening-eye-cover

These are comments from both Canadian and American reviews of the novel by Carol Matas and me, The Proof that Ghosts Exist, the first book of the Ghosthunters trilogy.

Bulletin of the Center for Children’s Books:

As this is the first novel in a planned trilogy, there is little resolution offered as to the likelihood of their success (though the lighthearted tone certainly does not suggest the imminent death of their father). However, compelling side characters (particularly the mysterious Reggie, the giant and ominous nurse who literally appears on scene after the sibs’father is injured), endearing and intrepid protagonists, and a mystery complex enough to sustain interest across volumes will all easily draw readers back in to see what happens next.

the booksforchildren wiki:

There’s scary fun here. Molly and Adam must face their fears, and there’s some amusing play with ghost story conventions. 

Lessons from the Tortoise:

This is a funny, imaginative excursion into the world of ghost-hunting–highly recommended for middle-grade readers.

North Bay Nugget, October 25,2008:

The Proof that Ghosts Exist by Carol Matas and Perry Nodelman (Key Porter, ages nine to 14) is a rip-roaring ghost story filled with chills, thrills and more than a few laughs. Maybe it’s just a horrible coincidence that the Barnett men tend to drop dead the day before their 35th birthday. But Molly and Adam’s mom isn’t taking any chances. She has decided to spend their dad’s birthday at their remote — and safe — cottage by the lake. What could go wrong? As Molly and Adam find out — everything! The kids struggle to make sense of the odd events and figure out what’s really happening at the lake. This is the first volume in the Ghosthunters trilogy and will leave readers eagerly awaiting the next installment in this Canadian story.

CM Magazine:

Ghosts that kill provides the spook-a-riffic basis for the mystery that Adam and his sister Molly try to solve in The Proof that Ghosts Exist by Carol Matas and Perry Nodelman. This is the exciting first book in “The Ghosthunters” trilogy, and so, although some mysteries are solved, the book leaves the reader with many unanswered questions. The author duo begin the story on the premise of a family curse and then continue to mix in more mysterious elements to keep readers guessing and build the suspense. The Proof that Ghosts Exist is both an entertaining, light read and a thought-provoking story about the supernatural world. . . .

The success of this novel is in the way Nodelman and Matas tease the reader with questions of who is evil, what is evil, how do you fight or stand up to an evil that knows all of your weaknesses? Adam and Molly’s love for their dad keeps them motivated to face their fears, although, at the moment, they can only trust their instinct and the words of their grandfather. A gentle humour takes the edge away from the suspense. Simply put, The Proof that Ghosts Exist is a fun book to read from start to finish.

Nodelman and Matas effortlessly weave mystery, suspense and humour throughout the novel. As they prove that ghosts exits, the writing duo raises of number of fun and frightening questions about the supernatural world and the connection of the living to it. The Proof that Ghosts Exist is a light read that is truly “filled with chills thrills and more than a few laughs.” Highly Recommended.

The Jewish Independent, April 18, 2008:

Another story that requires readers to check their skepticism at the door is The Proof that Ghosts Exist (Key Porter Books) by Carol Matas and Perry Nodelman, but it’s wonderfully written and very entertaining – even a bit scary at times.
Molly and Adam Barnett’s family is reaching a potentially dangerous milestone: their father’s 35th birthday. For generations, Barnett men have died on the day before they turned 35. To try and avoid this tragedy in their own family, the Barnetts head to their remote cottage, where they will be away from the stresses and dangers of the city and where the children – without mom, who has to stay in town to deal with important business – can keep a close eye on their dad.
Of course, nothing is as easy as it seems and Molly and Adam have to piece together the mystery that plagues their family, all the while dealing with ghosts and more tangible threats to their and their father’s lives.
The Proof that Ghosts Exist is the first book in the Ghosthunters trilogy so, of course, it leaves readers in the lurch. But anticipation is half the fun, right?

Saskatoon Star Phoenix, May 17, 2008

Carol Matas and Perry Nodelman’s collaborative junior fiction novel The Proof that Ghosts Exist (Key Porter, paperback, $11.95), first in The Ghosthunters trilogy, is certainly well-suited for ages nine-12. Reminiscent of the glib Goosebumps novels for the same age group, Matas and Nodelman’s title operates on a premise similar to one used by British author Alan Gibbons in a book for older readers, Scared to Death: that a particular force of evil is capable of bringing on whatever it is that frightens people the most.

For Molly, it’s the sensation that she’s trapped in a small, close space. For her younger brother Adam, it’s creepy crawly things. For their father, Tim, who lives under the shadow of an approaching thirty-fifth birthday and the knowledge that both his father, and grandfather, died on their thirty-fifth birthdays, it’s his wife!

Humorous passages, including segments about an odd lakeside neighbour named Reggie who initially appears to nurse Tim’s strained ankle, keep this a light read for kids who like to be scared — but not too much.

Bookloons:

The Proof that Ghosts Exist, first in a series, offers a historical mystery, adventure interspersed with sibling banter, and a strong dose of the supernatural.

And, of course, there’s the infamous and very creepy book trailer:

I’ve given my permission for a post I wrote recently on the Child_lit listserv to appear on Susan Thomsen’s Chicken Spaghetti blog. The post is about picture book texts and their relationship to poetry.

Here’s a book trailer for my new book, The Hidden Adult: Defining Children’s Literature, out soon from Johns Hopkins University Press.

The book presents close readings of six stories in order to try to develop  a clear definition of children’s literature as a distinct literary form. I begin by considering the plots, themes, and structures of six works: “The Purple Jar,” Alice in Wonderland, Dr. Doolittle, Henry Huggins, The Snowy Day, and Plain City—all written for young people of varying ages in different times and places—to identify shared characteristics. I point out markers in each work that allow the adult reader to understand it as a children’s story, in order to shed light on ingrained adult assumptions and reveal the ways in which adult knowledge and experience remain hidden in apparently simple and innocent texts. I then engage a wide range of views of children’s literature from authors, literary critics, cultural theorists, and specialists in education and information sciences, in order to develop a theory of children’s literature, exploring its commonalities and shared themes.

You can find out more about the book on the John Hopkins website, and order it from the Amazon websites in the U.S., Canada, the U.K., and elsewhere.

Here’s a book trailer for my novel in Scholastic Canada’s Dear Canada series, about a Jewish girl in Toronto in the depths of the depression:

The book is based on my parents’ memories of their childhood, and ends with the characters becoming involved in the Christie Pits riot.

Not a Nickel to Spare is avaiable from Amazon.ca here.

Here’s a trailer for the first book of The Ghosthunters trilogy, The Proof that Ghosts Exist, written by me and my friend Carol Matas.