Should America Import More Children’s Books?

Should America import more children’s literature from other countries?

Everything we do to, with, and for our children is influenced by capitalist market conditions and the hegemonic interests of ruling corporate elites. In simple terms, we calculate what is best for our children by regarding them as investments and turning them into commodities.

Jack Zipes, Sticks and Stones

When you and I talk about ‘international children’s books’, are we talking about the same thing?

The international exchange of children’s literature is not well balanced, and different countries and regions participate in it to a greatly varying extent. The direction in which borders are crossed is not determined solely by the international status of the source language and culture, but also by political and economic factors: the world of children’s literature can be divided into exporting and importing countries. The countries that ‘give’ (export) the most also ‘receive’ (import) the least: they are Great Britain and the USA. At the other end of the scale are those countries that almost exclusively import children’s literature and produce little or non of it themselves — for instance certain Asian and African countries. They provide a market for the global corporations. The postulated internationalism of children’s literature proves to be a European and North American perspective: ‘We too hastily confer the status of “international children’s books” on our own [American] works that have attracted a worldwide following. … This makes it easy to project our own assumptions about quality out into the world, never stopping to let the rest of the world speak to us.’

from Comparative Children’s Literature by Emer O’Sullivan, in which he quotes J Garret from The Many Republics Of Childhood (1996)

From same:

The vast majority of texts are translated from English, so the range of ‘foreign’ cultures to which children are introduced is actually limited. In addition, not all translations can be classified as literature of a quality which genuinely enriches the target literature; popular fiction series, for instance, make up an ever increasing proportion of translations. Therefore the often quoted but seldom substantiated claim that translation brings the “best” of children’s literature from many cultures to young readers in other countries … is undermined by the closer analysis of importation patterns’.

Related:“Second Only To Barbie: Identity, fiction and non-fiction in the American Girl Collection”.





On paper, things look fine. Sam Dennon recently inherited significant wealth from his uncle. As a respected architect, Sam spends his days thinking about the family needs and rich lives of his clients. But privately? Even his enduring love of amateur astronomy is on the wane. Sam has built a sustainable-architecture display home for himself but hasn’t yet moved into it, preferring to sleep in his cocoon of a campervan. Although they never announced it publicly, Sam’s wife and business partner ended their marriage years ago due to lack of intimacy, leaving Sam with the sense he is irreparably broken.

Now his beloved uncle has died. An intensifying fear manifests as health anxiety, with night terrors from a half-remembered early childhood event. To assuage the loneliness, Sam embarks on a Personal Happiness Project:

1. Get a pet dog

2. Find a friend. Just one. Not too intense.




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