Paperbacks for children
Anne Wood
The appearance of The Faber Storybook 'edited by Kathleen Lines in a cheap edition at £1.50 seemed something of a breakthrough in paperbacks at the time, about eighteen months ago, in that it was a full-scale facsimile of the original book. Faber, however, are not thought of principally as a paperback publisher, they themselves prefer the term ' paper-covered edition '. But now Puffin are entering the lists with a full-scale edition of one of the best nursery rhyme books ever, The Mother Goose Treasury by Raymond Briggs, at less than half the full cover price, it will sell ' at £1.50. It will be interesting to see how hard the Puffin publicity machine will have to work' to persuade parents that £1.50 is indeed a small price to pay for such a superb collection of rhymes superlatively illustrated. It would be pleasant to think not-at all. In any event such a book in paperback is another indica'tion of the trend among publishers to outdo each other in bigger and better children's paperbacks. The latest contestants, Picture Lions from Collins, Curely cannot fail. Although at 30p they are more expensive than other comparable productions, their unparalleled hardcover resources — books by Richard Scarry, the zany Beginner series in the Dr Seuss tradition, and even the books of Kate Greenaway — give them a tremendous lead. In any discussion of bigger and better it would seem fitting to place A Child's Bible In Colour, "re-written for all ages to understand and enjoy with full colour illustrations throughout" somewhere at the head. Published by Piccolo in two volumes, 75p each, it is certainly a far cry from the quiet production of Eleanor Graham's The Story of Jesus, illustrated in black and white by Brian Wildsmith (Puffin) previously the only 'bible book' on a general children's paperback list. The Old Testament volume of the Piccolo Bible has been re-written by Anne Edwards. It is perhaps unfortunate that the first pages of Genesis are rendered in such a matter of fact way that only by the insertion of exclamation marks can God's achievement be emphasised:
" 'Let there be a sky,' and there was a sky!" sky!"
"He added every kind of animal — and then he created man!"
There is no significant difference in style in the New Testament volume re-written by Shirley Steen. Both writers have avoided doing anything more than straightforward 'translation' of the Authorised Version and as such the books work well. Chapter references in the Old Testament and chapter and verse in the new, underline the fact that the Piccolo Bible is meant as "a stepping stone to the authorised Bible." The illustrations by Charles Font are lavish, almost overwhelming. In the Old Testament especially there is a wonderful feeling for expression and movement, characters take on new significance. The same illustrator in the New Testament seems to lose conviction. The depiction of Christ, a difficulty that has faced many before, is here totally devoid of any positive characteristics, a sad disappointment. There is no attempt to convey the dust and heat of it all, both physically and emotionally, no attempt to portray a human story. Everyone is carefully blocked in with solid colour and much too tidy.
From the Bible to Fairy Stories is but a short step. Puffins have the series of which The Book of Dragons (30p), edited by Roger Lancelyn Green, is a good example. Originally published splendidly by Hamish Hamilton, maybe in tuture we shall see full size paperback editions of these also. Piccolo have the Ruth Manning Sanders series of unflinching texts for example, A Book of Princes and Princesses (25p). Although the exquisitely fine and fierce illustrations by Robin Jacques have been retained in the text, for some reason the books have been given glossy, over-realistic photographic covers, a doll is used to depict a princess for example. The First Armada Lion Book Of &lily Stories retold by Helen Cresswell (25p) is a much gentler and light-hearted affair with much to recommend it to younger children. Originally conceived by Helen Cresswell for her own daughter aged four, the stories have the charm and pace that will appeal to children of around seven or eight for their own reading. Illustrations by Carolyn Dinan are the perfect complement. I liked especially the Seven Dwarfs and the Princess And The Pea. Carousel Books enter the field with The Arabian Nights in two volumes at 30p each. The text is by Amabel Williams-Ellis, illustrations by prize-winning artist, Pauline Diana Baynes. Extra care has been taken in production, even to the point of providing specially textured covers. Notes on how the stories were first told and are still told in Arabian market-places, how to 'dress up in appropriate costume and how-to make simple Arabian food, should deepen children's pleasure in the stories and pictures.
It is amusing to contemplate whether Polyanna (25p) by Eleanor H. Porter, a lush sentimental and highly improbable stqrY would ever get past many children's editors today. Long public affection and a television production assures its place in the Puffin list. But it is a sharp contrast to the social realism of The Twelfth Day Of July (20p), by Joan Lingard, its companion in a recent batch of Puffins. Originally published in 1970 when the Irish Troubles were thought to be at a head, three years later The Twelfth Day seems even more relevant, The real story of children in Belfast, their confusions, distortions and hatreds is far more dire and urgent than a children's novel could ever be.
Joan Lingard has made a fine attempt to present the divided loyalties and loves of a group of children in terms that make it possible for other children to begin to understand. She brings out with beautiful precision how violence escalates from an almost childish escapade — paint splashed by Roman Catholic children on Protestant walls; one .recalls the rival activities of 'Bonfire Gangs' in collecting wood and junk to make the biggest pile — to kidnapping and potential killing:
"Doors were opening all up the street. They only needed a few insults on either side, a stone or two, and they'd have a riot on their hands ..."
As an almost documentary account of life in our times The Twelfth Day of July is a unique and significant achievement.
To Be A Slave by Julius Lester (Puffin 25p) is a collection of very moving quotations of slaves themselves talking about their existence as recorded by the American AntiSlavery Society and other Northern Abolition Groups. These are linked by a commentary by Julius Lester. A runner-up for the Newbury Award, the book is distinguished by the noble objectivity of the commentator, all the more remarkable because he is himself one of the black Americans whose ancestors were bought and sold. There could be no finer text to put into the hands of children for whom we crave a more tolerant understanding and a fairer future.
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