Mary Skarott is Research
Librarian, Children’s Literature at the National Library. Recently she has
curated an exhibition called "A child's war", which explores how children in New Zealand were affected by the
Great War (or World War One.)
The exhibition runs until 27 February, so if you
are in Wellington, do try and see it. You can read more about it here, and Mary has also written a fascinating blog post about the effect of WW1 on school prizes.
I asked Mary if she would answer some questions for me about her experience of putting the exhibition together, and I'm so glad she agreed because what she has to say is so interesting, especially her ideas about how writing about war for children has changed over the years. I'm looking forward to tracking down some of the books she mentions.
- A child's war contains a wide
variety of material (and even an opportunity for people to sit and do a spot of
knitting!) How did you decide what to put in the exhibition?
There are two main components to the
exhibition: the books that children read during wartime (focusing on those that
are actually about WWI), and an examination of how children in New Zealand were
affected by and involved in the war, both at school and at home. It is very interesting
to see how these two aspects intertwine: the content of the books is very much
a reflection of the patriotic fervour of the time.
Part of my job is to look after the Dorothy
Neal White Collection of pre-1940 children’s books, so I knew that there was a
wealth of material there to choose from, although narrowing it down to 16 books in display cases and 9 cover images
on the wall was certainly a difficult task. It was a matter of balancing
interesting written content with visual appeal. Some really interesting books
had to be discounted purely for aesthetic reasons. I particularly wanted
visitors to be able to see inside the books, so many of them are displayed
open. I also wanted to include material that was marketed for both boys and
girls. The book cover images include some striking examples of the use of
persuasive imagery.
It was the other component of the
exhibition that I found the more challenging in terms of selecting material.
After a lot of searching to identify potential items in the collections and a
lot of background reading some clear topics began to stand out for me. I
decided to select case items and images to go with four subjects that I felt
would effectively illustrate what children experienced during the war: military
cadets, patriotism in schools, fundraising and warwork, and the impact on
family life. Again, it was a matter of balancing text and images.
Large format photographs are a key part of
this section, and visitors have said how much they enjoy seeing the detail in
them such as the old buildings and people’s clothing and facial expressions.
Other items that begged to be included are the School Journals, Her Excellency’s knitting book, and
letters and drawings from two of Lieutenant-Colonel William Malone’s sons sent
to their father after his departure to the war.
- I really enjoyed looking at the selection of children’s books from the Dorothy Neal
White Collection that were published during World War I. What were some
of these that stood out for you?
First pick would have to be Elphinstone
Thorpe’s Nursery rhymes for fighting
times, with illustrations by G.A. Stevens (London: Everett, 1915).
Visitor’s jaws invariably drop when they see this one, open at her rewrite of Mary, Mary, quite contrary:
Belgian
Mary, quite contrary,
How
does your garden grow?
With
German shells and poisoned wells,
And
ruined folk all in a row.
I was also particularly taken with Munition Mary, by Brenda Girvin (London:
Humphrey Milford, Oxford University Press, 1918) because it is one of the few
stories written about a girl taking an active part in the war effort, beyond
knitting socks for the soldiers. Mary, who comes from a well-to-do London
family decides to seek work in a munitions factory.
Notable for its speed of production is Mrs
Belloc Lowndes’ Told in gallant deeds: a
child’s history of the war (London: James Nisbet & Co., 1914), which
gives accounts (very much from a British perspective) of battles fought during
the first months of the war. I wonder whether, when she started to write it,
she thought like many others that the war would be over by Christmas.
- You mentioned that the National Children’s
Collection holds a number of contemporary children's books about WWI. What are
some of the differences that you see in how children's writers today approach
the subject of WWI, compared to how they wrote about it 100 years ago?
Many of the children’s writers producing
books during WWI were motivated by the desire to promote the cause of the Empire,
and consequently imperial attitudes feature strongly in their writing. The adventure stories aimed at boys tended to paint a sanitised picture
of conditions at the Front, focusing on heroism and derring-do rather than pain
or death. There was unrelenting patriotism, and national stereotypes abounded.
In contrast, contemporary writers have
very different motives, and the approach looking back generally produces works
that are much less black and white and which recognise the complexities of war.
Some of the key differences are:
-Inclusion of the conscientious
objector’s viewpoint
-Acknowledging the devastating impact
of battle on soldiers at the front line (both physical and psychological)
-Acknowledging the enemy as human, not
as a national stereotype
-Taking a critical view of the
justification for the war, and poor leadership decisions
-The use of primary source material
such as diaries and letters
- In your job, you
must get to see lots of children's books about war that many of us have
forgotten about, or don't even know about. What do you think are some of the
little known treasures in the Library's collection?
Two more
WWI books that nearly made it into the exhibition:
Mary Grant
Bruce, From Billabong to London (London:
Ward Lock, 1915)
Mary Grant
Bruce, Captain Jim (London: Ward
Lock, 1919)
Mary
Treadgold, We couldn’t leave Dinah (London: Cape, 1941)
Winner of
the 1941 Carnegie Medal. Set on the Channel Islands during Nazi occupation.
Two of my
favourite sophisticated picture books. These are still on some public library
shelves, but are old enough that they may not be familiar to all:
Raymond
Briggs, The tin-pot foreign general and
the old iron woman (London: Hamish Hamilton, 1984) An allegorical treatment
of the Falkland Islands War.
Toshi
Maruki, Hiroshima no pika (New York:
Lothrop, Lee & Shepard, 1980)
A retelling
of a mother’s account of what happened to her family in the destruction of
Hiroshima by atomic bomb in 1945.
