Hello there Roberta Chinni, Manager at the Bologna Children’s Book Fair

February 11, 2016
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Masterclass Dust or Magic, Centro Servizi Blocco D. 29 Marzo Roberta Chinni. Photo: Bologna Children’s Book Fair

An entire hall devoted as digital space, huge exhibition featuring 50 artists with their masterpieces and Germany as the star of a very rich program. With two months to go before the opening of the Bologna Children’s Book Fair, the world’s largest international book fair for children’s literature, there are not so many quiet moments for the BCBF staff. Nevertheless, we decided to ask Manager Roberta Chinni how the work is progressing…

Two months to go before the opening of the BCBF, how is the work getting on?

The organization of the new edition of the Bologna Children’s Book Fair is already well underway.

About 10 days ago the panel of Jurors of the Illustrators Exhibition was here in Bologna to select the artwork we will present during the Fair. This year we invited Francine Bouchet, Nathan Fox, Klaus Humann, Taro Miura and Sergio Ruzzier: they have chosen 77 artists who will have the opportunity to be seen by all major children’s book publishers.

2016 will mark the 50th Anniversary of this Exhibition: we are preparing an additional exhibition featuring 50 artists with their masterpieces, 50 illustrators that have contributed to make this event significant and unique. This Exhibition will also be accompanied by a special catalogue.

The next steps will be the BolognaRagazzi Award and Digital Awards Jury: they will focus on the best books from the graphic and editorial design and on the most intellingent and innovative apps.

We are working also on several programmes: the traditional Cafés will host a number of talks covering very diverse subjects, from illustration to writing, from licensing to distribution.

Besides we are working on a complete restyling of the website and developing activities that will be finalized after the Fair in other venues…. Well, yes we are busy!

What´s new in this year’s Book Fair?

For the past few years, we have focused special attention on digital evolution in the publishing industry. For the 2016 edition, we decided to devote an entire hall (Hall 32) to an expanded digital space: Bologna Digital Media: a dynamic and vibrant new hub where publishers, developers, TV and cinema producers, animation studios, artists and authors will take part in an exciting programme that will mix startups with established brands to take advantage of the many opportunities offered by the ever expanding digital world.

This year’s Guest of Honor is Germany, can you say anything about the program?

“Look!” is the title chosen by Germany to present itself as the 2016 Guest of honor country. The logo, created for participation and features three colorful birds, is the work of the famous and award-winning illustrator Ole Könnecke. Germany will be the star of a very rich program: they will present an exhibition of 30 young illustrators over a surface of around 300 square meters. Also there will be an additional section including books of the most talented and internationally recognized German Illustrators.

We are working in close cooperation with the Frankfurt Book Fair and the Goethe-Institut in Italy to set up a line of interesting panels, featuring both young and well-established illustrators. The programme will also extend over the city, with activities and shows in the main libraries.

Besides the German collective booth will be especially rich in terms of publishers and proposals.

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Bologna Children’s Book Fair

You’ve worked a long time at the Book Fair, how has the Bologna Children’s Book Fair developed during the last years?

I started working at the Fair in summer of the year 2000, taking over a group that had run the Fair for a very long time. The Fair has developed a lot since: it is now a more professional platform and it offers a much richer programme devoted to the key roles in children’s publishing: the Translators Centre has been created, the Illustrators Exhibition has grown a lot, the most important international Awards receive greater attention, a full programme on Licensing was started to offer more opportunities to publishers and we are also starting partnerships abroad to bring the Fair experience and contents into different countries.

In recent years we developed an important programme of events devoted to children and families: workshops and exhibitions and many books available for a real children’s book festival.

Another important issue is extending the reach of the Fair also abroad: the Illustrators Exhibition traditionally travels to Japan but we have also planned an additional tour that will bring it to China.

Besides this, we organized last December our first conference abroad, the Global Kids Connect Conference, hold in New York City, and presented in co-operation with Publishers Weekly: the results were very good and there was an interesting and passionate discussion on children’s literature and publishing under the auspices of the Bologna Children’s Book Fair in a completely different setting and timing.

What significance does the city of Bologna have for the book fair?

The city has definitely played an important role, even if until a few years ago Bologna was not very well know abroad outside the world of children’s publishing.

Nevertheless we have an ancient tradition of hospitality, a worldwide renown cuisine and a medieval city centre to visit and enjoy. During the Fair the city hosts an exciting programme of exhibitions, talks and meetings allowing all visitors and exhibitors to enjoy more art and culture while networking in a relax context.

The charms of the city combined with the mild Italian Spring have contributed to create a warm atmosphere which perfectly fits the really creative category of “children’s book professional”.

Finally, a more personal question – what’s your favorite part of the Bologna Children’s Book Fair?

It would be impossible to pick any! Each area, each initiative, each part really means something different: they offer the chance to meet incredibly creative people in the most diverse areas, people that quite often become friends over time…

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Photo: Bologna Children’s Book Fair

Full house for the opening of exhibition The whole world’s on fire!

February 8, 2016
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Speech by Astrid Lindgren’s daughter Karin Nyman.

The exhibition room at county museum Upplandsmuseet was filled with visitors when The whole world’s on fire! opened  on Friday. Based on Astrid Lindgren’s diaries 1939-45, the exhibition put forward current issues such as Where does evil come from? How do we learn from history?

Speeches were given by Anneli Karlsson, exhibition curator at cultural centre Astrid Lindgren’s Näs and producer Annmari Kastrup among others, and Karin Nyman, Astrid Lindgren’s daughter, inaugurated the exhibition. Karin Nyman has been involved in the release of the War Diaries and transcribed Astrid Lindgren’s handwritten notes from the 17 oilcloth booklets.

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Woodchip basket were Astrid Lindgren kept her diaries.

Astrid Lindgren started writing a diary with the outbreak of the World War II. She was then living with her husband and two children in Stockholm. As yet she wasn’t a celebrated authoress. Her work describing the horrors of war in her diaries 1939–45 laid the foundation for her powerful civil courage and roll as opinion leader later in life. The so called War Diaries were published by Salikon Agency last year.

The exhibition also takes Astrid Lindgren’s values into our own time. Current social topics such as xenophobia, nationalism and individual’s responsibility are highlighted and discussed in an interactive form. Huge room is given to stories and testimonials from people who have come to Sweden because of the war. Their stories create, along with Astrid Lindgren’s diaries, a harrowing picture of how war and violence affect the individual.

Upplandsmuseet has complemented the exhibition with sort strikes in wartime Uppsala showing future trends before World War II and how Jewish children and refugees from heighboring countries were given sanctuary in Uppsala.

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War perspective from Uppsala 1943.

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Karin Nyman and Karin Eliasson from cultural centre Astrid Lindgren’s Näs.

What does children’s literature in India look like?

February 4, 2016
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Today, Indian titles attempt to rethink stereotypes with relevant story lines, inclusion of words from regional languages, and scenes set in the Indian milieu Photo: Monica Tiwari, The Hindu

Is the growing number of Indian titles in English for children reflective of reading choices, asks Apoorva Sripathi, journalist at the Hindu.

Have you revisited children’s books as an adult? How do you now relate to books that once evoked images of magic and sorting hats (Harry Potter), of cans of pineapple, cucumber sandwiches and éclairs in a picnic basket (Famous Five), of pranks and powers of telekinesis (Matilda), or of wardrobes that let us into a fantasy realm (The Lion, the Witch and the Wardrobe)?

For most, these books were prescribed childhood reading, and as we grew older, some of us switched to contemporary Indian writing in English as well. And, for a long time, the enduring names in children’s literature in the country were Ruskin Bond and R.K. Narayan — they even featured in school curriculum. Today, Indian titles such as Moin and the Monster, Granny’s Sari and The Pterodactyl’s Egg rub shoulders with the hugely popular Percy Jackson, Harry Potter, and the Captain Underpants series. Late last year, Good Earth (in collaboration with Puffin Books) launched its line of illustrated children’s books, with The Story of Babur.

Perhaps it’s cultural guilt. Many generations of Indian children devoured Western classics, German (and the occasional Russian) fairytales and Greek myths, with a smattering of Indian folktales on the side. For long, many have dreamt of being in boarding school learning Latin, playing lacrosse and having an English midnight feast.

Today, Indian titles attempt to rethink stereotypes with relevant story lines, inclusion of words from regional languages (example, amma and appa instead of Mum and Dad), and scenes set in the Indian milieu. It also owes a lot to the rising number of authors: Anushka Ravishankar, Annie Besant, Roopa Pai, Paro Anand, Samit Basu, Siddhartha Sarma are some well-known names.

It seems like there is no dearth of titles for the interested parent. Vidya Mani, managing editor of Goodbooks, a website that reviews and discusses books for Indian children, says that the trend could be due to parents “actively looking for books that can connect with children here. Indian books speak a lot more to children, and parents are recognising that”. However, she wishes that teachers and librarians take a little more effort to curate reading lists for children, apart from the ones put out by the CBSE. “For example, Classes III to X can study Salim Ali, especially Zai Whitaker’s Salim Ali for Schools, which would make academics quite easy.”

However, Sayoni Basu of Duckbill Books believes that the real achievement would be when children opt for books by Indian authors. “A lot of parents want books with Indian mythology and folktales; for which, there are no non-Indian substitutes. So, I’m not sure how much ‘opting’ it involves,” she says. And that may be because of parents who are partial to the ‘oldie but a goodie’ idiom — “Parents who enjoy reading Indian authors may want their kids to experience the same pleasure,” explains Sayoni.

With the number of publishing houses for children’s books increasing, the market looks relatively healthy. But is that the case? Yes, says Mala Kumar, editor of Pratham Books, citing the growing number of young readers today, despite popular opinion that millennials are hooked onto television and the Internet. “Many old and new publishing houses are widening their offerings for children. There is a larger supply to cater to the demand. It’s not just a trend, it’s here to stay.”

From a publisher’s point of view, a good children’s book, according to Mala, is one that contains a well-told story with contemporary themes and settings, lends itself well to illustration and translation and provides a fresh perspective. Pratham Books also recently launched a platform called StoryWeaver, a digital repository of multi-lingual stories (over 1,300 stories in 33 languages are available for free).

If we were to look beyond fables and fantasy, are there any topics off-limits to children? Author and parent Judy Balan has a candid rebuttal. “No. They’re going to find out about everything anyway. We might as well give them context while we can. Speaking of taboos, there were quite a few raised eyebrows over the single mother dating in my first book (How to Stop Your Grownup from Making Bad Decisions). I thought that was most interesting — just how many urban Indian parents in 2015 weren’t ready for a single-mother in a children’s book ‘having a boyfriend’.”

Conversely, Roopa is of the opinion that she would prefer children reading stories “full of laughter and hope and optimism”. She thinks these would give children the strength to believe that there is a kinder world out there. “I personally would not write stories involving egregious violence, foul language or too much despair and hopelessness. Maybe some children do experience or are exposed to these things in their daily lives. At worst, these stories will serve as a harmless but uplifting escape from the dreariness of their real life.”

Indian writing in English took time to find its feet in the international and the regional market. Likewise children’s books (that go beyond mere instructional and educational value) too, will take their own sweet time. Says Vidya, “Life’s best lessons come from books. A sea change is in how parents should see books — as necessities rather than luxuries.”

Published with permission from the author. Link to article here.

Reaching out through radio

February 2, 2016
Bok och Bibliotek 2015, Arabella Koopman. Foto: Anna von Bršmssen

Arabella Koopman, Content Manager for PRAESA’S Nal’ibali campaign. Photo: Anna von Brömssen

In 2013, Nal’ibali (the reading-for-enjoyment campaign founded by PRAESA) launched a regular radio programme on eleven SABC public radio stations. Each of these radio stations airs children’s stories in one of the country’s official languages three times a week, taking Nal’ibali to 2.3 million listeners across South Africa. In fact, radio is the entry point for many people who interface with the Nal’ibali campaign.

“Oral storytelling, apart from being entertaining, provides children with the richness of language and concepts they need for successful learning. The regular radio story slots create a fantastic counterpart to the bilingual bi-monthly term time reading-for-enjoyment newspaper supplements that appear in select Times Media newspapers or which are delivered direct to reading clubs, libraries and NGOs,” comments Dr Carole Bloch, director of PRAESA (Project for the Study of Alternative Education in South Africa).

One of the challenges of running a reading-for-enjoyment campaign in South Africa is that it is a large country and about one-third of its total population (54 million people*) live in rural areas, which are often difficult to access physically. So, getting newspaper supplements to people is often logistically difficult.

Given this reality, if is often suggested that mobile phones are the ‘ideal’ delivery mechanism. In a country which has over 48 million cellphone users (89% of the population**), you’d think that this would solve the problem of connecting children to stories and adults to information and practical help. Nal’ibali made good use of this campaign delivery platform by very early on creating a mobisite that both smartphone users (only 34% of all cellphone users**) and feature-phone users can access. But, the problem is that for most South Africans data costs are prohibitive and in most households there simply is not enough disposable income to allow for the buying of data to access reading material.

And that is where radio comes in. Everyone in the country has access to radio. Apart from the cost of your radio, radio is free. Whether you live in an urban or a rural area, whether you have access to electricity or not, and no matter which of the official languages you speak, you can listen to Nal’ibali stories with your children on the radio.

Nal’iabli began collecting stories suited to the medium of radio in 2013 – original stories, traditional South African stories, traditional stories from around the world that are retold in a South African setting and stories published by South African publishers. Each of the selected stories is translated into the other ten official languages and scripted for radio by the SABC. Season 3 of Nal’ibali Radio starts in the first quarter on 2016, and by the end of this year 234 stories in eleven languages will have been broadcast – that’s 2,574 stories in total. And because the same stories are heard by all children who tune in irrespective of which language they speak or where they live, the stories make a contribution to building a common literary heritage for all South Africa’s children.

Arabella Koopman
Content Manager for PRAESA’S Nal’ibali campaign, responsible for the development and management of reading materials.

*Source: Statistics South Africa

**Source: Spring 2014 Global Attitudes Survey, PEW Research Centre

PEN SA and PRAESA Seminar on Transforming Children’s Literacy and Literature

January 28, 2016
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Alice Bah Kuhnke

PEN South Africa and the Project for the Study of Alternative Education in South Africa (PRAESA) held the first in a series of discussions on children’s literacy development and literature on Friday 22 January at The Homecoming Centre in Cape Town.

The discussion, ‘Raising key issues for transforming children’s literacy and literature’, was held in honour of Swedish Minister of Culture and Democracy Alice Bah Kuhnke who is visiting the country. Last year, Bah Kuhnke presented PRAESA with the prestigious Astrid Lindgren Memorial Award (ALMA) in Sweden, which she says “has drawn attention to the outstanding work of PRAESA and will inspire organisations all over the world.”

PRAESA Director and PEN SA Board Member Carole Bloch welcomed everyone by raising the central need to entwine children’s literature and literacy teaching as urgently in need of government and big business support – for ALL children and not just for children of English speakers and the elite.

“We as adults, with the help of books, can guide our children to treat the world with curiosity and respect” – Swedish Minister of Culture Alice Bah Kuhnke

Bah Kuhnke gave an address that set the tone for the rest of the discussion. Many years ago Bah Kuhnke attended a conference for young readers from all over the world where a group leader, a South African man who had fought against apartheid and was living in exile, told her that the key to changing the world was to do it ‘man to man, person to person’. This guidance on the importance of connecting with people changed her life, Bah Kuhnke said, “That’s the reason I’m so happy to be here. You can see me, I can see you and we have the opportunity to connect to change the world.”

Six speakers from various organisations in the children’s literacy field and other cultural organisations then gave short presentations punctuated by discussions with the audience, many of whom also work in the field.

Ntombizanele Mahobe from Nal’ibali spoke about children’s literacy and the importance of stories, saying that it is all of our responsibilities to create a national reading culture. She mentioned that PRAESA and Nal’ibali are using the Reading for Enjoyment Campaign to achieve this. Palesa Morudu, Managing Director of Cover2Cover Books, echoed Mahobe’s call saying that what is needed is a more visible campaign to make reading appealing. She also spoke about the recent call for literary decolonisation, describing how Cover2Cover Books have addressed this issue with the types of books they are publishing for teenagers.

PEN SA Board Member and African Arts Institute Executive Director Mike van Graan discussed the position of literature in South Africa’s cultural policy and spoke about the Revised White Paper on Arts, Culture and Heritage of 2013. He said that twenty years ago we had a policy that speaks to the problems we’re experiencing today, but that it has not been implemented.

After a discussion break, translator and PhD candidate Xolisa Guzula spoke about language, ideologies and the implications of linguistic practices on language and literature development. She warned that the push for education to be in English leaves no requirement for the development of materials in other languages.

Discussing the uneven access to books across South Africa Genevieve Hart, Chairperson of IBBY SA, commented that, “You teach a child to read through enjoyment by reading a whole story, not from reading those remedial cards that many teachers use.”

Chairperson of Puku Children’s Literature Foundation, Elinor Sisulu, spoke about the lack of investment in the field and the complex administrative issues of applying for government funding. Bloch then acknowledged the many people in the room committed to making change and said that over the years there has been a huge shift in understanding the need to develop children’s literacy, however government support of these initiatives has been slow.

Bah Kuhnke’s final words were to emphasise the importance of seeing literacy as a democracy issue that should be treated with the same urgency as other issues that threaten democracy.

Text: Lindsay Callaghan PEN SA. First published at the PenSA web.

PEN SA and PRAESA’s series of discussions on children’s literacy and literature have been made possible by funding from PEN International. If you are interested in hearing about future discussions please contact communications@pensouthafrica.co.za.

Photos: Carole Bloch, PRAESA.

 

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Visit to Nalibali reading club on Saturday January 23rd

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Swedish Minister for Culture and Democracy visited Nal’ibali reading club

January 25, 2016

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Lovely photos from Saturday when Alice Bah Kuhnke, Swedish Minister for Culture and Democracy, visited a Nal’ibali reading club in a township outside Cape Town. More info about this will come shortly.

The photos are taken by PRAESA’s staff.

Nominate to the 2017 award

January 25, 2016

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Today the nomination process to the 2017 Astrid Lindgren Memorial Award opens. All countries of the world are welcome to submit nominations, and to take the opportunity to present their children’s and young adult literature and their reading promotion activities.

To make its annual selection of interesting and innovative laureates whose works or activities are of the highest quality, the ALMA jury requires knowledge and information from all parts of the world. Nominating bodies with wide-ranging, in-depth knowledge of children’s and young adult literature or reading promotion activities at national or international level are therefore invited to nominate two candidates from their own country and two from other countries. The nominating bodies include international, national and regional organizations, children’s book institutes, organisations representing writers and illustrators, children’s sections and children’s literature centres at national libraries, research institutions, and NGOs.

Only nominating bodies approved by the jury have the right to nominate candidates. To you want to see the list of nominators in our country? Have a look here.

Each nominating body is allowed to nominate a maximum of four candidates: two candidates from the nominating body’s own country and two candidates from a different country.

The final day for submitting nominations is May 16, 2016.

Swedish Minister for Culture and Democracy to visit South Africa and PRAESA this week

January 20, 2016
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Alice Bah Kuhnke. Photo: Stefan Tell

Today Swedish Minister for Culture and Democracy Alice Bah Kuhnke begins a one week visit to South Africa. The purpose of the trip is that Sweden wants to strengthen the cultural exchange between the two countries by appointing a Counsellor for Cultural Affairs at the Swedish Embassy in Pretoria. The trip will include a visit to 2015 ALMA laureate PRAESA (the Project for the Study of Alternative Education in South Africa) headquartered in Cape Town.

– I see PRAESA’s work as immensely prominent, and their methods are well worth a depth study, says Alice Bah Kuhnke to Swedish Newspaper Dagens Nyheter. The Swedish culture that arouses most interest in South Africa is children’s culture, which is the main reason why I go to South Africa.

The minister’s visit also includes participation in a meeting arranged by PRAESA, SA PEN, SA IBBY and the Swedish Embassy. The focus will be on the failure of the South African school system and how to support children’s literacy learning and development. Issues of social justice, approaches to literacy teaching, the role of families and the importance of translations, publishing and access to appropriate books in African languages are topics to be discussed.

More about the South Africa visit later!

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A Reading Club meeting. Photo: PRAESA

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Nal’ibali is a network of reading clubs that uses media campaigns to encourage children to read and inspire parents, grandparents and teachers to read with them. Photo: PRAESA

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Photo: PRAESA

Need some inspiration? Things to think about when it comes to The Book of Everything

January 18, 2016
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Guus Kuijer. Photo: Stefan Tell

Started a new term and are in need of some inspiration? Have a look at our reading guides and get to know works by the ALMA laureates. They are meant to be used in book circles, in schools or just as inspiration for further reading, and written by members of the ALMA jury.

The Book of Everything is written by the Dutch author Guus Kuijer, who received the Astrid Lindgren Memorial Award in 2012. It is about nine year-old Thomas and is set in 1951, in the shadow of the Second World War. The main character was born in the same year as Kuijer himself. Thomas’ father is an authoritarian patriarch who demands absolute obedience from his wife and his children. His son is beaten for putting the tiniest foot wrong and when his wife attempts to defend him, she too is abused. They go to church on Sundays and the Bible is the only book his father will tolerate. After meals he reads aloud from the grim Old Testament story of the plagues of Egypt – which, when he is abusing him, Thomas hopes will be inflicted on his tyrannical father himself.

And so they are, in a sense. Here the book sometimes crosses the line into the fantastical. When the water in Thomas’ aquarium suddenly seems to have been transformed into blood, we understand that Thomas has poured red juice into the water. But when Thomas sees millions of frogs outside the house and then they start coming in through the letterbox, we don’t know what we are supposed to believe. Especially when even Thomas’ neighbour, “the witch” Mrs Van Amersfoort, has seen them too; it even seems to be her who conjured them up.

Mrs Van Amersfoort knows what is going on in Thomas’ home and helps him. She sometimes lets him listen to Beethoven – music he finds so beautiful that he suddenly floats up into the air in his armchair. Mrs Van Amersfoort was in the resistance during the war and hates brutal tyrants. Now she spearheads a women’s revolt against Thomas’ father. She writes a letter which Thomas places in his father’s Bible and when as a result of the letter he once more attempts to abuse his son, Thomas’ sister Margot suddenly puts a knife to his throat. The revolution has begun.

Despite its dark subject, the tone of the book is light and it is full of humour and poetry. Thomas dreams of being happy. The first step towards happiness is not being afraid, says Mrs Van Amersfoort, and this is exactly what Thomas learns as events unfold. The woman next door becomes his role model but he also receives a lot of help from the books she lends him – and which are a sharp contrast to his father’s strict Bible. She also teaches him to love literature which doesn’t mean anything at all, but just makes life worth living.

The perspective is always that of Thomas, who besides the frogs, also sees tropical fish in the canals of Amsterdam. He talks to Jesus from time to time. We also get to read the different thoughts and ideas that Thomas writes down in his diary “The book of everything”. It not only includes his experiences in the home and his love for Eliza, seven years older than him and disabled – he also loves words, especially ones that he doesn’t understand. Thomas’ obsession with language is demonstrated in the way the story is told, in an almost musical way; the author subtly repeats phrases and linguistic fragments, bringing them back and varying them like a theme in a piece of music.

Things to think about

The book begins with a conversation between Guus Kuijer himself and Thomas Klopper. What is the significance of this introduction? Would we have read the book differently without it?

Describe Thomas’ father. What values does he have, what does he think of books and music, what does he think of people?

The action takes place in 1951 and we get glimpses of the Second World War. What role does the war play in the story?

The boundaries between reality and imagination are crossed on several occasions. Can you give some examples?

Mrs Van Amersfoort is sometimes depicted as if she wasn’t actually real. Give examples.

In the first chapter Thomas says that he saw a hailstorm that blew all the leaves off the trees. What is the symbolic importance of this vision?

Jesus appears at various points in the story. What is it that triggers his visits? And what function do Thomas’ conversations with him have?

What picture do we get of Jesus? Try to describe him.

Jesus has similarities with at least some of the other people in the book. Which? And what are the similarities?

What picture does the book give us of God? What does Thomas think about God?

Which books does Mrs Van Amersfoort give Thomas?

Continue reading about things to think about here.

More about Guus Kuijer here.

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The Book of Everything (Allen & Unwin 2006)

Save the date for this year’s announcement!

January 12, 2016

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The announcement of the 2016 Astrid Lindgren Memorial Award (ALMA) will be opened by Ulrika Stuart Hamilton, Chair of the Swedish Arts Council, and Alice Bah Kuhnke, Minister for Culture and Democracy in Sweden. The press conference will take place at the National Library of Sweden, Stockholm on April 5th at 1:00 pm CET.

Jury Chairman Boel Westin will announce the laureate of 2016. The announcement will be followed by a presentation of the laureate by the jury.

ALMA rewards authors, illustrators, storytellers and reading promoting individuals and organisations. For this year’s award, 215 candidates from 59 countries are nominated. Check out the list of nominated candidates here!

 


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