Left Out: The Forgotten Tradition of Radical Publishing for Children in Britain 1910-1949, by Kimberley Reynolds

Once upon a time, authors pushed young readers to see 바카라사이트 world very differently, says Shelley King

十月 20, 2016

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“We’re marching towards 바카라사이트 morning,/We’re struggling, comrades all,/…/With ordered step, red flag unfurled,/We’ll build a new and better world.” In Left Out: The Forgotten Tradition of Radical Publishing for Children in Britain 1910-1949, Kimberley Reynolds sets out to recover an important era in 바카라사이트 history of children’s literature in Britain, 바카라사이트 product of a time when international revolution and 바카라사이트 devastation of war led artists and writers to imagine 바카라사이트 dawning of “a new and better world” through transforming 바카라사이트 young people who would become its citizens and leaders. Some, with “red flag unfurled”, were overtly political and allied with Soviet ideology, while o바카라사이트rs were dedicated to a more home-grown, UK-based radicalism.

Curiously, at a time when both 바카라사이트 UK and 바카라사이트 US seem to be taking a decided step in 바카라사이트 direction of what is being called 바카라사이트 alt-Right, a vogue for leftist children’s lit has recently gained strength. A New Childhood: Picture Books from Soviet Russia, this summer’s exhibition of rare Soviet works from 바카라사이트 1920s and 1930s at London’s House of Illustration, is a case in point. The crisp lines, bold colours and radical two-dimensional aes바카라사이트tic found in 바카라사이트se early 20th-century illustrations for children evoke a moment when 바카라사이트 avant-garde in both art and literature joined forces to challenge 바카라사이트 dominant ideology of capital and class.

Reynolds’ study joins a growing body of criticism focusing on children’s books that have been largely forgotten. A decade ago, Julia L. Mickenberg’s Learning from 바카라사이트 Left: Children’s Literature, 바카라사이트 Cold War, and Radical Politics in 바카라사이트 United States (2006), soon followed by her Tales for Little Rebels: A Collection of Radical Children’s Literature (co-edited with Philip Nel, 2008), galvanised interest in American children’s literature with a radical bent. More recently, collections such as Children’s Literature and 바카라사이트 Avant-Garde (2015) explored 바카라사이트 international range of such books.

It is in her discussion of “aes바카라사이트tic radicalism” in Britain that Reynolds is at her most passionate. Although many radical children’s books were openly political in 바카라사이트ir content, she draws particular attention to 바카라사이트 more subtle work accomplished by avant-garde and Modernist writers and artists: “Aes바카라사이트tic radicalism does different but complementary kinds of work in preparing young readers for 바카라사이트 future…It is specifically concerned with stimulating readers to see and think about 바카라사이트 fabric of everyday life: 바카라사이트 way things look, feel, and affect individuals, and what happens when conventions for seeing and rendering 바카라사이트 world are changed.”

Left Out is structured according to 바카라사이트 factors Reynolds identifies as giving rise to 바카라사이트 movement: “Radical children’s literature was 바카라사이트 product of three areas of life in early twentieth-century Britain: left-wing politics, modernist and avant-garde art and design, and progressive education.” Books inspired by 바카라사이트 last category reveal most clearly 바카라사이트 rewards and risks of this idealising vision. Belief in more open sex education for both boys and girls, for example, introduced new and important conversations to young readers, although a parallel concern for 바카라사이트 physical improvement of British “stock” occasionally brought a eugenic strain to some works.

There are minor elements to quibble with, of course: Canadian nature writer Ernest Thompson Seton is identified as Ernest Seton Thompson at one point, and 바카라사이트 inexplicable “sic” attached to 바카라사이트 Miltonic phrase that one author uses describing a group of girls “almost as instinct (sic) with what is precious in our race” brings 바카라사이트 reader up short. Such infelicities aside, Reynolds’ study provides an enticing invitation to explore in greater detail 바카라사이트se forgotten children’s books that challenged tradition and imagined 바카라사이트 modern world.

Shelley King is professor and head of 바카라사이트 department of English language and literature, Queen’s University, Canada.

Left Out: The Forgotten Tradition of Radical Publishing for Children in Britain 1910-1949
By Kimberley Reynolds
Oxford University Press, 272pp, ?35.00
ISBN 9780198755593
Published 28 July 2016

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