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• W2066585024 abstract "Reviewed by: Windows and Words: A Look at Canadian Children’s Literature in English Raymond E. Jones (bio) Windows and Words: A Look at Canadian Children’s Literature in English. Edited by Aïda Hudson and Susan-Ann Cooper . Ottawa: University of Ottawa Press, 2003. Windows and Words: A Look at Canadian Children's Literature in English selects seventeen presentations from the Canadian Children's Literature Symposium held at the University of Ottawa in 1999. The focus of this symposium, according to Aïda Hudson's Introduction, was to explore What in the past and in the present in Canadian children's fiction is literature? (1). Immediately, Hudson reassures any Canadian still suffering from a [End Page 229] lingering case of national inferiority complex (something historically hard to avoid in the attic of a continent whose main floor is dominated by a manifestly self-assured giant): What was rediscovered and reaffirmed at the symposium was that Canadians have a national literature for the young that is indeed literature, increasingly assured in artistry, increasingly multi-cultural in character, and one that merits and rewards serious scholarly study (2). If the essays supporting that conclusion shy away from defining precisely what qualifies as literature, they do, nevertheless, attest to the fact that Canadian writing for children is of a sufficient quantity and quality to sustain serious academic analysis. To preserve some of the authenticity (7) of the symposium, however, this collection complements the twelve academic essays with five relatively informal presentations. The volume opens with The Apprehension of Audience: The Difference Between Writing for Adults and Children, the keynote address by novelist Tim Wynne-Jones. He claims that stylistic concerns and formal subversions dominate adult fiction, whereas writing for children puts form ahead of style because it puts story in the forefront. Citing more differences, he says that books for children require a child's window onto the story (16), a viewpoint that children can comprehend. Language, the glass in this window, must be transparent. Although writers for children must avoid both obfuscation and effusion, he rejects a controlled vocabulary. Finally, he points out that children's writing, unlike that for adults, requires more showing than telling. It is, in other words, concrete in dramatizing emotions and concepts. In concluding, he reminds listeners that he has not compared the relative merits or seriousness of the two kinds of writing. For him, a book for children is no more inferior to an adult novel than is a sonnet: writers choose the appropriate genre for the task at hand. The major flaw in his address is that he does not adequately explain precisely how the narrative voice in children's books differs from that in adult books. In spite of its inadequacies in discussing point of view and narrative voice, this address is an interesting supplement to classic pronouncements, such as those by C.S. Lewis, on the nature of writing for children. The academic essays following this address begin with three surveys. Judith Saltman's Canadian Children's Literature at the Millennium, a breezy overview of writing in the 1990s, seems like a draft preface for a new edition of Egoff and Saltman's The Republic of Childhood. In The Rise of the Aboriginal Voice in Canadian Adolescent Fiction 1970–1990, Beverly Haun contends that contemporary writers are helping adolescents to move from traditional middle-class attitudes to new ideas of cultural coexistence, but she does not adequately illustrate this optimistic assessment. Gregory Maillet's A Parliament of Stories: Multiculturalism and the Contemporary Children's Literature of Saskatchewan argues that traditional critical approaches to multiculturalism are flawed and inadequate. His conclusion, that the premier criterion of value for multicultural [End Page 230] children's literature must simply be whether or not the culture's distinctive traits—however undelightful we might find them—are in fact represented (57) leaves open questions about who decides the nature and delightfulness of distinctive traits, not to mention the long-in-the-tooth debate about cultural appropriation. Predictably, half of the academic essays are on the one Canadian children's writer with an international reputation, Lucy Maud Montgomery. Helen Siourbas, reviewing four decades of criticism, shows that Montgomery..." @default.
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• W2066585024 title "Windows and Words: A Look at Canadian Children's Literature in English (review)" @default.
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