The development of story books for early childhood

Before the founding of UNESCO in 1946 Japan was determined to raise its national literacy rate. As early as the 16th century the government resolved to eliminate the ignorance by publishing numerous farming and fishing newspapers for farmers and fishermen costing only 2 Yen. It upheld the UNESCO Preamble, which states “War starts in the minds of men. Therefore the defense of peace rests on education.” Ever since, this United Nations agency has attributed the solution of social problems specially the elimination of poverty through non-political advocacy of education, science and technology, social science, communications and culture. For this, Japan founded ACCU or the Asian Center for Culture for UNESCO (ACCU) in Tokyo.

Japan hosts training of children’s book writers

Way back in the ‘80s Japan hosted 18 Asian countries in an international workshop session on publishing children’s books. Then UNESCO Secretary General Pete Abella invited me to represent the Philippines. It was timely for I had just returned from Saigon where I taught in a primary school and high school. While working half-day at Telly Albert’s school class in San Lorenzo Village, Makati, I took up Children’s Literature at the graduate school of Philippine Women’s University.

Billeted in a typical “businessmen’s” hotel at Shibuya district of Tokyo we would be led daily by an ACCU guide to their office by shinkansen (subway) to listen to famous juvenile book authors and illustrators. A publisher of the famous Kodansha Publishing House taught us the business of book publication from the selection of writers and illustrators to the distribution mechanics in large bookshops as well as sidewalk newspaper stands. A variety of field trips allowed us to observe all these. It was fascinating to visit small neighborhoods where volunteer parents conducted story-telling sessions using a variety of storybooks given free by various publishing houses. What effectively triggered the young children’s love for books was the weekly publication of comic books for three- to four-year-olds and another series for five- to six-year-olds.

My most cherished possession from this trip is a facsimile of the complete set of the Osborne Collection of Early Children’s Books duplicated by Japan in cooperation with the Toronto Public Library Board during the International Year of the Child.

Newbery and Caldecott Awards drawn from the Osborne Collection

The John Newbery Medal, named after an 18th century English author and publisher was proposed by Frederic G. Melcher in 1921, making it the first children’s book award in the world. Together with the Caldecott Medal they are considered the two most notable awards for children’s literature in the United States.

Included in the Osborne Collection is John Newbery’s Goody Two-Shoes, 3”-5” booklet printed 1766; The Babes in the Wood by Randolph Caldecott (1880); Orbis Sensualium Pictus by Johann Comenius (1777); William Darton’s Death and Burial of Cock Robin (1806); Butterfly’s Ball and Grasshopper’s Feast by Will Roscoe (1807); Scripture Histories printed by F. Houlston & Son (1825); A New Years Gift by Thomas Bewick (1777); A Visit to the Bazaar printed for John Harris (1818); The Oceans and Its Inhabitants published by Darton and Clark (1844); The Traditional Faery Tales by Felix Summerly (1845); A Mournful Ditty of the Death of Fair Rosamond by Willian J. Thomas and published by Joseph Cundall (1845); Hop-O’ My-Thumb and the Seven-League Boots by George Cuikshank (1853); Sing-Song Nursery Rhyme by Christina G. Rossetti (1872); A Book of Nonsense by Edward Lear (1875); Under the Window by Kate Greenway (1878).

John Newberry-awarded books are for older children. These are the Westing Game, a murder mystery by Ellen Ruskin; The Giver, currently showing in moviehouses by Lois Lowry; The Tale of Despereaux by Kate DiCamillo; Hundred Penny Box by Sharon Bell Mathis; Annie and the Old One, a tale of an American-Indian girl by Miska Miles.

Randolph Caldecott awards were won by writers of young children’s books of nursery to primary school age. Among the recipients of the award are Nine Days to Christmas (in Mexico) by Aurora Labastida; Stranger in the Woods by Carl R. Sams II; One Fine Day by Nonny Hogrogian; Blueberries for Sal and Make Way for Ducklings both authored by Robert McCloskey; Have You Seen My Duckling by Nancy Tafuri; The Polar Express (made into a movie) by Chris Van Allsburg; Fables by Arnold Lobel. Then there is the recent Dale Carnegie Award won by Sharon Creech for the book Ruby Holler.

Philippine culture in the Adarna preschool story books

Storytelling is a wonderful pastime for children. Mga Kwento ni Lola Basyang (Stories Told by Grandma Basyang) is the best known stories narrated in Filipino ever since. Themes children love: family events, animals or plants and their care, land, water or air transportation, adventures, legends and fairytales. As a preschool teacher in the ’60s, I remember that storybooks were all imported costing P150 each.

In the 2016 Book Fair, now annually held in SMX, I bought a collection of beautifully illustrated Adarna storybooks. Adarna House Publication was founded in 1980 by Virgilio S. Almario, well known poet and literary critic. The first books were well illustrated and made use of newsprint: Istorya ni Dodong, Si Pilar Katerpilar, Ang Pag-ibig ni Mariang Makiling, Munting Patak-Ulan, Si Emang Enkantada at ang Tatlong Haragan, Digong Dilaw, Nang Magkakulay ang Nayon were written in Filipino. The last four titles are still in print.

Adarna books today have very glossy cover that stands the wear and tear of repetitious storytelling. Now written in both English and Filipino, they serve as primer books for first graders other than being read to young children who cannot read yet. Let me comment on the story line of these books.

Chenlyn, Chenelyn! (Rhandee Garletos, drawn by Liza Flores) narrates the typical chores we expect one housemaid, Chenelyn, must do daily at the bidding of the parents and children of the household. The cooking, laundering, housekeeping finally wear her down and gets sick. The family members are forced to do all the chores – not one person should be abused with housework, for the whole family must learn to sustain this responsibility.

Yaya Niya, Nanay Ko (Her Nanny, My Mother) by Ma. Corazon Remigio and illustrated by Asuncion Yambao. Reveals the usual paradox of a nursemaid who leaves her own child in the care of the grandma in a distant province, which she visits only once or twice in a year. Instead she acts as the nanay (mother) of Anne May from birth to five years old. Bathing and dressing her up, feeding, playing or watching TV, taking a walk is her full time job! I suggest to the author to add Ann May’s mother caring for her more. The story unrealistically showed her even sleeping with the yaya, giving the impression of a parentless child. The ideal helper should also show her how to do things independently.

Sipsip-Sipsip! (Slurping Soup) by Corazon Remigio and Illustrated by Rita Badilla. A charming comparison of the Filipino taste for food (butong pakwan, chicharon), and the Chinese manner of slurping a soup dish noisily. The Filipino girl loves crunchy food but grandma cautions her to acquire good manners by chewing silently, eating small bites of food with closed mouth. Her Chinese girl friend invites her to dine at her house with her grandmother. She learns that it’s alright to slurp noisily to indicate one’s pleasure to eat Chinese food.

Papel de Liha (Sandpaper) by Ompong Remigia and drawn by Beth Doctolero. This refers to the Filipino saying that a woman’s palm should be smooth not rough like sandpaper. The little daughter sees her mother do housekeeping, cooking, gardening and laundry constantly. Her aunt discourages her because her husband would prefer soft and smooth hands. Her daughter though sees that all her work makes her and her father happy and content. Her touch is not rough. It’s the touch of love.

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