CHAPTER 2
CONCEPT, FEATURES AND SCOPE OF CHILDREN'S
LITERA TURE IN INDIA
The best way to make children good is to make them happy.
Oscar Wilde
Happy minds always think: about good things and are optimistic. Oscar wilde's
quote is very profound and apt to apply in case of children's literature. Books are one
such source which makes a child happy provided, they are devised for pleasure
reading. Didactic and moralistic books awaken interest in children. The books should
delight children and the learning comes automatically. Every society believes that
children are the future and they should be moulded in order to make them ready for
the adult Endeavour's. India has a rich tradition of storytelling. Myths and folktales
are the main sources. Though exclusive literature for children did not exist, most of
the stories considered suitable for children were taken from adult literature like the
Panchatantra, Jataka Tales, Kathasarith Sagar and Mythology. This oral tradition
existed in India for centuries until the time of colonial rule. Children's Literature is a
recent phenomenon. It is considered as a separate genre only in the 19th century. In
India the colonial rule has introduced western literature. The British introduced
children's books which were mostly religious and moralistic in nature. Gradually,
distinction between adult and children's literature began to emerge. The indigenous
literature started gaining visibility in post independent era. This dissertation is
exclusively on Indian women writings for children. In order to conceptualize the
study further it is important to know the briefhistory of Children's Literature in India.
Since British and American Children's Literature has a great influence on Indian
7
children's Literature, it is pertinent here to give a brief introduction of these literatures
and later discuss the history of Indian Children's Literature.
After studying the
history of Children's Literature, it becomes important to understand the definition,
characteristics, genres, development and scope in Children's Literature in general and
in Indian scenario in particular. This chapter tries to bring forth these aspects in order
to study it in a more comprehensive manner.
During the Greek and Roman civilization and before that, children had no
separate identity. They were considered as adults in the making. Children from all
social strata had to go through the training given from a very young age to follow the
profession of their parents. A farmer's child toils alongside his parents in the fields, a
child from a business class learns the nuances of the trade, a scholars son begins his
lessons very early and a prince starts learning royal lessons very young. While
concentrating on their future, the very essence of the childhood is forgotten. In Britain
though the need was not felt to have literature exclusively for children till the 15 th
century, there were manuscripts that tell about The Courtesy Books (1477) for
children in this century. These books are about lessons in manners usually written as
rhymes to make it easy for a child to memorize. The instruction rhymes from
Symond's and lessons of Wisdom For All Manner Children from The Babees Books
serve as a good examples which read as follows:
Child climb not over house nor wall
For no fruits nor birds nor ball
Child, over men's houses no stones fling
Nor at glass windows no stones sling,
Child, keep thy book, cap and gloves
And all things that thee behoves,
8
And but thou do, thou shalt fare worse
And thereto be beat on the bare erse. (Townsend 3-4)
This rhyme sounds more like a warning. It is fiightening for the child to read it
and the child would be punished if the rules are not followed. This type of literature is
didactic in tone and gives least pleasure in reading. The Aesope's Tales on the other
hand are little more amusing with the animal characters. These are more enthralling
for children though they are moralistic. The first printer named William Caxton
printed Aesope 's, stories of Troy and Books Of Courtesy for children in 1479. Among
them Aesope's are most popular to date. The Babees Books by the puritans were harsh
in their tone.
Though there were some changes to date. The humanized animal
characters in Aesope's fables are intended for moral instructions. They generate soft
comer for animals and delight children. The Babees Books by the puritans were harsh
in their tone. Though there were some changes it was not until 1i
h
century that the
puritans dominated the scene. But the welcoming change in the tone of the puritans
from harsh to gentleness is seen gradually. Watt's Hymns And Divine Songs became
extremely popular in American colonies. The renaissance period had then broUght
change as educated people wanted European classics to be introduced to children. But
puritans argued that this would corrupt the young mind. Hugh Rhodes, in his Book Of
Nature (l554) argued that "children should be kept from 'reading of feigned fables,
vain fantasies, and Wanton stories and songs of love, which bring much mischief to
youth.' This plea, which in one form or another has echoed vainly down the centuries,
clearly implies that such material did find its way into children's hand". (Townsend
5). These views of Townsend are proved correct as for instance, classics based on
religion were rich in content but were not popular with children. Whereas, books
meant for adults became popular with them. As Digaraj Brahma observes:
9
One of the enduring English classics of the 17th century religious
background in England was John Bunyan's Pilgrims Progress. It is a
morality tale ... was hardly read by children due to its long theological
dialogues but undoubtedly became a significant part of children's
literature. In England, the early part of 18th century saw the publication
of Daniel Defoe's Robinson Crusoe (1719) which is popular narrative
of ship-wreck exclusively intended for adults, the book became so
popular among children that it was translated into many languages.
(14)
It is observed here that children find elaborate dialogues and overexposure to
didactic and moralistic themes disinteresting, where as adventure and action are more
appealing. In succession to Robinson Crusoe (1719) came another story of ship-wreck
by Jonathan Swift titled Gualliver's Travels (1726) for children which was accepted
tremendously. These were the first steps towards a new form of literature for children
which were opposed by the puritans. Yet they are considered as the promoters of
children's literature as they have identified the importance of a children's literature as
separate form of literature. They visualized children as young souls to be guided in
Godly manner. One of the leading puritan writers was James Janaway who published
A Token For Children in 1671. In American colonies the dominant book for children
was New England Premier (1690). The harsh tone of the puritans gradually softened.
This can be observed in Watt's Hymns And Spiritual Songs (1707) and Divine Songs
(1715) for children. His songs are soft and gentle and told with love. Whereas the
verses on bee written by Bunyan are harsh.
This bee an emblem truly is of sin,
whose sweet unto a many death hath been... (Townsend 10)
10
Dr. Watts Verses on bee is more gentle and loving.
How doth the little busy bee
Improve each shining hour
And gather honey all the day
From ev'ry opening flower. (Townsend 11)
The two versions are contrast in their insights and Watt's songs were
extremely popular in America and England. Gradually by 18th century new
perspectives were seen and the harsh fundamentalism paved way to more new rational
thoughts.
The puritans consider children as God's blessings and special care was taken
to groom them and inculcate strict discipline in them. The religious significance saw
the encouragement in producing chap books which served the purpose of telling
simple and delightful stories with religious and moral themes. Gradual change is seen
in themes like dramas, romance and history. Easy to handle and affordability had
increased the sales and hence made children's literature more popular in
17th
century.
John Newbery has revolutionized the publishing business for children. Initially a book
seller, went on to extend his business to news paper proprietary and general
dealership. During his time educational concerns of children had increased. Hence
reading habit is promoted both by educational institutions and families. Newbery
published at least 30 titles of which Goody Two-Shoes (1766) had become very
popular. Though an English man, Newbery's contribution to children's literature and
its influence on American children's literature had been acknowledged by the
Americans as they introduced annual awards of the john Newbery medal by the
American Library Association.
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The beginning of English Children's Literature can be actually said to be in
18th century. The way of approaching the problem from the point of view of the child
rather than the point of view of the writer will make it more comprehensive and
accepted to the child. Writers and publishers have realized this fact and brought about
the change in their approach, which has given a remarkable shape to children's
literature. The second half of 18th century is significant in children's literature as the
contribution of John Newberry (1713 - 67) was tremendous. He sold, published and
wrote books. He wrote nearly thirty titles for instance, Little Pretty Pocket Book
(1765), Lilliputan Magazine (1772), Tom Telescopes Philosophy Of Tops And Balls
(1743), and The Twelfth Day Gift (1767). The marketing strategy used by Newbery
and his success had prompted many others to take it as an occupation. Following in
Newbery's footsteps many women in England took up writing for children as an
occupation as it is being considered as an elite profession. "By the end ofthe 18 th and
the beginning of 19th century, the writing of children's books in England was
beginning to rank as an occupation for gentle women" (Townsend 23). Children's
Literature got a new tum as the women writers brought in new perspectives which are
distinctive in their own way. Though some believe in puritan thoughts and were stern
moralists, the others were more devotedly religious. As Townsend views:
The ladies ranged from the mildly pious to the sternly moralistic. There
were those such as Anna Letitia Barb auld, Lady Fenn, Pricilla
Wakefield, Dorothy and Mary Jane Kilner and Mary Elliott, who saw
no harm in giving the children instruction mixed with little lukewarm
enjoyment, and perhaps earning themselves an honest guinea in the
process. There were also the successors in the spirit to the fierce old
puritan's notably Mrs. Trimmer and Mrs. Sherwood. But the best
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remembered of all the women writers of this period, Maria Edgeworth,
though no less didactic, spang from a different more intellectually
motivated group. (23)
This is the most significant aspect in the field of women writers of children's
literature as the history indicates that the contribution of women is also noteworthy
even in the 18th century. They have managed to create their own identity even in those
days of male domination. Most of them were successful in their dual purpose of
providing good literature for children and at the same time make an earning.
The prose literature slowly emerged at the end of the 18th century. The
contribution made by many Victorian writers has seen a new dawn in British
children's prose literature. Marryat's Children Of The New Forest (1847), Thomas
Hugue's Tom Brown's School Day's (1839) and Catherine Sinclair's Holiday House
(1839) were famous among children. In 19th century, especially the Victorian era, the
mainstream writers took to writing for children. Mary and Charles Lamb's Tales
From Shakespeare (I807) introduced young readers to famous plays of Shakespeare.
Charles Kingsley's fantasy The Water Babies (I863), Charles Dicken's The Magic
Fish Bone, William Makepeace Thackery's The Rose And The Ring (I855) were
received well by children. Adventure is the genre that has become very popular with
the child readers. Treasure Island (I883) by Robert Louis Steveflson was very
famous. Followed closely by it is King Solomon's Mines (I885) by Ridder Haggard.
England dominated the scene of children's literature till the end of 18th
century. It was only in 19th century that America rose in its status in the field. Till then
it was widely dependent on England for the books. Charles Austein Fordick (18421915) wrote 58 adventure stories. The themes were bravery layered with moral
13
upliftment. Anny and Navy series were popular. Mark Twain was one of the prolific
writers for children in America. His works Tom Sawyer (1876), Life On The
Mississippi (1883) and Huckleberry Finn (1884) are still widely read. While
adventures were popular with boys, domestic dramas were for girls. Miss Young
wrote long series of family chronicles called The Daisy Chain (1856). Louise Mary
Alccott's Little Women (1868) was based on the incidents in her life.
Imagination is also introduced in books around this time. Alice In Wonder
Land (1865) by Louis Caroll is the best example. It speaks entirely about child's own
thoughts. This is followed by Through The Looking Glass (1871) and Charles
Kingsley's Water Babies (1866). Thus fantasy has come to be accepted as an
important genre in children's literature. Animal characters form another important
subject in children's literature. Animal characters were found from the Aesope's time,
yet Rudyard Kipling's animal stories demand special mention. His animal stories
were woven from his inspiration from the early days he spent in India as a child,
which resulted in many beautiful creations for children like the Jungle Book (189495) and Puck of Pook's Hill (1906). Kenneth Grahame's animal stories like The Wind
of The Willows (1908) was also popular.
Children's stories often find animal characters which amuse them. As
Townsend observed: Animal stories have their own advantages and disadvantages.
"The humanized animal story also has its risks. It can easily degenerate into
sentimentality and whimsy, and even into falsehood, as when we tend to distinguish
between good animals-usually meaning nice furry ones- and bad animals, which are
slimy or snappy and generally uncuddleable (Townsed 94). Though there is a danger
of typecasting the animal characters which will misguide the child readers, yet these
14
stories are more amusing and expand the imagination of children and excite them.
These observations can be drawn from the fact that the history of children's literature
shows the animal characters to be favorite with children over the centuries.
The world war II had seen changes in traditions of both American and British
children's literature. Importance to education has gained momentum. The living
standards of people had increased. Radio, television and improvement in print media
have all had tremendous influence on children's literature. Many institutions have
been established to promote children's literature. Children's literature of Britain and
America had tremendous influence on Indian literature both in English and other
regional languages. Yet we have our own history of children's literature in India.
In ancient India Sanskrit language was prevalent. Most of the Indian literature
was available in Sanskrit. Brahmana Texts (1000-500 RC) indicate that oral fonn of
literature existed in olden days. The Brahat Katha or the Great Story by Gunadhya
and Somadeva's Katha Sarit Sagar (11 A.D) were popular as the narratives were
pure in their fonn. The lataka Tales by Buddhists were available. The lataka Tales
are fables on witt and wisdom. The successive generations have drawn inspiration
from these stories to produce their own literate.
Since ancient time till the present day Panchatantra (300 RC.) has been
considered as the main source of children's literature. It was present in the oral
tradition and the authors were unknown. Later it was written by Vishnu Sharma in
300 B.C. The book consists of fables with animal characters and aimed at teaching
"nithi" (right living) and worldly conduct. Though instructional, the entertainment
value of Panchatantra is high. Many travelers from Asia and Europe had introduced
the tales of Panchatantra in their own countries. "These have been translated and
15
adapted into more than 200 world languages" (Jafa 33). Most of the Panchatantra
stories are animal tales which teach worldly wisdom and practical way of living to
make life rich and happier. The plots of these stories are knitted around adult
intrigues. Physically weak and helpless are shown winning over the strong and
powerful with their wit and trickery. The themes of many of these tales were later
taken by Aesope and other writers. "Several Uncle Remus stories in America are also
based on Panchatantra stories" (Jafa 33). The impact of Panchatantra was so strong
that it inspired many writers across the globe to adapt their own culture to weave their
own stories. Almost all Indian languages have also brought out many versions of
Panchatantra and published them extensively.
In India children's literature did not exist for a long time. If at all it existed, it
was in oral form. The only solace is the bedtime stories usually told by grandparents
and mothers. This oral tradition mostly consists of folktale and folklore passed on
from generation to generation. These stories are general in subject and not exclusively
meant for children. As Prema Srinivasan views:
In the past children were a part of aural-oral performances. The oral
tale was passed on by word of mouth from adult to child and children
were usually a part of the story teller's audience. It was the practice for
children to help themselves from the storehouse of adult literature.
Ancient and medieval literature had a universal appeal and writers did
not realize the need to create a literature specially for children. (5)
Women generally engage children with stories. Mostly grandmothers and
mothers would tell bedtime stories to children. Many forms of narratives were used by
them like lullabies, cradle songs, tongue twisters, nursery rhymes, folktales and
16
folklore. The stories of Krishnaleela were the most favorite with children apart from
other mythological stories from The Ramayana, Mahabharata, Jataka Tales and
Kathasarith Sagar. These oral traditions later took print form. "As the scripts in
different languages developed, many of these were written on palm leaves and
bhojpatra long before the age of paper and printing" (Jafa 34). These ancient stories,
folktales and folklore were the only children's literature available which were told and
retold. Later the entire concept of children's literature in India had seen change in its
approach after the invasion of the British colonies.
The establishment of the European colonies, mainly British colonies
introduced western literature in India. The western influence was slowly creeping into
the Indian homes. The usually conservative Indian society strongly believes in family
values and children are the integral part of the family. They are "the nucleus of the
society" (Jafa 34). The upbringing of children is given at most importance. The
emergence of new middle class which is literate saw the importance of schooling and
education to children. Most of the parents started sending their children to English
medium schools. The British and American missionaries also had their role in
establishing schools in Delhi, Benaras and Allahabad. The Calcutta School Book
Society was formed in 1817. They prepared text books both in Indian and English
languages. As Prema Srinivasan observes:
The origins of English language in India can be traced back to the days
of missionaries, who arrived with a zeal to proselytize, and in the
process familiarised the natives with their language. Macaulay's
minute of 1835 and Bentinck's subsequent educational policy began
17
"the process of producing English-knowing bilingual India" and
bilingualism became gradually established. (2S)
The bilingual fonnat of education is still continuing in India. Apart from
regional languages, English is taught in schools and colleges. In the present day the
narrowing gap between the countries and constant movement of the people of
different countries resulted in multiculturalism. This is fast developing giving rise to
multicultural societies. This is the time when knowledge of English language is very
important. English is considered as global language since many people communicate
in this language. India too identified with this development as early as the preindependence time. As Prema Srinivasan observes:
The accessibility of English language books to the Indian child has
been conditioned by many factors. English has become, today, a
historical necessity in the present multilingual situation. Cultural
dimensions in the early decades of this century were guided by the
power relations India had with the West. The English language,
bequeathed by the empire builder, was used as an instrument of power
initially, and later as an effective tool of communication. In the Indian,
multilingual, multicultural,
multi religious
context, the English
language has provided the vital link in unifYing heterogeneous
elements. (25)
In India, many regional language books were produced for children. In Bengal
the School Books Society brought out text books for Children and "Peshwabali" the
first Bengali Children's Magazine was published. Ishwar Chand Vidyasagar (182091) is considered as the father of children's literature in India. He published Betal
18
Panchabinsati, and elementary grammar books for children such as Akhyan- Manjari
and Bodhodaya which are read to this day. Mrs. Sherwood's Chota Henry (1814) set
in India is the tale of an English boy and his attendant an Indian boy of same age and
their relationship. TofU Dutt, a child prodigy from Bengal wrote Ancient Ballads and
Legends OfHindustan which are considered as children's classics. It is observed that
most of the initial writings were either translations of the western children's literature
or revised version of ancient Indian texts like Panchatantra or Jataka tales. Western
Classics like Robinson Crusoe and Treasure Island, fairy tales by Hans Christian
Anderson and stories from Arabian Nights like Alibaba And Forty Thieves and
Alladin And The Magic Lamp were translated to many Indian languages. These books
were well received by the Indian child reader.
The bilingual form of education is followed to this day in the educational
institutions. The language that was initially acquired for the purpose of
communication became a symbol of prestige in elite society which later on spread to
middle class. English language is associated with modernity and elitism. The English
education resulted in East-West conflict of values. The reading habits in all age
groups lead to the establishment of modern children's literature in India along with
the mainstream literature. While the adults were soaked in Shakespeare, Wordsworth,
Shelly and Keats, the children were enthralled to read fairytales and fantasies from the
west like Cinderella, Snow White, Thumbelina, The Frog Prince, Little Mermaid by
Hans Christian Anderson, Alice In Wonderland by Louis Carol. Adventures like
Robinson Crusoe by Daniel Defoe, Robin Hood by Pierce Egans, Hucklubury Finn
and Tom SQ1.ryer by Mark Twain and many other popular classics were extremely
read and accepted by Indian children. Doubts were raised by many critics about
alienation of the western texts which may not be identified by Indian child audience.
19
But the popularity of western literature among Indian children showed their
enthusiasm to explore the unknown terrains of the west. The impact and influence of
this literature is altogether a different issue which is debatable. Apart from the novels,
comic strips like Phantom, Tarzan, Spiderman, Superman, Archies, Tintin etc. were
also accepted and extensively read by Indian children even to this day. Though alien,
the western culture had attracted and enticed the Indian child audience. The original
Indian writings in English by Indian writers started only in late 19th century. The child
reader then readily switched on to these forms of writings with equal ease and
enthusiasm.
The original Indian English Children's literature was started by some eminent
writers who felt the need to produce original Indian stories for children in India. Dhan
Gopal Mukhetji, an immigrant to United States has written for children in 1920's. He
is the first Indian writer to write in English for children. His story settings are mainly
Indian jungles. Kari, The Elephant (1923), Jungle Beast And Men (1823), Hari The
Jungle Lad (1924) and Ghond The Hunter (1928) are his jungle stories. His book Gay
Neck (1928) is a war time story about a pigeon which won him the. prestigious
Newbery award.
Rabindranath Tagore, the great literary genius of India's contribution to
children's literature is noteworthy. He believed in uninhibited mind of a child, free
with its own expression. He put his thoughts in exploring the child's psyche in short
stories like "Kabuliwalla" and "Home Coming ". Other writer whose name is
synonymous to children's literature is Ruskin Bond. He is a writer from the mountains
of Dehradun. He has an English lineage. Most of his works are autobiographical in
tone. The timelessness of his themes, innocence of his child characters, his sensitivity
20
and his narrative methods makes his works more authentic. His works The Room On
The Roof (1956,) The Young Vagrants (1981), The Hidden Pool (1966),
Grandfather's Private Zoo (1967), and Our Trees Still Grow In Dehra (1991) and
many other stories are widely read by children as they are enchanting and simply
entice children. Another eminent mainstream writer from south India is R.K.Narayan.
His book Swami And Friends is considered as children's classic. His legendary south
Indian town Malgudi with myriad hues richly depict the lifestyle of people of south
India in pre-independent era. The story revolves round the boy named Swami and his
friends and their adventures. The innocent child's play, the fights and friendship are
excellently woven by R. K. Narayan, who's understanding of the child's psyche
created this enthralling masterpiece. The statesmen like Rajgopalcahri (Rajaji) and
Pandit lawaharlal Nehru also contributed to children's literature in their own capacity.
While Rajaji used Bhakthi as his theme and retold Ramayana in English, Nehru
narrated the story of mankind in Glimpsis Of World History and the more popular
Letters To Daughter From A Father which was published by CBT.
Some contemporary mainstream writers have occasionally written for
children. They include Anita Desai, Salman Rushde, Manoj Das and others. Anitha
Desai's The Village By The Sea (1982) and Salman Rushdie's Haroun And The Sea
Stories are layered with survival endeavors of less privileged children in the adult
dominated world. Manoj Das is a great story teller and a bilingual writer who writes
in Odia and English. He has also written many good stories for children. Some of his
popular books are Temples Of India (1970), Tales From Many Lands (1972), Persian
Tales Of Wit And Delight (1972), Rivers Of India (1973). NBT had published Stories
of Light And Delight (1970) and Books For Ever (1973). A Bride Inside A Casket and
Other Stories (1973) was published by Times Book InternationaL Apart from these
21
eminent writers, there are many other writers who have produced exclusive children's
literature that are well received by the child audience. Some of the writers have been
awarded prizes for their contribution. Many of the women writers have written books
for children. Sunithi Namjoshi, Manorama Jafa, Sigrun Srivastav, Polie Sen Gupta,
Paro Anand, Anita Desai, Vma Krishnaswami, Sandhya Rao, Ira Saxena, Prathibha
Nath, Neelima Sinha, Indira Ananta Krishnan, Swapna Dutta and many others have
been accepted as good children's writers. Substantial contribution by many such
writers are opening new avenues in the field of children's literature.
The present day has seen an increase in the number of writers of children's
literature. Women occupy a prominent place in them. Sunithi Namjoshi, Manorama
Jafa, Sigrun Srivastav, Polie Sen Gupta, Paro Anand, Anita Desai, Vma
Krishnaswami, Sandhya Rao, Ira Saxena, Prathibha Nath, Neelima Sinha, Indira
Ananta Krishnan, Swapna Dutta and many others have been accepted as good writers
of children's literature.
In order to begin a critical study on children's literature, it is essential to
understand the concept of children's literature. Though it is an endeavoring task as it
involves varied age groups with varied degrees of understanding. Taking into
consideration the vulnerability and dependability of the concerned audience many
critics have tried to define children's literature accordingly. The general definition
being "The books written exclusively for children" (Oberstein 17). But many
questions arise such as - can school books be called as children's literature? Should
they contain only child characters or even adults? Can any book said to be written for
children suite younger and older children alike? It is certainly an endeavoring task to
define children's literature. Many people concerned in this field of study have tried to
22
define through various perceptions. Their definitions help in understanding the
concept of Children's Literature. To quote Myles Mc Dowell:
Children's books are generally shorter; they tend to favour an active
rather than a passive, with dialogue and incident rather than description
and introspection; child protagonists are the rule; conventions are
much used. The story develops within a clear- cut moral and
schematism which much adult fiction ignores. Children's books tend to
be optimistic rather than depressive; language is child- oriented; plots
are of a distinctive order. Probabilities is often disregarded and one
could go on endlessly talking of magic and fantasy and simplicity and
adventure.
(qtd. in Kulshreshta 1-2)
Books written exclusively for children are called children's literature. Then
can school books be called as children's literature?
Should they be written by
children? Should they contain only child characters or even adults? Can any book said
to be written for children suit younger and older children alike? As we get deeper into
the understanding of children and children's literature, many such questions arise.
Many educationists, anthropologists, child psychologists, scientists and others
concerned in the field started to define children's literature through various
perspectives. It is certainly an endeavouring task to define children's literature. Many
writers and critics have put forth their views each adding to the meaning of children's
literature. In order to conceptualize the term some of the definitions are discussed
which may further help in understanding the various characteristics, objectives,
development and scope in the field.
23
Encyclopedia of Education (1971, Vol. 6) defines children's literature from a
wider point of view:
Children's literature is any literature which is appropriate for children.
Operationally, children's literature comprises those books written and
published for young people who are not yet interested in adult
literature or who may not possess the reading skills necessary for its
persual. In addition to book form, children's literature also includes
materials
published in magazine form and intended for pre-adult
audiences. The age range embraced by children's literature is from
pre-school age, when children can first comprehend stories being read
or told to them and can enjoy the picture story books which are now so
plentiful, through the stage of early adolescence, which roughly
coincides with the
chronological ages of 12 through 14. (qtd. in
Brahma 109-110)
This definition aptly gives a basic idea of literature for children. Though this
can be a general idea, the problem arises when the selection of right books for
children has to be made. Considering their minor status, adults play a vital role in
selecting books for them. As Indira Kulshreshta observes:
Obviously, children's literature is not the concern of children alone.
Parents, teachers and librarians on one hand, and authors, illustrators
and publishers on the other are potential judges of books for children.
There are questions of suitability and vocabulary; of themes and genres
With personal likes and dislikes. (2)
24
Here the potential readers are children and hence writers and publishers
mainly focus on how a book is liked by the child and what attracts him to select and
read it. They should be guided by the adults but certainly have their own freedom of
choice from within the children's literature as Oberstein's statement implies;
"children in relation to reading have something to do with particular ideas about
freedom and about emotion and consciousness" (24). This concept of literature and
liberation is a new phenomenon started only in 19th century. Since the emergence of
children's literature adults played a major role in selecting books for children. Both
children and literature of children's literature should be considered as specialized
terms with the basic requirement being fulfillment of child's specific needs of
pleasure, freedom, fascination, just simple lovable literature without any restriction or
imposing. According to Oberstein: "children of 'children's literature' are constituted
as specialized ideas of 'children' not necessarily related in any way to other 'children'
(for instance those within education, psychology, sociology, history, art or
literature) ... not necessarily related to any other 'literature'(most particularly' adult
literature')" (Oberstein 18). Having recognized as an exclusive form ofliterature, the
concerned child of children's literature is also assumed as 'universal entity' in spite of
their diverse geographical areas, cultures, traditions and languages. The voice of the
criticism is equivocal across the globe. As Oberstein views:
It may be noted at this point that children's literature's constant
underlying
assumption of the 'child' as the generic universality
connects children's literature criticism all over the world. Children's
literature criticism in different cultures is united by speaking of the
'child' as an existing entity -even through this 'existing entity' may be
25
described differently in different cultures as it is described differently
within cultures. (21)
As observed by Oberstein, children's literature critics belonging to different
nationalities share similar views. In ancient children's literature the focus was on
religious, didactic and moralistic thoughts. There is gradual change in the thought
process over a period of time. The true works of art however emerged in 19th century.
Here too the choice varies from didactic to moralistic to pure pleasure reading
depending upon thoughts and believes of the adults: Writers too vary in their thought
in this respect. Joan Aiken for instance says she does not purposefully incorporate
moral messages into her books because she feels that "children have a strong natural
resistance to phony morality... Rosemary Sutcliff writes that she puts over to the
child reading her book some kind of ethic and Pamela Travers, creator of Mary
Poppins feels that "you do not chop off the section of your imaginative substance and
make a book specially for children for- if you are honest
you have in fact, no idea
where childhood ends and maturity begins" (qtd. in Oberstein
20). These varied
thoughts of writers for children have created ground for more debates in order to bring
about a concrete frame to children's literature. Many critics have tried out classifying
and comprehending children's literature. Prema Srinivasan in her book Trends and
Motift tried to figure out the meaning making in children's literature. She quotes
Vandergrift whose views are as follows:
The four primary approaches to meaning-making as described by
Vandergrift are: a) Mimetic theories which emphasize relationship of
the outside world to the work concerned; b) Pragmatic theories which
emphasize the audience; c) Expressive theory that emphasise the
26
author and d) Formal theories that emphasize the structure of the work
itself. (Srinivasan 7)
Though the critics argue on similar concerns, yet their ideas and arguments are
very diverse, most of these definitions throw light on addressing different aspects of
the subject. The disparities however should be taken in a constructive way in order to
have a better understanding of the subject. Here the concerned audience are children
and the main purpose of the books on literature to the said audience should be
pleasure giving..J. Harvey Darton points out the slit in didactic and pleasure reading
as "by 'children's books' I mean printed works produced extensively to give children
spontaneous pleasure and not primarily to teach them, not solely to make them good,
not to keep them profitably quite" (qtd. In Oberstein 23). This clear cut idea about
literature for children brings pleasure to the foremost layered by moralism and
didactism in very small proportions. These changes have seen 19th century as the
dawn in new understanding of children's literature. New perspectives and trends in
child psychology, liberal ideas of the adults on children are inevitable in bringing
about the change. This has certainly opened new avenues in the annals of children's
literature. Optimism in the development of children's literature is echoed by many
critics in the field. "Many critics tend to describe and define 'children's literature' in
evolutionary terms, consciously or unconsciously 'children's literature is described as
progressing towards an ever better and more accurate inclusion of 'child' in the book"
(Oberstein 26). Finally the participation of the child and identification with the child
characters derives a source of satisfaction within him. The child derives much
pleasure from reading and the fascination for books increase.
27
Children's literature has come a long way from strict moralistic and didactic to
the liberal ideas of child's own emotions, likes and interests. As Oberstein views:
To the children's literature critic the outstanding characteristic of
'children's literature' is that it is supposed to speak the reading child
through amusement and inherent appeal, and not through primarily
didactic messages which has described as being merrily instructive,
coercive, intrusive or dull to the reading child. (23)
These views indicate the literary quality of children's books. The enhanced
quality of children's books may be the outcome of the recognition of the child and its
needs in evolutionary terms which may consciously or unconsciously seen as
progressing towards better and accurate literature for children. As Sheila Egoff writes:
May I suggest that the aim of children's writing be delight not
edification; that in its attributes be the eternal child like qualities of
wonder; simplicity, laughter and wannth; and that in the world wide
realm of children's books, the literature be kept inside, the sociology
and pedagogy out" . (Qtd. in Oberstein 26-27)
The conflicting interpretations of critics of children's literature are the result
of their independent essential thoughts of literature and childhood as two separate
definitions. Though this criticism is a continuous process it should ultimately result in
contributing to the development and production of fine children's literature that
enthralls children.
28
Apart from identifying the quality of children's books, it is equally important
to understand the concerned audience-the child. How they feel about reading a book.
As Adir Cohen claims:
Writers have become aware that, for the child, a book is a source of
satisfaction that derives from identification and participation, and an
expansion of his own experience. They provide him an opportunity for
catharsis, self-knowledge, and broadening his psychic experiences. The
process of reading, identification, participation and relating brings the
reader into the reality of the book in dynamic fashion (qtd. in Oberstein
27).
This statement of Cohen gives an explanation to the identification of the child
reader. But children do not always like to read about themselves. They would also like
to transcend into the world of wonder, fantasy and fairy tale. As D.W. Harding has
called "imaginative insight into what another person may be feeling, and the
contemplation of possible human experiences which we are not at that moment going
through ourselves" (qtd. in Oberstein 28). Advanced studies in child psychology and
awareness of child on par with adults as having their own emotions, responses,
interests, likes and dislikes has seen a change in the outlook of critics, teachers,
parents and educationists who have acknowledged this fact. Though many critics have
tried to define children's literature through various perceptions, the one aspect that
echoes in them is that children's literature should be pure pleasure reading.
The major difficulty in defining this field with varied conflicting interpretations can
be simplified and made more comprehensive by defining the characteristic features of
children's literature. As Prema Srinivasan states:
29
Children's books are shorter, favouring action and dialogue rather than
passive introspection. Among the distinct characteristics of children's
stories are recurring plot elements (as in early folk and fairy tales),
greater flexibility of narrative events and the presence of child
protagonists. Characters in children's books tend to be slightly larger
than life, more colorful and romantic than one may find in the
everyday world. (6)
Over a period of time there is a lot of change in the outlook of children's
literature. This is due to change in every society attributed to science and
technological advancement. Mass Media has reduced the gap between different
cultures. There is more awareness about various aspects due to internet. These aspects
have attributed to social and economic changes. Children are not innocent anymore.
They are knowledgeable and modern. They cannot be taken for granted. They have
started expressing their likes and dislikes. Having said that, I would like to tell that
children are still vulnerable for their age. Though they gain knowledge through
various sources, they cannot differentiate between what is good and what is bad for
them. The difference between adult literature and children's literature is seen at this
point. Because of the vulnerability of age it is very important to censor children's
literature. Controversial books are banned at many stages from publication, banning
in libraries, book stores, educational institutions and homes. Due to religious beliefs
and conflicts between religious perspectives writing of certain literature is strictly
prohibited. Authors on their part take care when writing for children. As Mark I. West
views:
30
Since most children's authors practiced self-censorship, the publishers
of conventional children's books seldom saw any need to censor the
manuscripts that were submitted to them. Sometimes, however,
publishers decided to reprint children's books that pre-dated the era of
childhood innocence, and these books often included material that
publishers found objectionable. (499)
In 1967, the French writer Charles Perrault wrote Little Red Riding Hood
that was considered too harsh depicting cruelty to the exceeding limits for children.
Hence, the revived versions of the original story were mellowed down by many
authors later on. Books and comics with horror or crime themes are censored. In
Britain and America writers gradually started to identifY 'new realism' in children's
literature. Authors started exploring bold subjects like crime, sex, drug abuse and
other controversial social issues. As Mark I.West Views:
Throughout the history of children's literature, the people who have
tried to censor children's books, for all their ideological differences,
share a rather romantic view about the power of books. They believe,
or at least profess to believe, that books are such a major influence in
the formation of children's values and attitudes that adults need to
monitor nearly every word that children read. Because the proponents
of censorship invest books with so much power, they reject as too
dangerous the idea that children should be exposed to a wide variety of
books and be trusted to make their own selections. The people who
seek to censor children's books may be practicing intolerance, but in
31
their own eyes, they are protecting innocent children and working for
the benefit of society. (506 - 07)
Keeping in mind the vulnerability of the minor audience, it will become the
moral duty of every adult connected to children's literature to see that such literature
is not written, printed, published, soled or made accessible to the minor audience
under any circumstances. Children should not be taken for granted since they have
their own sensibilities and possess the ability to think like adults. Many of the persons
concerned in the field of child's literature are of the opinion that this type ofliterature
requires much more research in respect of careful writing for the book and art of
work. Due to lack of adequate resources, we find books of second rate writing and
illustration in plenty for which there is a misleading idea that children's books are of
second rate; Even the simplicity of plot has been looked down upon by some.
In order to have clarity on the concept of children's literature, it is essential to
study its features which are briefly discussed in this thesis. Some of these features are
as follows: language, style, theme, subject, age- group, suitability and genre.
Language and style are the art of presentation in literature. The writer presents
his inner thoughts and feelings through language adapting a particular style. Some
norms are to be followed in use of language and style keeping in line with the mental
wavelength of the minor audience. Since different vocabulary is used for different
age-groups. As S. Swaminathan observes:
As it is the main thing for the writer to make his readers understand his
writings, he has to be very careful in selecting his words, phrases and
style when he writes for children and youngsters. He has to take into
32
consideration the maturity of mind of particular age-group. He should
have the first hand knowledge of the words and phrases used by these
young people in their reading, talking and writing. Some peculiar
words and idioms have to be used in the language to impress upon
these groups. (55-56)
Language plays an important role as it helps in narration and understanding of
the story. The style complements language as it is the manner of writing that is
elegant, systematic in certain process and it enhances the interests in child reader It
increases the attention span. Simplicity in language is considered as the standard for
children's literature and it has to be used appropriately as it sometimes gives vague
picture. As Brahma opines: "It has been observed that a writer who strives too much
for simplicity can be imprecise and ambiguous because he is not be able to avoid the
temptations of writing honestly but vague words like 'good', 'fine', 'nice' etc." (112).
Sometimes elaborate words are also used in order to describe a situation or to create
imagery.
Unfamiliar words have their own importance. Different visions of the writers
are the basis for the use oflanguage in children's literature. Subject and theme are
other features which make story griping. The child itself forms the subject in most
children's stories. The child reader has some connectivity with the child protagonists
whose innocent point of view slowly reaches a point of maturity as the story reaches
climax. Though most ofthe children's books have the same pattern, the child reader
still enjoys going through the journey of innocence to maturity with enthusiasm. Perry
Nodleman observes:
33
The answer might be the pleasure of repetition. In the reading of
children's fiction, the one-dimensional move from innocence to
wisdom, ignorance to knowledge, youth to age and inevitably death is
replaced by endless recurrence ... As we begin to read a children's
book, each of us, young or old, can view the world as a child yet again.
(6)
It is so true that children's fiction delights even adults. One of the other
reasons for this is the selection of 'theme'. The thematic content of children's
literature forms the basic structure of the book. Its main objective is to cater to the
interests of the juvenile audience. As Dr. Sharma suggests "the theme should be
formed and presented in a way which imparts knowledge about the culture and
heritage of the country, help children realize educational and national objectives to
develop maturity levels, impart human values and open new avenues of knowledge"
(84). Theme can be a source of guided activities for their growth. But the writers of
children's literature must consider the 'suitability' as the field consists of audience of
different age- groups who need to be addressed at different levels. Suitability is
considered as one of the features of children's literature. It focuses on the cognitive
aspect of development. The fiction should be so created to stimulate cognitive
development, though entwined in the story the basic aspect to be retained is pleasure.
Child in its world of innocence, imagination, and surroundings like home, school and
neighborhood can also form the content of the theme which is aptly suitable in their
fiction.
In this jet age, world has become a small place with easy access to any part of
the globe. The world is connected through internet, telecommunications, mass-media
34
and advanced transport facilities. This has bridged the gap between people of different
cultures and languages. Multicultural societies are fonning rapidly. Due to many
cultural exchange programmes people are showing interest in other cultures. There
has been an increase in translations in the field of literature. Thus the translations in
literary world have gained momentum. This activity is also seen in children's
literature. Translations help in reachability of foreign literature to the regional child
audience. Translations of many regional literatures in wide area of human
accomplishments, knowledge and infonnation are made to delight the child reader.
Ancient literature like Panchatantra is translated and retold in many Indian
languages. It has also been translated to other foreign languages. Similarly Aesop's
Fables are also translated into many Indian languages. Apart from the old classics
many contemporary works are also translated.
Translations have increased the reachability to the concerned audience and had
also increased the publications thereby increasing business prospects. Thus
translations are to be encouraged but when it comes to subject content, it is quite a
challenge for the people working in this field as it involves vulnerable age groups.
This subject content has its limitations as to the amount of infonnation that can be
given to the particular age -groups. As age of the child reader is a vital aspect, it is
also considered as a feature. Since childhood is a fonnative period, the various stages
of growth from infancy to adolescents to youth has to be taken into consideration and
classified in order to produce suitable fiction for different age-groups. Some critics
have tried to classify accordingly.
Amarender L. Gadgil divides juvenile literature into five groups which are as follows:
35
kids up to six years (shishu), children of age- group six to ten years (baal), teenagers
from ten to twelve years (kishor), adolescents from twelve to sixteen years (kumar)
and youth above sixteen years (yuvak).
Digaraj Brahma broadly divides the age-group into four stages namely:
1. children between two to five years.
2. children between five to eight years.
3. children between eight to eleven years.
4. children between eleven to fifteen years.
(Brahma 95)
These divisions are only made to give a broad idea about the sections of
categorization. This is because childhood is a phase which is difficult to measure as
both physical and cognitive growth differ from child to child and region to region
influenced by many external factors like environment and internal factors like body,
health (physical and emotional). There are no drastically noticeable changes seen in
these stages. As Brahma points out "The ages which have been attached to the four
stages described above should be looked upon as guides only; one stage gradually
develops into the next; nothing magical happens at any stage of development" (95).
The understanding level of children at different ages varies and so' are there interests.
Hence children's literature should be written according to the age group of the child.
All the above discussed features are implied while writing for children. The
mentioned features are found in almost all the genres of children's fiction. The genres
of children's literature are similar to adult's literature with a few exceptions. Genres
are studied to have a clear picture of children's literature in totality_ The books which
are the expressions of simplest joys of life are needed by children. They just transcend
36
into the world of imagination and fantasy. Genres which set the mood for this kind of
experience are 'fantasy' and 'Fairytales'. Penelope Farmer defines fantasy as
"Fantasy on the other hand, though it may use universal symbols, springs from purely
private experiences- it is psychological image, colored and transformed by the
workings of single mind" (qtd.in Kulshreshta 78). Hans Christian Anderson' 's Snow
white And The Seven Dawrfs , and Perault's Cinderella are a few examples of
fairytales. The readers are transcended into a dreamland. The writer with his own
imagination, conception and observation creates a world full of magical elements that
are amusing and exciting. The children live in the world of fantasy which is like a
dream. According to Kulsreshta, the characteristics of fantasy are:
Originality of concept, inner logic, involvement of the author, a regard
for wonder and supernatural, and above all, a mastery of words in
writing. Stories move back and forth in time. Characters from historic
period visit the present period or characters from present era go into
the past yet the child has no problem in moving along with the story
from fantasy to reality as they are flexible in thought and logic or
illogic is not a big concern for them. (85)
Suniti Namjoshi's Aditi Series are best examples of children's fantasy stories.
The short version of fantasy is fairytale. They have universal appeal. One of the
common qualities of children is imagination. The writer shows his imaginative skills
to create a fantasy world full of action. It has a short story structure but lot of activity
takes place. Perrault and Hans Christian Anderson's fairytales are popular. Perrualt's
Cinderella is popular with generations of children. Even in India almost every urban
child is familiar with Cinderella. The other popular fairytales are The Sleeping
Beauty, Little Red Riding Hood, Golden Goose, The Frog Prince etc. Fairytales are
37
enchanting. Fairytales will create an interest in reading. Children can be encouraged
to expand their experiences with books in this manner.
Pleasure reading is a prime concern of children's fiction. But as books are a
source of knowledge, they should also deal with subjects that enhance their value
education. Fables are one such genre which caters to this need. Fables are abstract
stories which speak about morals and wit. They usually have animals and birds as
characters. They help in sociological aspect of child's development. As Kulsreshta
observes:
The fables are brief narratives in which attempt is made to concretize
the abstract ideas of good or bad, of wise or foolish behavior in a
Striking way to enable the child to understand and remember it.
But since they are mainly concerned with abstract ideas of good and evil,
they are not as readily accepted and understood by children with
the episodes, story, and their significance and importance in .......... .
repeated to and talked over with them. Sometimes the characters are
human beings, sometimes certain elements, but mostly they are animals.
(Kulsreshta 93)
Unless the stories are carefully narrated in lighter tone and simple language
layered with moral, these fables tend to put off the interests of the child reader.
Panchatantra and Aesop's Fables are most widely read.
Apart from the moral aspect the other sociological aspects seen in the genres
of children's literature are 'folktales' and 'folklore' which also fonn an interesting
aspect of children's literature. Most of the rural culture is introduced in this genre.
Folktales and folklore are the genres which depict the culture, traditions, mores and
38
taboos prevalent in a place. They help the people to understand their own culture.
Objects like trees, things and especially animals fonn the characters in the story.
Traditions and culture are imbibed through these fables to practice and pass on to the
next generations. Rich oral traditions were prevalent during ancient times in India.
The stories are magical and spell bounding that they still catch the attention of the
modern day reader. They still secure the purpose of social education. "According to
social anthropologists, these were the carriers of moral code, reflecting and teaching
kindness, hard work and courage through stories and revealing the ultimate rewards of
their virtues" (Kulsreshta 97).
The folklore is usually in oral fonn and presents different moods. Heroic
deeds of many kings as well as common man are narrated. Many such songs have
sometimes served as historical evidence of the people of different periods. Folklore
also consists of themes like festivities and traditions followed during family functions
like marriages, child births, house warming ceremonies and even deaths. Special
songs for children are narrated with themes like Krishna Leela (the magic deeds of
Krishna in his childhood), moon, children's play and many such aspects pertaining to
children.
Short Story and Novel are the other genres. They are constructed around a
broad idea. The theme can vary from history, mythology, science or adventure. Some
rules are to be followed to write for the children. "The child likes to read the story in
first .person, he supports certain characters. He feels himself as the prime or the hero
or any other character narrated in the story. The writer of the story should bear in
mind that the child maintains curiosity and suspense till the end of the story" (Brahma
117). The length of the story in novel is much bigger in novel and is divided into
several chapters. Novels usually suite older children. Describing the characteristics of
39
novels Mohanty states "the novel should be written in descriptive style. The
presentation of the event should be dramatic in style. It should have short chapters
with subheadings. These sub-headings should create suspense and curiosity in the
juvenile mind" (qtd. in Brahma 117).
Children's literature across the globe has rich collection of novels with varied
themes. The classics like Alice in Wonderland, Chronicles of Narnia, adventure
stories by Enid Blyton like Famous Five, Secret Seven. Detective series like Nancy
Drew in which the protagonist is a tomboy and many more works from west are very
popular. Similarly romantic novels like Mills And Boon series are extremely popular
teenage novels both in the west as well as urban India. The Indian writers too have
produced some good novels for children including Ruskin Bond's novels The Room
On The Roof, The Young Vagrants and The Hidden Pool. Suniti Namjoshi's Aditi
series, Dilip Salve's science fiction and many others. Apart from the main genre, the
other genres are autobiographies, biographies, travelogues, dramas, one-act plays,
poetry, encyclopedias, picture dictionaries and popular literature like comic strips,
magazines etc. This vast genre of books provides children more knowledge about
their surroundings and definitely the much anticipated pleasure.
Books written for very small children are designed with less content, simple
language and more colourful illustrations. As May P. Jill opines:
When books are introduced to preschool children, we adults help them
to select books. Selection is done by seeing the attractive pictures,
vibrant colours and good paper quality, oil bond and thick covers and
importantly the clever and lovable titles of the book. Before we read
out aloud we tell them who the main character is? What is the plot?
40
And after reading the book we ask children did you like the book?
How did the characters play games-----of the book? If the children like
the book they go for second reading and re-reading till they are
contented. Thus slowly the child garners interest in reading books. (67)
Manorama Jafa, Sigrun Srivastav and Sandhya Rao's story books make for
good reading to small children from three to ten years age-group. Since age of a child
plays a vital role in defining children's literature, it is important to conceptualize
fiction especially the 'teenage fiction' since it is the most confusing period as it is
considered to be transition period from childhood to adulthood. The evanescent phase
between childhood and adulthood is called adolescence or teenage. It is a transitional
stage where the children are no longer interested in the childhood activities. The
young children are more inclined to the adult way of life. Their perspectives change
as there are a lot of behavioral changes taking place within them for instance:
physiological, psychological, biological and sociological. Psychologists Kathyrn Geld
and David Geldard define adolescence as "The period of human development during
which a young person must move from dependency to independence, autonomy and
maturity" (3). These psychologists suggest, that teenagers require a more mature and
independent thinking in all aspects including literature.
As these psychologists suggest, adolescence is a period of both psychological
and physiological changes which also attribute to the changes in the reading concepts
of child. The character formation of teenagers is influenced to a certain extent by
teenage fiction. They appreciate the relevance of teenage fiction to their life.
The present day teenage fiction is written in a lively manner which is a
prominent factor. The themes include friendship, love, adventure, drugs, running
41
away, bullying, crime, fantasy, supernatural, science-fiction and many other genres
which are more pertinent to the teenage. The Room On The Roof (1993) and The
Young Vagrants (1993) by Ruskin Bond, The Secret Seven by Enid Blyton and
Hardy Boys series by Franklin W. Dixon and other books which are contemporary
like Bend It Like Bechkem by Narinder Dhami, Mark Haddon's The Curious Incident
of The Dog In The Night, Jacqueline Wilson's Girls Under Pressure deals with
teenagers and their relationships. Robert Bulla's Down The Mississippi is an
adventure story about two brothers. Mills and Boon series features soft romance.
These themes address teenagers directly. Apart from these there are books on realism
and contemporary problems. These novels act as agony aunts and help teenagers to
confront their personal problems. Some books address social issues like racism and
war and help them to come to terms with the situation and help them to become
responsible citizens. One of the most delicate and sensitive subject in teenage fiction
is sex. According to Julia Ecc1eshare "Once the sexual side of relationships had
become a recognized and accepted part of teenage writing, the complexities of such
relationships rather than their shock qualities could be discussed in an interesting
way" (391). Apart from this, teenage novels also explore relationships of teenagers
with the members of their family and other age groups. Novels on family ties and
break-ups like Anne Fine's Madame Doubtjire (1989) make an insight into the
problems of a broken family. The complexities of simple friendships are delved in
many novels. The personal growth of characters in these themes has a positive
influence on the minds of teenage readers.
Teenage fiction has many limitations and challenges due to the involvement of
sensitive age-group thus making the study even more challenging and interesting.
Many psychologists, sociologists and educationists have studied the effects of teenage
42
fiction on the lives of the adolescents. These aspects indicate the seriousness of the
field ofliterature which is identified as vital in molding the vulnerable group.
The tremendous increase in the global awareness of the importance of children's
literature is echoed in the Indian book scene as well. As Srinivasan states: "The child
reader has been identified as the target audience and writing for children has become a
major industry all over the world" (Srinivasan xi). The magnitude of this field
indicates the tremendous scope it offers. It is an ever expanding field with lot of scope
for development. The extent of utilization is vast. Hence the schools and other
educational institutions should also contribute in promoting reading habits in children.
The communities, government and other voluntary organization should provide
libraries to both rural and urban mass. Though a lot is been done in this area of work,
it is a long way to go in order to achieve much more. Various organizations are
conducting surveys, workshops for writers, critics and audience (children) to
understand the needs of children and the factors that influence the reading interests
like the format, subject-matter, mode of section, influence of gender and age factor
etc. The writers in this field have also explored questions on politics, power,
children's right and equalities, sexuality, social concerns, education, entertainment to
certain limits.
Prema Srinivasan's observations on the growth of children's literature in
India is noteworthy. According to her:
These, then, are a sample of the products of a newly visible world of
children's literature, which is consolidating its independence from
British Literature and establishing itself with an identity of its own.
The imitative phase has been cast aside and writers are forging ahead
43
with deliberation, taking pride in their craft as well as in the variegated
subject matter offered by tradition and contemporary. Even as
children's fiction in English becomes established as an alternate source
of reading material for the English-speaking segment of children, it is
necessary to consider their reading interests and habits, which will
irrevocably influence the production of these books and eventually the
establishment of an indigenous literature for children in Indian in the
English language. The ensuing chapter focuses on the results of a
survey conducted to assess the kind of reading interests prevalent in
the segment of urban children, who have a good degree of familiarity
with the English language. (123 - 24)
Though many good books are produced for children its reachability to the
child in both rural and urban areas is still a problem. In order to meet the growing
need for more books for children, organizations like National Book Trust(NBT),
Children's Book Trust (CBT), and The National Council of Educational research and
Training (NCERT) were established. Rosalind Wilson, ex-editor of target, identified
the year 1977-78 as the dawn of English fiction in India for children. Indian Book
House (IBH) set the standards both for fiction and non-fiction in India for children.
Proper guidelines are to be provided to teachers, parents and librarians for selecting
good books for children.
In the modern context even films and T.V. have their
contribution. As P .K.Patil points out: "sound filmstrips, films, talking books, tapes,
reading aloud to children, dramatization, storytelling, discussion groups and dial a
book will prove to be additional faculties to exploit" (80). These developments as
mentioned above by P .K.Patel indicate the pace of growth and the scope for further
development in this field.
44
Due to globalization many cultural exchange programs are conducted by
different countries. India being a country of diverse cultures and languages there is lot
of scope for translations and exposure to literature of different states of India and
other countries. Establishment of many publishing houses both government and
private, exclusively for children is an indication of its scope for development and
reachability. In 1982 The Children's Literature Academy came into existence. Many
significant works are conducted by the academy like- compilation of bibliographies of
children's books and journals, a who's who of writers, artists and publishers for
children and a journal of research pertaining to children's literature were produced.
Children's Book Trust {CBn, National Book Trust (NBT), Association of writers and
Illustrators for children (AWIC), Nehru Bal Pustakalaya are some of the government
establishments. The famous International publishers like Penguin Books started a
separate section for children named Puffin Books, similarly Rupa and Co.,
Ratnasagar, Tulika publication, Harper and Collin are some private organization
working on publishing quality books for children. Awards and prizes are allocated to
encourage the writers and illustrators and bring recognition to them.
The most subtle of the literature is children's literature. It includes books
meant exclusively for children and books on childhood. These include fiction, history,
religious books, comic stripes, popular series, classics, poetry and magazines. In the
21 51 century children's literature gained more popularity than even before. Educational
institutions and parents are encouraging reading habits in children. Publishers and
writers on the other hand are working on presenting more quality works for children.
It has therefore become necessary to have more critical studies in this field of work.
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As the writers are playing their role there are other associated organizations
who have also been contributing for the development of children's literature. The
organizations like publishing houses and Book trusts have been conducting many
programmes and activities. Awards are a positive encouragement for the promotion of
children's books. Hence many organizations have been formed on many levels like
international, national, regional and local levels. The International Book Bank for
Young People (IBBY) gives awards to authors and illustrators for their outstanding
contributions every two years known as the IBBY Hans Christian Anderson Awards.
Jane Addams Peace Foundation gives The International Jane Addams Children's
Book Awards and The International Reading Association A wards are very popular. In
a novel way Japan instituted Japanese Owl Prize for Illustrators where the visitors to
the book exhibition choose their favorite illustrator. In Poland teenagers vote for their
favorite writers for The Eagle Feathers Award. The UN based organization UNESCOUnited Nations Education Scientific and Cultural Organization has been working to
promote children's reading habits especially in developing countries. Various
schemes have been introduced to supply books to maximum number of countries. In
collaboration with Federation of Library Association's children's section, UNESCO
provides third world book fund which has many voluntary donors. Many methods
have been introduced in this process like awards, research work, conferences,
seminars, production of text books, research on oral form of literature into the written
form, tax exemption on royalties, supply of paper and print material, creating market,
free distribution, subsidiaries, improving public library system and many more such
vital aspects of development in this area is undertaken by UNESCO.
India also has a commendable place in the promotion of children's literature.
It has established various government and private organizations like National Book
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Trust (NBT) which was set up in 1957 by the vision ofPandit lawaharlal Nehru. NBT
is an autonomous body under the Ministry of Human Resources Development. The
main aim of this organization is to promote book reading habit in children, promote
National Integration and undertaking translation work in many Indian languages. The
Nehru Bal Pusthakalaya was launched especially for pre-school children in 1985.
"Adan Pradan" series was also launched during this time to promote Indian authors of
many languages and also the translation versions. "Operation Blackboard" was
launched during Rajiv Gandhi's tenure to reach to wider audience especially in the
rural areas. Countrywide distribution network and low prices of the books increased
the accessibility. Prema Srinivasan states:
CRY (Child Relief and You) had brought out a number of books to
create an awareness of literature for the very young, particularly the
underprivileged. The aim is to give a starting chance to thousands of
children for whom school and home are just a dream. Mamta 's
Moonship (1993) by Chhanda Bose was written for a special
programme, "schools in hospitals, "to teach sick and terminally ill
children to appreciate the world around them. The hyperactive Mamta
has an unusual dream A moonship takes her on an interesting voyage
where she learns to fish for stars and a recipe for moondust, which is
an essential ingredient to make beautiful dreams. Dreams are
important, Captain Luna reminds her, "After all everything beautiful in
this world poems, stories, songs pictures was made from someone's
dream.". Restless little Mamta learns to keep still, sleep and perchance
dream about enchanting things which she would one day transform to
reality.(117)
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In 1961 The Nation Council of Educational Research and Training (NCERT)
was established with the similar objective of promoting book reading habit as the
NBT. Book evaluation project was started to select good quality reading material. As
Prema Srinivasan comments "In 1963, when NCERT was just a two year old
institution, it undertook projects on "Why, What and how to write for children" (39).
Many seminars and workshops were organized in this respect throughout the country.
Reading kits were introduced in 1980 but this project did not give good results. From
then onwards NCERT had concentrated on publishing text books and supplementary
readers at subsidized rates. In 1957 celebrated cartoonist K. Shanker Pillai founded
Children's Book Trust (CBT) which is a successful organization which continues to
produce numerous children's books in Hindi, English and other Indian languages. A
comprehensive bibliography of all the books published in twelve Indian languages
and English is brought out by CBT. An illustrated monthly magazine for children
called Children's World was started by CBT. Apart from the above organizations, The
Association Of Writers And lllustrators For Children (AWIC) was established in
1981. It is a registered voluntary organization formed in the interests of writers and
illustrators and their concerned audience. It holds meetings by authors and illustrators
to discuss various aspects of children's literature and their own contribution to the
field.
Apart from these major organizations, many individual publishing houses have
been promoting children's literature like The Ratna Sagar, Vikas publications, Roli
Books International, Puffin Books from Penguin Books India, Rupa, Harper Collins,
Tulika Publications and many more. Indian Book House (IBH) is a publishing unit
that publishes books on various genres like fiction and non-fiction ,religion,
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mythology and history. The biggest success of this house is the publication of Amar
ChUra Katha by Anat Pai which had a record sale of 1,40,000 prints (Srinivasan 43).
Though western comics have been popular with many generations, Amar ChUra
Katha comics were also readily accepted by children with delight. For once parents
unanimously accepted Amar ChUra Katha comics rich in Indian subjects. They are
not boring like history text books which children usually do not like to read. Amar
chitra Katha has helped children to gain knowledge of their own culture and heritage.
International Publishers like Orient Longman, Oxford University Press and
Macmillan brought out Indian editions. of foreign publications in collaboration with
their overseas associates. All these activities are a good indication of the growing
popularity of children's literature in India.
However there is paucity in the development of good contemporary literature
for children due to many setbacks and hurdles. The increased literary rate has created
huge demand for text books and supplementary readers. Hence the publishers are preoccupied with the production of books. Other problem is poor purchasing power of
both individuals and institutions. Another disturbing observation is that the tough
competition created in the educational and employment sphere has driven many
parents (educated parents as well) to concentrate more on academics reSUlting in over
pressure on children. Spare time has become luxury for children and even if they get
any such time, they would rather prefer to indulge in out-door games, video games,
watching T.V. hitting the theaters to catch up with their favorite movies. Reading has
become a minority hobby_ It is the duty of the parents and educational Institutions to
provide some leisure time for books and encourage them to read by creating an
atmosphere where children can feel free and comfortable to read. Educational boards
should revise their syllabus to make room for library hours.
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One of the main reasons for children to lose interest in reading is the lack of
their understanding the literary patterns. The teachers can help the students by
teaching them the ways to read a fiction and understand it. They must be guided to
relay on their own responses instead of the teacher insisting on their own ideas. "The
simple methods that teachers use when teaching children how to read are guided by
theories of literary interpretations (Jill 18). The teachers must guide the students
accordingly. Similarly adults who want to guide children to read must know how their
guidance helps the children to generate reading habits. "Adults who wish to help
children read in more meaningful ways will need to study criticism. They must
understand what it is and how it shapes reading practices. In a broader sense literary
criticism establishes a way of reading" (Jill 17). If the child reader is insisted to
interpret the stories according to the adults' views, it gives a sense of imposing on the
students. This gives a feeling of didactic learning and the purpose of pleasure reading
is lost. The child thus looses interest in reading.
Parents should understand the need for reading hobby and encourage kids to
read. However, clearing all the constraints and standing the test of time, children's
literature has remained one of the major aspects of children's growth and
development. Intense scholarly study in this field is also necessary to give the field a
concrete structure. Children's literature criticism in India has to be formed along the
lines of western children's criticism. Many research activities and scholarly studies
are to be encouraged and the attitudes of the people who usually undermine children's
literature should be changed. The above discussed issues indicate that there is
tremendous scope in the field of children's literature in India. More exploration of the
subject will only enhance the Indian children's literature which will contribute in
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healthy growth of the child. As the saying goes" April Showers bring forth May
Flowers" the growing period of the child should be correctly moulded to make them
good human beings.
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