Children's books in July: a review of the Russian State Children's Library
Text: Larisa Chetverikova/bibliogid.ru
Collage of the Year of Literature. RF
The St. Petersburg "Polyandria" has an important feature: it produces really new products. Her repertoire is, as a rule, the works of popular authors from Europe, Australia, Asia, and America published in Russian for the first time.
The publishing house tries to select the best samples of "intellectual literature for kids, primary school students and teenagers". Talented authors, who can see the world through the eyes of children and speak the same language with them, talk about “love and trust, loneliness and true friendship, compromise and strength of character.” All this, in addition, is "wrapped" in amusing stories, which are accompanied by highly professional illustrations. Recent books by Polyandria, addressed to children of preschool and primary school age, confirm the commitment of the publishing house to the stated principles.
Murphy, J. "Five Minutes of Peace"
“The children had breakfast. It was not the most pleasant sight.
Mom quietly took the tray, put on it a kettle, a milk jug, her favorite cup, a saucer with cake and toast, which she generously smeared with jam ... She put a newspaper in her dressing gown pocket and began to carefully make her way to the door.
Toddlers who listen to this story will undoubtedly be intrigued by the strange behavior of their mother, but parents will immediately guess what it is. And they will sympathize with the heroine, because her escape from three children is doomed to failure in advance. Yes, my mother managed to get to the bathroom, turn on the tap, fill the bath, pour a good half bottle of foam into it and blissfully relax in hot fragrant water. But then the eldest son came with a flute to demonstrate his musical successes (he played “Sleep, my joy, sleep” three and a half times), then the daughter appeared and demanded to listen to how she reads (under “Little Red Riding Hood” my mother napped a little), and soon the youngest arrived in time, but not empty-handed. "This is for you!" - he said and with a generous gesture threw all his toy treasures into the bath ...
Vital and funny (especially when viewed from the outside), the family scene does not lose anything from the fact that characters- elephants. On the contrary: such anthropomorphism arouses the curiosity of the little ones, captures their imagination. In pretty pachyderms, they are more interested in recognizing themselves, and the history of animals makes a greater impression than if "ordinary" children and parents participated in it.
The author of "Five Minutes of Peace" is the British writer and artist Jilly Murphy. We know her as the creator of the Worst Witch series. The first book in the series, which became very popular in the UK, appeared in 1974. In Russian, five books about the adventures of Mildred Hubble, an unlucky witch school student, were published by the Moscow Octopus in 2007. These are also author's books: both text and illustrations belong to Murphy, but black and white graphics"witch" books are noticeably inferior to the color drawings in "Five Minutes ...", made with great skill, cozy, imbued with warm humor.
Murphy's excellence as an illustrator is evidenced by his three nominations for the Kate Greenway Medal, which is known to go to the best British children's book artist. Murphy came closest to winning in 1994 when her book A Quiet Night In was shortlisted for the award.
"Five Minutes of Peace", published by "Polyandria" for the 30th anniversary of the book, was translated by Anna Remez. (Note that in the UK they also celebrated 25 years from the date of the first publication - a special, improved edition of the history so beloved by the British).
Knudsen, M. "Marilyn and her monster"
- St. Petersburg: Polyandria, 2016. - p. : ill.
Every child has imaginary friends one day, often making parents nervous. Adults accustomed to a logically built world do not understand what they are dealing with: with a violent childhood fantasy, an attempt to overcome loneliness generated by a lack of real communication? .. Or does an imaginary friend appear to help the child when there is no one else?
Perhaps both, and another, and the third, and many more different reasons. Marilyn, the heroine of Michelle Knudsen, needs her own monster to be "like everyone else", because she is the only one in the whole class who does not have a monster. Having broken the unwritten rule - to wait until your monster comes to you by itself, Marilyn goes in search.
This book is worth paying attention to. She will play their favorite game with the children and reassure parents: an imaginary friend is normal at a certain age. In addition, Matt Phelan painted the monsters so cute that no one will now be afraid to go into a dark room. And another important reason: in 2007, the book illustrated by this artist (The Power of Luck by Susan Patron) was awarded the John Newbery Medal. Since 1922, this annual literary award has been presented by the United States Children's Library Services Association for outstanding contributions to American children's literature.
"Marilyn and her monster" was also translated by Anna Remez.
Daywalt, D. "The Day the Crayons Came Home"
- St. Petersburg: Polyandria, 2016. - p. : ill.
The authors of this book are American Drew Daywalt and a graduate of the Irish Ulster College of Art Oliver Jeffries. From this duet, we know the talented, original-minded artist Oliver Jeffreys. His books - completely authored or only designed by him - are published by Scooter, Phantom Press and Polyandria. But if the first two publishing houses published a total of three stories for teenagers, with rare black-and-white drawings, then Polyandria already has six colorful books for preschoolers. Jeffreys has been repeatedly nominated for the Kate Greenaway Medal, and Polyandria has published three contender books: Lost and Found (2013), Crayons Strike (2014) and Road Home (2015). Continuation of the fabulous story about colorful drawing supplies - "The Day the Crayons Came Home" - 2016 nominee.
The idea of both books about crayons belongs to the American Drew Daywalt, who first became famous as the creator of horror films, and then - cartoons about the new adventures of Timon and Pumbaa, Simba's friends from The Lion King, and the most famous woodpecker in the world, Woody Woodpecker. And the animated series The Naughty World of Tex Avery, based on a script by Daywalt, won an Emmy Award, which is considered the television equivalent of the Oscars. No wonder Daywalt's books are so "cinematic"; in essence, they resemble a carefully crafted (and with the help of Jeffreys, traced) script of a famously twisted story.
Books about crayons were enthusiastically received by readers in many countries of the world. In Russia, the success of the first book was more modest. However, Polyandria also published a second book, because not only their design is remarkable, but also the idea itself, which lies in the fact that every crayon/pencil/person is important and necessary. Without it, the Universe will become poorer in colors, emotions, thoughts.
Books about crayons, which became world bestsellers, were published by Polyandria in translations by N. N. Vlasova.
Light, S. "Have You Seen My Dragon?"
- St. Petersburg: Polyandria, 2016. - p. : ill.
Steven Light is an American, and in his book, New York comes to life, more precisely, Manhattan. There are many Manhattan sights of various scales here: from a smug skyscraper and a luxurious gothic “long-term construction” - the Cathedral of St. John the Evangelist, which has been in the forests for more than a century, to an old water tower with funny rivets on rusty sides. However, the author did not come up with a hand-drawn guide for tourists of preschool age.
His intention, much deeper and more interesting, becomes clear from the dedication, in which Light mentions his little friends, Olive and Ivy: "May the city always be a great playground for you."
This book can be played for a long time and in different ways. "Have you seen my dragon?" - this is a picture book, and a coloring book, and a "walker-finder" (the route of the hero's journey is on the flyleaf). But still, this is secondary, because in fact the author, the hero and the reader who has joined them are playing mathematics.
The way and means by which Stephen Light teaches babies to isolate from environment identical objects and count to twenty, attracted the attention of experts from the Mathical Book Prize, established in 2015 by the Mathematical Sciences Research Institute and the Children's Book Council. The award is intended to promote the emergence of books that awaken in children - from toddlers to teenagers - curiosity about the world and educate the desire to explore it through mathematics. "Have you seen my dragon?" became the first winner of the "Mathical" award in the category of books for preschoolers, or rather, for kids 2-4 years old.
Stephen Light also has a book, Have You Seen My Monster?, in which he invites you to play geometry. The child will get an idea of twenty geometric shapes: a square, a triangle, an ellipse ... We hope that Polyandria will release it soon.
For reference. The Mathematical Sciences Research Institute (MSRI) was founded in 1982 by three professors at the University of California, Berkeley. It is also known as the Berkeley Mathematical Institute after its location. The activity of the Institute is devoted to fundamental research in the field of mathematics. MSRI is one of the most respected research centers in the world.
The Children's Book Council (CBC) is an association of publishers of books for children. Created in 1946 to support book publishing and encourage children's reading. The organization is headquartered in New York.
The Moscow publishing house "Mann, Ivanov and Ferber" adheres to the same policy - to publish recently appeared books by domestic and foreign authors. It is primarily educational literature.
Zisk, S. “Magic Flowers. My herbarium»
- Moscow: Mann, Ivanov and Ferber, 2016. - 79 p. : ill.
Another book of "MYTH" is addressed to young researchers of nature. The edition is bright, enlarged, its dense sheets are held together by a spring.
The name "Magic Flowers" may seem frivolous, but this is a thoughtful, completely trustworthy book. By following Stephanie Zisk's guidelines for finding, identifying, collecting and drying plants, your child will be able to create a small but scientifically well-designed herbarium. You can store dry plants directly in the book: stick it on specially designed pages, protected by a sheet of transparent tracing paper. At the bottom of each such page there are lines to fill out: “Where it was found ...”, “When it was found ...”, “What guests were on the plant ...”. Pasting the samples, the child will certainly pay attention to these important details. Cisk offers garden flowers as collectibles - they are easy to find, and there is no damage to nature. And so that the young naturalist does not lose interest in his occupation, Zisk shows what wonderful flower boxes, mobiles, candles, napkins, lanterns and so on can be made if you show at least a little imagination.
Stephanie Zisk was assisted by artist Lars Baus. Without his beautiful, clear, visual drawings, "Magic Flowers" would not be so fascinating, useful and "versatile" - at the same time a guide atlas, a diary for recording observations, a collection of creative tasks and a folder for storing a herbarium.
“Magic Flowers” was translated from German by Natalia Kushnir.
Dronova, K. "Mom, give me an apron!"
- Moscow: Mann, Ivanov and Ferber, 2016. - 87 p. : ill.
Another book that can bring a lot of benefits to both children and their parents: for the first it will provide exciting and useful leisure, and for the second - just leisure, although not immediately: while the child is learning to cook, his communication with knives and a hot stove should be supervised adults.
The collection of "recipes for independent children" released by "MYTH" is one of the very few truly children's cookbooks. Few, because the easy-to-prepare dishes and the title "my little friend" mean nothing. A recipe for a child is absolute clarity of presentation, a clear sequence and simplicity of actions. And also - explanations, hints, tips, all sorts of reminders and enough free space on the pages (not counting the extra blank sheets at the end of the book) so that a novice cook can make his own notes. Pictures should also be informative, complement the text. Journalist and mother of a budding eight-year-old culinary specialist Katerina Dronova wrote just such a book, and Maria Larina, an illustrator and designer, turned the manuscript into a beautiful, stylishly designed work of printing art.
“Mom, give me an apron!” consists of four large "recipe" chapters, one small one containing recipes for ultra-fast food, and a very interesting chapter "For inspiration", which clearly shows that cooking is by no means boring and not at all intimate. In the "Open" section, the author suggests looking at some culinary sites, as well as "View" - films and cartoons, "Go" - to the food festival and "Read" - for example, Robert Wolke's book "What Einstein Told His Chef".
And here's something else. The vast majority of the recipes that Katerina Dronova has collected in her book are savory. Of course, there are also desserts, but they are based on berries and fruits, and only occasionally - chocolate. If the child starts cooking according to the book “Mom, give me an apron!”, Parents don’t have to worry about healthy eating his child.
Many publishing houses release not only new books, but also updated ones, that is, in a new edition, new translations, with original illustrations. The Moscow "CompassGuide" among others published just such a book.
Mikheeva, T. "Light Mountains"
- Moscow: CompassGuide, 2016. - 176 p. : ill.
In 2010, Tamara Mikheeva's story "Light Mountains" received an honorable mention at the Sergei Mikhalkov competition, and in 2012 it was first published by the Meshcheryakov Publishing House with illustrations by Vasily Ermolaev. At one time, the Bibliogide analyzed this book in some detail (see: Tamara Mikheeva, Light Mountains), so we will not repeat what has already been said. We only note that the work of a modern author, which raises such an important topic, deserves the increased attention of publishers and readers.
CompassGuide subjected the story to minor editorial revisions, and the main news is the illustrations by Maria Pasternak.
The Moscow "NIGMA" also produces a lot of reprints, but it always knows how to offer something new: either translation, or drawings, or both at the same time. These books are proof of that.
Boussenard, L. "The Adventures of Ballooners"
- Moscow: NIGMA, 2016. - 303 p. : ill. - (Land of adventure).
Louis Henri Bussenard (1847–1910) is one of the classics of adventure literature, whose name is on a par with the names of Thomas Mine Reed, Jules Verne, Maurice Leblanc, Arthur Conan Doyle. At one time, Boussinard was extremely popular at home, and in Russia his novels were translated immediately after their publication in France. In 1911, a collection of works by Boussinard in 40 volumes was published in St. Petersburg. However, time was not kind to the writer: in France he was forgotten in the middle of the 20th century, but with us he lasted a little longer. But even the 30-volume collection of works published by Ladomir in 1991-2001 (at the height of the book boom), although it pleased fans of the genre and book lovers, did not save the situation. Today, in the memory of the mass reader, only "Captain Break the Head" and the "junk" "Diamond Thieves" respond to the name of Boussinard.
And suddenly "NIGMA" publishes "Adventures of aeronauts". Publishes in the "Adventureland" series, which means an enlarged format, embossed cover, ribbon, coated paper and numerous color illustrations. Moreover, I. Izmailov's translation is new. Was it worth the effort? Undoubtedly. Firstly, the fans of the classic adventure novel mentioned above will be happy, and there are not so few of them. Secondly, this work of Boussenard has not yet been published as a separate edition. But, perhaps, the main reason is different: this novel, written in 1908, with its set of clichés and an abundance of enchanting events, today can be read as a parody - both of the adventure novel as such, and, which is especially surprising, of our modernity. Either way, it won't be boring.
And the illustrations of Oleg Pakhomov will contribute to this. The young artist, slightly imitating the style of Igor Oleinikov, tried to show the world of the near future, as Louis Boussenard saw it. The term "retrofuturism" appeared much later than the novel, but it is quite suitable for both the drawings and the "Adventures of the Ballooners" itself.
Carroll, L. "Alice's Adventures in Wonderland"
- Moscow: NIGMA, 2016. - 199 p. : ill.
So much has already been written about Lewis Carroll and his ironic, absurd, funny, fascinating and so on that there is nothing to add to this. About the brilliant retelling of Boris Zakhoder, who recreated the English "Alice" by means of another language and in another time, too. And about the artist Gennady Kalinovsky, who was able to "sharply feel the specifics<…>text, its tempo and timbre”, can be read, for example, here. We will simply say about the book "NIGMA": this is the best modern incarnation of "Alice in Wonderland" and an almost exact copy of the book published in 1974 by the Moscow "Children's Literature".
The absence of a fabric spine does not detract from the merits of the publication, they are so significant: delicate embossing with colored foil on the cover, a ribbon to match the embossing color, in addition, a larger and, accordingly, “readable” font, dense white offset and, finally, excellent print quality. As they say, this book is able to decorate any collection.
Two more books of NIGMA are valuable not so much for their well-known texts, but, first of all, for their illustrations.
Andersen, H. K. "Thumbelina"
- Moscow: NIGMA, 2016. - 47 p. : ill.
“An amazing and romantic story about a tiny girl who appeared from a flower bud”, NIGMA published in the classic translation of Anna Ganzen. But the drawings by Sergey Kovalenkov and Elena Trofimova are published for the first time. This does not mean that the named artists are newcomers. Against. It’s just that the illustrations for Thumbelina, created by them in 1993, have lain unpublished in the archive to this day.
The drawings by Kovalenkov and Trofimova are an attempt at a philosophical reading of the fairy tale: “...the illustrators decided to show the story of the maturing Thumbelina, who is destined to go through the most serious trials. The open free space of the sheet in which the action takes place creates a special artistic atmosphere characteristic of the works of these masters,” notes Lidia Stepanovna Kudryavtseva in her book “Hans Christian Andersen and his Russian illustrators for a century and a half” (M .: Moscow textbooks, 2012 ). L. Kudryavtseva also cites the words of Boris Diodorov about these drawings: "There is freshness, wind, spaciousness, light." And another original artist, Leonid Tishkov, gave a more detailed definition of the work of Kovalenkov, who played the first violin in a creative duet: “The ability to build space on a page, to present a spread of a book as an endlessness, populating it with a multitude of things, is one of the main virtues of the artist.<…>Draw a picture: a little man wanders through a flowering field. Later<…>put on the page so that we understand how lonely this little man is in the Universe, what a bottomless world around him and what light fills him.
"The Fox and the Crane"
- Moscow: NIGMA, 2016. - 20 p. : ill.
This collection includes four Russian folk tales in the processing of Alexei Nikolaevich Tolstoy: "The Fox and the Crane", "The Crane and the Heron", "The Fox and the Hare", "Crooked Duck". Illustrations - Vera Pavlova. As with the previous book, published for the first time. The artist designed a total of about seventy books, and saw the light of day - less than twenty. Even prestigious international awards - the Gold Medal at the International Biennale in Bratislava for a series of illustrations for the collection of fairy tales by Alexei Remizov "Salting" (2001) and the IBBY Honorary Diploma for drawings for "Sleepy Trams" by Osip Mandelstam (2014) - did not greatly affect the situation. Therefore, one can only rejoice at the small collection "The Fox and the Crane", which is of very high quality in terms of printing. And hope that NIGMA will continue to publish books with illustrations by the incomparable Vera Pavlova.
You know the feeling when you come to a beautiful cafe and buy an incredibly beautiful cake, and then, sitting at a table, enjoy the moment, biting off small pieces, and thinking: "How cool! I wish this moment lasted longer!" ?
But to eat delicious and beautiful pies endlessly, alas, is impossible.
But you can read incredibly beautiful and kind books that evoke the same emotions, hooray!
For us with the Little Prince such a "pie", in Lately became the book "Marilyn and her monster". We somehow fell in love with her at first sight, and this love does not let us go now. V this moment we read Marilyn so often that I think there will be a hole in the book soon.
First of all, this book is simply amazing! And all thanks to the gentle and sweet illustrations of Matt Phelan. His monsters are so thin and airy that they look more like pasta and cotton candy than scary monsters. At the same time, he perfectly manages to convey the emotions of the characters, and, thanks to this, the book turned out to be very alive.
Secondly, the story itself, told by Michelle Knudsen, is also excellent. Every child needs a friend, right? In Marilyn's world, monsters become the closest friends. Monsters themselves find those to whom they are intended. After all, all children need different monsters: some are big and plush, on which it’s great to lie down and read books, some are thin and mobile: it’s great to play anything with them, for some ... In general, it comes to everyone the very monster that he needs.
But Marilyn has no monster. She is waiting for him and waiting, but the monster does not appear. And then she decides to break all conceivable rules, and goes in search of the monster herself. And how timely! After all, it turns out that Marilyn's monster just needs her help!
The book is beautifully written. The language is light and engaging, and main character conquers from the first pages, at first with her restraint: being left without a monster, she is not capricious and does not throw tantrums with cries of "I want", and then - with her courage and determination. It's not so easy to break for real important rules when you have already learned to realize their seriousness! And yet, sometimes you should not sit idly by! Who knows, maybe life will change dramatically if you get up and just leave the house?
You know, the book, of course, is for children, but it seems to me that it would not be superfluous for adults to open a book about Marilyn and feel: "Happiness is very close! Everything is in your hands! The main thing is not to be afraid!"
This is our April HIT! My daughter has love at first sight, for three evenings in a row we read only about Marilyn and her monster, and many other monsters))) And then for a long time we came up with a monster for the beetle, fantasized what she would do with him and how she would do with him live.
A phrase stuck in my memory that you need to fight your fears, you need to defeat them, probably, that’s how I was taught in childhood. But with my child, I have a completely different point of view, and a different approach to working with fears: we learn to coexist with them in a comfortable environment, manage them and sometimes even play with them. I have long noticed that some parents go into a frenzy, protecting their children from terrible and dark stories, pictures, and life situations which, in the opinion of an adult, can frighten a child. Thus, they project their attitudes into a reaction, transfer their fears into the life of their child. And the child’s perception is completely different, and the reaction to this or that situation is unpredictable even by parents. But I will not talk about this topic for a long time, because after all it is very individual, and in no way do I condemn a position that differs from mine. We're just trying to work with fears differently. And books like this help a lot.
Marina Aromshtam spoke very well and sensibly about this book and about fears. I agree with every word.
Well, now about the book itself: what wonderful monsters are depicted in it, a feast for the eyes! They are not scary or intimidating at all. Of course, at the age of 2 or even 3, I think the story and illustrations will not be understood by the child, and they can still frighten to some extent, but closer to 5-6, I'm sure the book will become one of my favorites. The point is that each child has his own monster, with whom he plays, sleeps, studies and goes to school, eats, rides a bicycle ... This is a personal friend, only yours, and it is different for everyone. I perceived each monster from this book as a visual reflection of the soul of a child, a person, and even thought about how my monster looks like?))) I definitely had one as a child, I talked to him, collected bouquets for my mother, filled pockets with colored stones, fell asleep ... It was definitely always with me, and I trusted him with my secrets. But her monster does not come to Marilyn, which makes her sad and lonely, and I understand her)))
And now, without waiting for her friend, Marilyn goes in search of him on her own. I really like how Marilyn's parents are serious about the existence of that very monster. Of course, this image of "European" all-understanding parents is somewhat far from "our" realities in this particular context, and we are often skeptical about alien literature that fills our children's heads with God knows what, but in this case I strongly share their position, and I they like)))
In general, I didn’t even have doubts about buying this book, since the first acquaintance with Michelle Knudsen was simply amazing, and you can probably guess why? That's right, Leo in the library. In my opinion, will not leave anyone indifferent.
But back to the book about Marilyn. It is interesting to watch how the guys, Marilyn's friends, find their monsters.
Key point: it's scary not to be near a monster, it's scary to live without it!)))
And so, when Marilyn stopped waiting, stopped looking at others, she realized that it was necessary to look for her friend herself, on her own. And she went looking.
And, lo and behold, of course, Marilyn finds her monster! After all, the seeker always finds;)
I was fascinated by this wonderful girl, and even more by her amazing monster)))
A good message of the book, although it reaches the child with the help of such unusual creatures: look for YOUR!
Knudsen
I
Knudsen
Christian Holterman (15/07/1845 - 21/04/1929), leader of the workers' socialist movement in Norway. A printer by profession. In 1887 he was one of the founders of the Norwegian Workers' Party (NLP), in 1887-1918 a member of its Central Board. He fought against the nationalist right-wing deviation in the CHP. In 1906-15 he was a member of the Storting from the IRP. In 1909-18, the chairman of the IRP, spoke from an opportunist position. From 1918 he did not play an active political role. Martin Hans Christian (February 15, 1871, Hansmark, Funen, - May 27, 1949), Danish physicist and oceanographer, member (1909) and secretary (1917-46) of the Danish Academy of Sciences. He graduated from the University of Copenhagen (1906), professor there (1912-41; in 1927-1928 - rector). One of the founders International Council on the study of the seas (1899). The president International Association physical oceanography (1930-36). K. belongs to the works on the kinetic theory of gases. He showed experimentally and theoretically that low pressures there is a deviation from Poiseuille's law a, in particular, molecular flow takes place. He also studied the thermal conductivity of rarefied gases, the radiometric effect, etc. He invented a precision manometer. He proposed a number of physical and chemical methods for studying sea water, invented a bathometer, an automatic pipette for determining the salinity of water, and other devices. He established the constancy of the ratio of the components of the salt composition, developed a method for determining the amount of chlorine in sea water and calculating its salinity from the content of chlorine in it. Cit.: The kinetic theory of gases, L., 1934; Hydrographische Tabellen, Kopenhagen, 1901.
Michelle
(Michel)
Louise (May 29, 1830, Vroncourt - January 10, 1905, Marseille), French revolutionary, writer. Originally a teacher in a rural school, from 1856 she taught in the schools of Paris. She attended revolutionary circles and was closely associated with the Blanquists. Participated in the uprisings of October 31, 1870 and January 22, 1871 against the treacherous policy of the "Government of National Defense". An active participant in the Paris Commune of 1871. After the entry of the Versailles troops into Paris, she fought heroically on the barricades. After the fall of the Commune, she was arrested and court-martialed (at which she boldly defended the ideas of the Commune). In 1873 she was exiled to New Caledonia; opened a school in Noumea; taught literacy to children of indigenous people (Kanaks). After the amnesty of 1880 she returned to France. Participated in the labor movement. She promoted the ideas of the anarchists, was a supporter of P. A. Kropotkin a. In 1883 she was arrested for participating in a demonstration of the Parisian unemployed, in 1886 she was amnestied. In 1890-95 she lived in exile in London. V last years Rus was interested in life. revolutionary movement; welcomed the revolution that had begun in Russia. M. - the author of poetic works, novels, plays. Lyrics M., formed under the strong influence of the poetry of V. Hugo, is imbued with love of freedom. Her novels (“Poverty”, 1882-83, co-authored with J. Guetre, Russian translation 1960; “Despised”, 1882, in the same co-authorship; “ New world”, 1888, etc.) continued the progressive traditions of romanticism (E. Xu, J. Sand, V. Hugo). V works of art M. castigated the principles of bourgeois morality, the bourgeois family, advocated the emancipation of women, Op.: CEuvres posthumes, v. 1, P., 1905; Memoires, v. 1, P., 1886; A travers la vie, poésies, P., 1894; in Russian per. - Commune, M. - L., 1926. Lit.: Neustroeva O., Life of L. Michel, M. - L., 1929; Lurie A. Ya., Portraits of the leaders of the Paris Commune, M., 1956, p. 285-318; Danilin Yu. G., Poets of the Paris Commune, M., 1966; Planche F., La vie ardente et intrépide de L. Michel, P., . A. I. Molok.
Other books on similar topics:
| author | Book | Description | Year | Price | book type |
|---|---|---|---|---|---|
| Knudsen Michel | A new story from Michelle Knudsen - author of The Lion in the Library! Every child should have their own monster. The monsters themselves find the children. It just so happened. But the monster does not come to Marilyn. Well, where is it ... - @Polyandria, @ @ @ @ | 2016 | 1092 | paper book | |
| Michelle Knudsen |
Dinosaurs, dragons, transformer robots, "just monsters" of all kinds and different origins are an integral part of modern children's subculture. Both the fact that they are scary, and the fact that plots related to monsters tell not so much about their “overcoming”, but about their taming, taming, are the most important signs of our time.
After all, what are the monsters that have populated children's literature in abundance? This is a kind of legalization of that part of children's life, about which adults did not want to know anything for a long time. This is a symptom of the transformation of the image of childhood with which we lived a couple of decades ago, sharing the delusions of the 18th century enlighteners about a child as a blank sheet of paper. I note that a sheet of paper is not just “clean”. The sheet of paper is also flat. Another common metaphor for the child was wax: they say, we sculpt what we want. Behind such goodness is also a frank desire to manipulate. Does the baby wax? And how recklessly can you mold “whatever you want” out of it?
But if the baby don't wax and don't clear sheet, if this creature is "voluminous" and has "material resistance", then you need to muster up the courage to deal with the monsters of the children's world.
Consistently this "motive" is developed only in translated books. And there seems to be no shortage of variation. There are books about how children tame monsters that represent their fears. There are books that teach to laugh at monsters, that is, fears. There are books in which monsters live a "human" life, and this opens up the reader the opportunity to "negotiate" with them.
But the authors of the book about the girl Marilyn upset all possible expectations. Here monsters perform some completely different role. It turns out that every child has his own monster. More precisely, it should be. The Beast is a cross between a pet, a magical protector, and a playmate. All individual monsters are completely different and seem to refer to the well-known psychological test “draw a non-existent animal”, by which you can understand a lot about the author of the drawing. Each monster is, as it were, an integral part of the child himself, his second “I”, taken out, confidently occupying a place in space and even possessing the magical qualities of invulnerability (at least, many monsters are quite “voluminous” and endowed with well-identifiable protective means like fangs and claws).
The monster must be "acquired" - and after that it cannot go anywhere. The acquisition is usually unpredictable and always happens unexpectedly: a monster appeared to Timmy on a history test, Franklin met his in the library, Rebecca - when she was riding a bicycle, and Lenny - when she was running away from hooligans. At first glance, monsters appear in a variety of situations, but apparently these situations are associated with immersion in oneself or self-mobilization. This is something like an inner revelation: you open your eyes in the morning - "and here it is, your monster, right in front of your nose."
But nothing like this happens to the heroine of the book, Marilyn, and she really suffers due to the absence of her own monster. For some reason, she does not manage to give her individuality a pronounced form. Either she tries to be a very good girl, or a very bad one. But this is all “external paraphernalia”. And these external efforts lead nowhere. In her case, attempts to do “like everyone else” do not lead to success. And, apparently, you need to do NOT like everyone else, but as you feel, as you see fit. This requires determination and will. Only such a strategy allows Marilyn to achieve the desired result - to find her monster. In Marilyn's case, it's not the monster who finds her, but she finds her monster herself. And let her mischievous brother grumble that "this is not done." Marilyn now knows "what is different."
There are no rigid recipes that allow you to come to yourself, to discover something important in yourself. Every time a person (child) is looking for his own way.
Of course, this metaphorical layer in its rational expression eludes not only a child of four, but, most likely, a child of seven. For a small reader, this is something like a “everyday story”, in which interestingly drawn monsters act along with children. And this is almost true: there, it turns out, it can be interesting in life!
That is, this is exactly what is true: look how, it turns out, everything is arranged in an interesting way!
Marina Aromshtam
________________________________
Michelle Knudsen "Marilyn and her monster"
Loading...