Janet Evans - Challenging and Controversial Picturebooks: Creative and critical responses to visual texts
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Challenging and Controversial Picturebooks: Creative and critical responses to visual texts: summary, description and annotation
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It is often assumed that picturebooks are for very young readers because of their emphasis on the illustrations and their scarcity of text; however, there are increasing numbers of picturebooks where the age of the implied reader is questionable. These are picturebooks whose controversial subject matter and unconventional, often unsettling style of illustration challenge the reader, pushing them to question and probe deeper to understand what the book is about. In addition to the book challenging the reader, the reader often challenges the book in an attempt to understand what is being said.
These increasingly popular picturebooks work on many different levels; they are truly polysemic and worthy of in-depth analysis. They push the reader to ask questions and in many instances are intrinsically philosophical, often dealing with fundamental life issues.
Challenging and Controversial Picturebooks examines these unconventional, non-conformist picturebooks, considering what they are, their audience and their purpose. It also considers:
- Childrens and adults thoughts on these kinds of picturebooks.
- How challenging and unsettling wordless picturebooks can play with the mind and promote philosophical thought.
- What creates non-conformity and strangeness is it the illustrations and their style, the subject matter or a combination of both?
- Why certain countries create, promote and accept these picturebooks more than others.
- Why certain picturebooks are censored and what factors are in play when these decisions are made.
- The role of publishers in translating and publishing these picturebooks.
- Childrens creative and critical responses to strange, unsettling and often disturbing visual texts.
This inspiring and thought-provoking volume explores the work of a number of highly respected, international picturebook experts and includes an exclusive interview with the legendary Klaus Flugge, Managing Director of Andersen Press, one of the few remaining independent childrens book publishers in England.
It is an indispensable reference for all interested in or working with picturebooks, including researchers, students in higher and teacher education, English advisors/inspectors, literacy consultants and classroom teachers.
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First published 2015
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
2015 J. Evans
The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
Challenging and controversial picturebooks: creative and critical responses to
visual texts / edited by Janet Evans.
pages cm
1. Picture books for childrenEducational aspects. 2. Visual learning. I. Evans,
Janet, 1952
LB1044.9.P49C43 2015
372.133dc23
2014044961
ISBN: 978-1-138-79774-1 (hbk)
ISBN: 978-1-138-79777-2 (pbk)
ISBN: 978-1-315-75691-2 (ebk)
Typeset in Bembo
by Book Now Ltd, London
Acknowledgements are gratefully expressed for permission to use the following artwork:
Cover and two double-page spreads from Smoke by Anton Fortes and Joanna Concejo (2009). Permission given by OQO Publishers, Spain
One double-page spread from Hello Baby by Jenni Overend and Julie Vivas (1999). Permission given by Frances Lincoln Childrens Books, London
One image from Snowhite by Ana Juan (2001) . Permission given by Ana Juan
One image from Die Menschenfresserin by Valrie Dayre and Wolf Erlbruch (1996) . Permission given by Wolf Elbruch
One double-page spread from 1418: Une minute de silence nos arrire-grands-pres courageux by Thierry Dedieu (2014). Permission given by Editions du Seuil, France
One image from Hansel and Gretel by Jacob Grimm, Wilhelm Grimm and Anthony Browne (1995). Walker Books, London. Permission given by Anthony Browne
One double-page spread from Hansel and Gretel by Jacob Grimm, Wilhelm Grimm and Susanne Janssen (2007). Rostock, Germany. Permission given by Susanne Janssen
One image from La Barbe-bleue (2005) by Thierry Dedieu. Permission given by Editions du Seuil, France
One image from Capitan Omicidio by Charles Dickens and Fabian Negrin (2006). Permission given by Orecchio Acerbo, Italy
One double-page spread from The Story of the Little Mole who Knew It Was None of His Business by Werner Holzwarth and Wolf Erlbruch (1989). Koch, Neff and Oetinger & Co, Germany. Permission given by Wolf Erlbruch
Cover from Nu (Nude) (2009) by Sara. Permission given by Editions du Seuil
One single page from Duck, Death and the Tulip by Wolf Erlbruch (2008). Gecko Press, New Zealand. Permission given by Wolf Erlbruch
Cover from Ratten (Rats) by Wolf Erlbruch (2009). Jacoby and Stuart, Germany. Permission given by Wolf Erlbruch
Cover from Bornenes Bedemand (The Childrens Undertaker) by Oscar K and Dorte Karrebk (2008). Gyldendal Norsk Forlag, Copenhagen, Denmark. Permission given by Oscar K and Dorte Karrebk
Cover from Idiot by Oscar K and Dorte Karrebk (2009). Hst og Sn, Copenhagen, Denmark. Permission given by Oscar K and Dorte Karrebk
Double-page from Hamlet by Oscar K and Dorte Karrebk (2009). Dansklrerforeningens Forlag, Copenhagen, Denmark. Permission given by Oscar K and Dorte Karrebk
One image from Lejren (Camp) by Oscar K and Dorte Karrebk (2011). Hst og Sn, Copenhagen, Denmark. Permission given by Oscar K and Dorte Karrebk
Cover from Knokkelmandens Cirkus (Deaths Circus) by Oscar K and Dorte Karrebk (2014). Hst og Sn, Copenhagen, Denmark. Permission given by Oscar K and Dorte Karrebk
One image from La Barbe Bleue by Charles Perrault and Jean Claverie (1991). Editions Albin Michel, France. Permission given by Jean Claverie
One image from Ma Peau dne (2002) by Anne Ikhlef and Alan Gauthier. Editions du Seuil, France. Permission given by Alain Gauthier
One image from Little Red Riding Hood by Charles Perrault and Sarah Moon (1983). Permission given by The Creative Company, Mankato, Canada
Preliminary work on The Girl in Red image by Roberto Innocenti (1988). Reprinted by permission of The Creative Company, Mankato, MN 2012 Roberto Innocenti
One image from Snowhite by Ana Juan (2001). Permission given by Ana Juan
One image from Rotkppchen by Jacob Grimm, Wilhelm Grimm and Susanne Janssen (2001). Carl Hanser Verlag, Germany. Permission given by Susanne Janssen
One image from John Chatterton dtective by Yvan Pommaux (1993). LEcole des loisirs, France. Permission given by Yvan Pommaux
One image from Rdhatten og Ulven by Fam Ekman (1985) . Cappelen Damm, Norway. Permission given by Fam Ekman
Rood Rood Roodkapje by Edward van de Vendel and Isabelle Vandenabeele (2003). Uitg. De Eenhoorn, Belgium. Permission given by De Eenhoorn Publishers, Belgium
One image from Mon Chaperon Rouge (1998) by Anne Ikhlef and Alain Gauthier. Editions du Seuil, France. Permission given by Alain Gauthier
One double-page spread from Les Cubes by Batrice Poncelet (2003). Editions du Seuil, France. Permission given by Batrice Poncelet
One image from LOgresse en pleurs by Valrie Dayre and Wolf Erlbruch (2004). Editions Milan, France. Permission given by Wolf Elbruch
One image from Vous oubliez votre cheval by Christian Bruel and Pierre Wachs (1986). Le Sourire qui mord, France. Permission given by Christian Bruel
Cover, three images and two double-page spreads from De skve smil by Oscar K and Lilian Brgger (2008). Klematis, Denmark. Permission given by Oscar K
Cover and five double-page spreads from Krigen by Gro Dahle and Kaia Dahle Nyhus (2013). Cappelen Damm, Norway. Permission given by Gro Dahle
Cover, one double-page spread and one image from The Wolves in the Wall by Neil Gaiman and Dave McKean (2003). Bloomsbury Publishing, London. Permission given by Dave McKean
Cover and four images from The Tragical Comedy or Comical Tragedy of Mr. Punch by Neil Gaiman and Dave McKean (2006). Bloomsbury Publishing, London. Permission given by Dave McKean
One double-page spread from Pictures That Tick by Dave McKean (2009). Darkhorse, London. Permission given by Dave McKean
One image from The Day I Swapped My Dad for Two Goldfish by Neil Gaiman and Dave McKean (2005). Bloomsbury Publishing, London. Permission given by Dave McKean
One double-page spread from Crazy Hair by Neil Gaiman and Dave McKean (2015). Bloomsbury Publishing, London. Permission given by Dave McKean
One image from Hnsel e Gretel by Wilhelm Grimm, Jacob Grimm and Lorenzo Mattotti (2009). Permission given by Orecchio Acerbo, Italy
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