Leila Berg – Children's Literature in Newcastle

David Almond Fellowships for Research in Children’s Literature

Newcastle University’s School of English Literature, Language and Linguistics and Seven Stories, The National Centre for Children’s Books are pleased to announce that the application process for 2018 David Almond Fellowships is now open.

Further particulars

The awards recognise both David Almond’s contribution to children’s literature and his connections with these partner institutions: he is a patron of Seven Stories and an honorary graduate of Newcastle University.

The Fellowships aim to promote high-quality research in the Seven Stories collections that will call attention to their breadth and scholarly potential. The two awards of £300 each are to facilitate a research visit to the Seven Stories collections in Newcastle upon Tyne, UK of at least two days by a bona fide researcher working on a relevant project. Applications will be considered from candidates in any academic discipline. The successful applicants will have a clearly defined project that will benefit from having access to the Seven Stories collections (please see indicative information about the collections below). All applicants should consult the Seven Stories catalogue as part of preparing their applications. A well-developed dissemination strategy will be an advantage. Priority will be given to the importance of the project and best use of the Seven Stories collections as judged by a senior member of the Children’s Literature Unit in the School of English Literature, Language and Linguistics at Newcastle University and a senior member of the Collections team at Seven Stories.

Some previous David Almond Fellows have gone on to take up fully-funded PhD studentships at Newcastle University, others have disseminated their research into the collection through book chapters, peer-reviewed journals and conference papers. One of our former Fellows said of her visit that it was ‘a wonderful opportunity to work in the archive of Seven Stories… it is undoubtedly an invaluable asset for researchers internationally, and something the city can be extremely proud of.’

Eligibility for the award

Applicants must hold a first degree or higher from a recognised institution of higher education.

Note: non-EEA applicants are reminded that to take up a Fellowship they must hold an appropriate visa. Neither Newcastle University nor Seven Stories can help with this process. Please see the UK visas website for more information.

Responsibilities

Fellowships must be taken up before the end of December, 2018. Recipients are expected to spend at least two days in Newcastle and are encouraged to time their visits to enable them to participate in events organised jointly or separately by the Children’s Literature Unit and Seven Stories. (Please note: successful applicants must contact Seven Stories and agree a date for the visit prior to making travel arrangements; normally a minimum of two weeks’ notice is required before any research visit.) Acknowledgement of the Fellowships must accompany all dissemination activities arising from the research.

The Seven Stories Collection

Seven Stories is the only accredited museum specialising in children’s books in the UK. Its collections are a unique resource for original research, particularly insofar as they document aspects of the creation, publication and reception of books for children from the 1930s to the present day. The steadily growing archive contains material from over 250 authors, illustrators, editors, and others involved in the children’s publishing industry in Britain.

Researching the Seven Stories collection could enhance a number of research topics. Examples of research areas and relevant collections:

Makers of children’s literature: children’s book history 1750-2000

Children’s books have been under-represented in book history scholarship. Seven Stories’ holdings can be used to investigate the forces which have shaped the children’s book. Areas of interest include editing and publishing, education and bookselling, diversity and race and changing technologies. Key archival holdings include the David Fickling Collection, the Aidan and Nancy Chambers / Thimble Press Collection, and the Leila Berg Collection. The recently catalogued Noel Streatfeild Collection also provides fascinating insights into the life and times of a leading children’s author during the mid- twentieth century.

New adults: the growth of teenage literature

Seven Stories’ holdings represent the opportunity to investigate the development of teenage literature from a number of perspectives: holdings include detailed evidence of the process of composition from early draft to published text; evidence of socio-political contexts, and evidence of the publishing contexts. Key archival holdings include the Aidan and Nancy Chambers / Thimble Press Collection, the Diana Wynne Jones Collection, the Philip Pullman Collection, the Beverley Naidoo Collection, and the Geoffrey Trease Collection.

Inclusion and diversity

Seven Stories is particularly interested in supporting studies which explore themes of inclusion and diversity within our archives: race and heritage, disability, gender and gender identity, sexual orientation, age, socio-economic status, religion and culture. Projects in this research field might be cross-cutting, looking at a number of different archives within the Seven Stories Collection.

Children on stage: twentieth century children’s theatre

Seven Stories holds the complete archive of David Wood, one of the most prolific and influential playwrights for children in Britain. Projects based in this archive may approach the topic of children’s theatre from a number of perspectives, including theatre history and adaptation. Other relevant holdings include the Michael Morpurgo Collection and the recently acquired David Almond Collection.

More information can be found on the Collection pages of the Seven Stories website. Most of the artwork and manuscript collections are fully catalogued*, and the catalogues can be searched online via the link provided on the website. A list of many of the authors and illustrators represented in the collection can also be found on the Collection pages.

(NB this is not a complete list of the collections).

Please see also the Seven Stories Collection Blog, containing a variety articles describing or inspired by the Collection.

Application process

Applicants are asked to submit the following items by 1 June 2018:

an application form
a curriculum vitae
a brief proposal (of 1,000 words maximum)
one confidential letter of recommendation (sealed and signed; confidential letters may be included in your application packet or recommenders may send them directly)

Applications may be submitted by email or post.

Email: Kim.Reynolds@ncl.ac.uk

Post: David Almond Fellowships, School of English Literature, Language and Linguistics, Newcastle University, Newcastle upon Tyne, NE1 7RU, UK

* NB Thanks to a major accrual, recently received, cataloguing of the David Almond archive is ongoing – the records are expected to be online by 30 June. An interim listing is available on request. Please contact collections@sevenstories.org.uk

Images from Seven Stories: The National Centre for Children’s Books, photography by Damien Wootten.

Revolution in the Library! A Conference on the ‘Children’s ‘68’

Dr Lucy Pearson

The anniversary of 1968 approaches, and with it memories of radical change: workers and students united on the streets of Paris; draft resisters and anti-Vietnam protesters; flower power and violent revolution. The 60s revolution is usually regarded as a youth phenomenon, yet little attention is paid to the literal ‘children of the revolution’. This is the gap that Sophie Heywood proposed to address with her research network on The Children’s 68. On October 12th, CLU colleagues Kim Reynolds and Lucy Pearson headed off to Tours, France, for an interdisciplinary conference organised by Sophie Heywood and Cécile Boulaire exploring the many dimensions of childhood and ‘the spirit of ‘68’.

The conference brought together scholars from many different countries and many disciplines. For some of us, 1968 was clearly a landmark moment, while others questioned whether there was a ’68 moment at all in our countries of interest. Topics included children’s books, radical magazines, television, art culture, feminism and workers’ rights. What emerged from this comparative approach was that there were many correspondences across the experiences of different nations, but also that even within a single cultural context the ‘meaning’ of ’68 encompasses a variety of different and often conflicting ideas.

There were many examples of culture which tried to give children a voice or encourage them to resist the power of adults. Olle Widhe’s paper on the children’s rights movement in Sweden, for example, showed us books which encouraged adults to resist the ‘indoctrination’ of their children, and encouraged children themselves to rise up against the power of adults. Bettina Kümmerling-Meibauer, on the other hand, showed that West German texts sought to ally children with other marginalised groups: a collaborative revolution in which children helped to overcome the systems of power.

Kim Reynolds vividly evoked the feelings of power and possibility experienced by children and young adults in 1968 USA, and showed that while children’s culture failed to produce texts directly addressing the Vietnam War, these young people co-opted the adult culture of popular music to articulate their feelings and beliefs. Other papers, though, raised the possibility that the child was co-opted by adults as a symbol for their own ideologies and desires. Andrea Francke showed a range of exciting picturebooks which questioned the existing social order, but ruefully acknowledged that while these were exciting and important for the women in the feminist collectives who produced them, many children found them uninteresting. In David Buckingham’s paper on the controversial schoolkids’ issue of Oz magazine, he suggested that the magazine included both the authentic concerns of schoolchildren and a discourse around childhood which served the interests of the adult men who edited the magazine.

‘You can get anything you want, at Alice’s restaurant’: Kim Reynolds showed how song lyrics became a key part of ’68 youth culture.

One striking theme was the degree to which this ‘counter-cultural’ moment was institutionally supported and disseminated. Helle Strandgaard Jensen showed that the state broadcasting of Denmark incorporated radical voices into its children’s television. My own paper, on Leila Berg’s Nippers series, considered the intersection between progressive education and mainstream educational publishing and policy. Cécile Boulaire showed that even traditional Catholic publishers in France produced radical material in the form of children’s magazine Okapi.

Left: Leila Berg’s ‘Nippers’ books for children grew out of her activism on children’s rights. Right: Anti-authoritarianism for supper? Critics of Leila Berg’s ‘Fish and Chips for Supper’ complained that it gave children ‘the wrong sense of values’ and that ‘father should not be the object of criticism’.

Another theme which preoccupied me throughout the conference was the question of intersectionality. One of the most striking aspects of the May ’68 revolution in Paris was the way it brought together different constituencies: students and workers manned the barricades together.

Yet I felt that very few of the examples considered fully expressed such unity between children’s rights and the interests of other groups. Children are not only children, of course: they are also defined by their gender, class, ability, race etc. Many texts sought to explore the power dynamics of such categories, and many promoted the rights and agency of the child, but neither the cultural productions of the sixties nor our scholarship achieved a fully intersectional understanding of childhood. I wondered if this gap was a partial explanation for our sense that many of these radical ideas had not had as great a legacy as some of us wished.

The conference closed with the accounts of practitioners: children’s librarians, curators, and educators. Alex Thorp, Education Curator at London’s Serpentine Gallery, showed some fascinating examples of projects which demonstrated the radical potential of play and the degree to which the young people of today continue to experience their relationship with the adult world as one of oppression. All the discussion in this closing session drew attention to a crucial gap in the conference discussion: almost none of our papers included the accounts of actual children. For scholars of childhood, the question of how to include the child’s voice is a perennial problem, but our subject really brought this to the fore. The network hopes to partially address this in an exhibition on ‘Le ’68 des enfants’ taking place May-June 2018, to be held at the French children’s archive Heure Joyeuse, preserved at the Mediathèque Françoise Sagan. Working with graphic designer Loic Boyer, the archive will develop an interactive exhibition which invites children to participate; accompanying workshops with illustrators will also help to bring children’s voices to the fore.

It was a stimulating few days which generated many productive conversations and (I hope) some lasting collaborations. For me, it was a great reminder of how interlinked different aspects of children’s culture are: I can’t wait to do more work with colleagues from other disciplines. Perhaps together we can revive something of the spirit of ’68!

Perhaps some of you were ‘children of ‘68’ – or the children of those children! What was the spirit in your country? And how has it shaped children’s culture today?

George Him – and the kindness of strangers

Professor Kim Reynolds

One of the most laborious – and often dispiriting – aspects of preparing a manuscript for publication is obtaining permission to reproduce words and images. However, I had some heartening and illuminating experiences when contacting the estates of the writers and artists whose work I wanted to reproduce in Left Out: the forgotten tradition of radical fiction for children in Britain, 1910-1949 and the companion volume, Reading and Rebellion, an anthology of radical writing for children, 1900-1960 (co-edited with Jane Rosen and Michael Rosen, forthcoming 2017). It seems progressive thinking and generosity of spirit passed on through generations. Many of the creative individuals whose work is central to both books gave their time and talent for free as a way of helping the rising generation prepare for the task of managing the challenges confronting what was then called ‘civilisation’. Those who represent them today were generally excited about the two books and generously gave permission for the work to be reproduced at no cost. More importantly, they also shared information and material about their relations.

An example is Jane Rabagliati, step-daughter of the brilliant graphic designer and illustrator, George Him (1900-1982). As well as giving me permission to reproduce material, Jane invited me to her house to see the archive she has assembled relating to Him’s work, including his fertile professional partnership with Jan Le Witt (1907-1991).

Working under the name Lewitt-Him, the pair, who began working together in Warsaw in 1933, arrived in London in 1937. They had already produced some ground-breaking children’s books such as Locomotive (1938, first published in Poland) based on the text by the distinguished Polish poet Julian Tuwin. Tuwin’s sound-poem is perfectly complemented by the modernist style of the Lewitt-Him illustrations (a new edition of the book will be published by Thames and Hudson later in 2017).

Once in England, the pair created several high-quality children’s books, being among the first illustrators working in the UK to introduce modernist elements for this age-group: their style leaned towards abstraction and borrowed elements from Surrealism and Cubism. A typical example is Blue Peter (1943), with text by Jan Le Witt’s wife, Alina. This story about a blue dog born to a white mother who is persecuted but eventually finds a home on Blue Dog Island is a parable that no doubt appealed to George Him, a Jew who witnessed the Russian Revolution, was living through the persecutions and atrocities of the Holocaust at the time of publication, and was a supporter of the project to create a Jewish state.

Children’s books were a relatively small part of Lewitt-Him’s output, but after they disbanded in 1955, George Him went on to illustrate a number of popular works on his own. When no longer working as part of a team, his style became more traditional and decorative, but the richness of his palette and the narrative intelligence that informs his compositions is impressive. It is possible to view his illustrations for Frank Hermann’s Giant Alexander books (more than 600,000 copies sold world-wide) at Seven Stories, the National Centre for Children’s Books. Him also worked with Leila Berg on the Little Nipper series; Berg’s archive, too, is held at Seven Stories.

Several of the books in Jane Rabagliati’s archive were entirely new to me, among them the books about King Wilbur the Third which were among several Him did for television. This link takes you to a page where you can see samples of his television graphics. These are not as innovative as the earlier work, but they capture well the style of the times and the particular fusion of book and television associated with programmes such as Jackanory.

I wrote a bit about some Lewitt-Him books in Left Out, but there is much more to be said about them and the work of Him on his own. A couple of years ago the publishing wing of the Tate Gallery reprinted The Football’s Revolt, and now Thames and Hudson are reintroducing Locomotive. It seems a good time to be thinking about how, together and singly, Lewitt-Him influenced children’s publishing in Britain.