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• W2056133034 abstract "Writing for Children about the Unthinkable Hamida Bosmajian (bio) The Children We Remember, by Chana Byer Abells. Photographs from the Archives of Yad Vashem, The Holocaust Martyrs' and Heroes' Remembrance Authority, Jerusalem, Israel. New York: Greenwillow Books, 1983, 1986. The Cage, by Ruth Minsky Sender. New York: MacMillan Publishing Company, 1986. Children of the Dust, by Louise Lawrence. New York: Harper & Row, 1985. The touchstones of children's literature are shaped by the needs of their creators to write, paint, or draw a work that does not necessarily have the child reader in mind from the outset but later becomes meaningful to children. However, an awareness of audience seems more urgent when the writer or artist creates a work for children that deals with such extreme situations as the Holocaust and nuclear war, as do the three works here. One sign of such awareness in Holocaust literature for the young is the self-censorship and careful selection of details in these narratives. Yet the very presence of this selectivity, conscious and unconscious, may well lead the reader to ask if these subjects are ultimately appropriate for the young reader and if works about them do not, in fact, serve to undermine the young person's trust and confidence in the future. Children's literature helps to prepare young readers for the more complex narrative forms that convey cultural traditions. This holds true not only for the personal socialization processes as fairy tales reveal them, but also for narratives based on historical events. For example, Little House on the Prairieis part of the mythos of manifest destiny realized in American history, politics, and literature. The Ingalls family lights out for the territory beyond the western horizon and thereby unintentionally supports the notion that one can always move. Holocaust and nuclear war narratives, however, introduce an important difference by insisting that the historical [End Page 206]or imaginary patterns on which the narrative is based must never again be repeated, or should never be allowed to occur. This affirmation of the future is, almost by definition, a primary intention of the writer whose audience is young people. A more personal motive, especially for a writer who has survived the Holocaust, is to share some of the trauma of the past with a new generation, to record the experiences of a generation that has been lost, and to shape empathy and historical awareness in the reader who is exposed to the narcissistic privatism so frequent in literature for young adults. The greatest challenge is, no doubt, to create a book about the Holocaust or nuclear war for the preschool child. The archivist Chana Byer Abells attempts such a work in her photo book The Children We Remember, which she dedicates to all of today's children. Abells, whose forty-two page text contains a mere 201 words, arranges the thirty-eight photographs into a general story pattern that begins with life before the Nazis in a small town, at school and synagogue, and on the playground. Life changes after the Nazis arrive—children have to wear the Star of David; shops are closed and synagogues burned; people are homeless and starving in the streets, though they do assist each other as best they can. Abells shows the intensification of this extreme situation through three statements, each accompanied by a photograph that visually expands the text: The Nazis hated the children because they were Jews (photo of a goose-stepping SS parade); sometimes they took them away from their families and sent them far from home (photo of two boys separated from adults, possibly their relatives, by a fence); sometimes they put children to death (photo of a soldier aiming his gun at a woman and child). She follows the last statement with nine portraits of named and unnamed children, introducing them simply: These children were killed by the Nazis. The final section, about survivor children, is arranged in the following order: children who escaped to Israel, were rescued by Christian families, hid in the forest, or pretended to be non-Jews. The last photograph is of a priest surrounded by altar boys, one of whom is Jewish. The last image is disturbing..." @default.
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• W2056133034 date "1989-01-01" @default.
• W2056133034 modified "2023-10-17" @default.
• W2056133034 title "Writing for Children about the Unthinkable" @default.
• W2056133034 doi "https://doi.org/10.1353/chl.0.0242" @default.
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