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The Openhearted Audience: Ten Authors Talk about Writing for Children

av Virginia Haviland

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1211,606,798 (3.5)Ingen/inga
The writers of childrens? books whose papers are gathered here have much to say about the genesis of their own writing for children, revealing influences and impulses they feel account for particular qualities that define their books. They speak convincingly also about creative writing and children's literature in general. What is imagination and where do the ideas expressed in fiction come from? Why do some people feel compelled to write and to what end do they compose their stories? Dreams are a key, says Eleanor Cameron. She calls dreams a significant part of her life, as are the experiences held in the unconscious, where through "slow transformation over the years" they are turned into "treasure." Similarly, Virginia Hamilton points to the significance symbols hold for her, describing in particular the symbol of the street, especially meaningful to her in connoting "the need for sharing life with others." Her intention in writing is to break down symbols and "free the reality." "Standing on the brink of a work about to begin," Jill Paton Walsh finds her "mind on fire" - and indeed she must enter such an area of excitement to be able to begin a narrative fiction. All these authors share a conviction about the worth and complexity of writing for children, looking beyond their own individual approaches to the whole existing body of literature for children. Ivan Southall, like many a children's writer, is concerned about the low regard some people have for authors writing for children. Ursula LeGuin discusses a "puritanical distrust" of fantasy she recognized in some people, who see a pathological regression and strange amorality in fairy tales, not realizing the function and worth the tales have in children's lives.… (mer)
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Openhearted Audience is a collection of essays (actually lectures given in observance of National Children's Book Week, (in November) at the Library of Congress) by authors who primarily write books for children:
Pamela Travers who wrote the Mary Poppins series (which is not on my list).
Maurice Sendak who wrote so many good books (everyone knows Where the Wild Things Are). None are on my challenge list, though. I liked what he had to say about New York, "Now, the point of going to New York was that you ate in New York" (p 32). Amen.
Joan Didion who wrote Miami, which I finished for the challenge and Play It as It Lies which will be read later. she wanted to know what it means to write for children as opposed to adults. Is there stigma attached to writing for a less developed intelligence?
Erik Haugaard who made the point about sharing art. I have often wondered why it is important to us that people first agree, then like, our recommendations where art is concerned. the fact we can find ourselves offended when one doesn't share our opinions, or worse, dislike the recommendation mystifies me. Even though we didn't produce the art, write the book, or make the movie, we feel rejected somehow; as if the art we presented were our own.
Ursula K. Le Guin who wrote The Wizard of Earthsea (her first book for children).
Ivan Southall who said "Life is more than blunt reaction" (p 87).
Virginia Hamilton who won the Mystery Writers of America Edgar Allan Poe Award in 1969.
Jill Paton Walsh who won the Whitbread Literary Award in 1974.
Eleanor Cameron who talks of dreams.
John Rowe Townsend who was both a critic and a children's writer. ( )
  SeriousGrace | Apr 11, 2020 |
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The writers of childrens? books whose papers are gathered here have much to say about the genesis of their own writing for children, revealing influences and impulses they feel account for particular qualities that define their books. They speak convincingly also about creative writing and children's literature in general. What is imagination and where do the ideas expressed in fiction come from? Why do some people feel compelled to write and to what end do they compose their stories? Dreams are a key, says Eleanor Cameron. She calls dreams a significant part of her life, as are the experiences held in the unconscious, where through "slow transformation over the years" they are turned into "treasure." Similarly, Virginia Hamilton points to the significance symbols hold for her, describing in particular the symbol of the street, especially meaningful to her in connoting "the need for sharing life with others." Her intention in writing is to break down symbols and "free the reality." "Standing on the brink of a work about to begin," Jill Paton Walsh finds her "mind on fire" - and indeed she must enter such an area of excitement to be able to begin a narrative fiction. All these authors share a conviction about the worth and complexity of writing for children, looking beyond their own individual approaches to the whole existing body of literature for children. Ivan Southall, like many a children's writer, is concerned about the low regard some people have for authors writing for children. Ursula LeGuin discusses a "puritanical distrust" of fantasy she recognized in some people, who see a pathological regression and strange amorality in fairy tales, not realizing the function and worth the tales have in children's lives.

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