Children’s Literature, Carrie Hintz (2019)

Review of: Children’s Literature, Carrie Hintz (2019) Abingdon, Oxford and New York: Routledge, 188 pp., ISBN 978-1-13866-794-5, h/bk, $143.20 ISBN 978-1-13866-795-2, p/bk, $29.99 ISBN 978-1-31561-883-8, e-book, $21.59

Ghosts, murder and mutation: The portrayal of pandemics in children’s and YA fiction

The coronavirus pandemic has stimulated a number of texts, which are aimed at helping children to cope with situations alien to them. For example, the picture book Staying Home by Sally Nichols and Vivienne Schwarz (2020) deals with the conditions of lockdown and family isolation, whilst Piperpotamus by Annis Watts endeavours to explain COVID-19. This pandemic is not the only such event in history. The Black Death swept across Europe (1347–51) followed by the Spanish flu pandemic (1918–20). Both of these have stimulated historical fiction for older children and Young Adults and have done so by employing differing literary approaches. For instance, Cat Winters’ In the Shadow of Blackbirds (2013) incorporates a ghost story set against the contexts of séances and spirit photographers as the bereaved hope to gain comfort, whilst Charles Todd’s An Unmarked Grave (2012) is a murder mystery. Dystopian science fiction has also been employed to examine the equivalent circumstances of such pandemics. The plague in Gone (2008–14) by Michael Grant follows a nuclear disaster, which has produced a world where only those under fifteen have survived beneath a dome created by a young autistic child at the point of the explosion. Unforeseen forces have erupted resulting in mutation where individuals have supernatural powers taking them into a posthuman state. Their world is later blighted by plague and the children have to deal with remaking their lives and their society without the help of adults. This article will consider the various ways that such texts have approached these world-changing disasters and the common themes, which emerge to give our current generation of children ways of thinking about their present and their future.

Greenvoe: George Mackay Brown’s island redemption

George Mackay Brown’s poetry and prose in relation to Orcadian history and landscape.

Slow Storytelling and hybridity: Re-staging community storytelling as a tool for co-thinking

Since the early 2000s social media has transformed the internet into a site for the exchange of stories through the mass democratization of publishing. And yet, new forms of digital and online storytelling have at the same time compromised one of the core functions of storytelling, namely its social aspect, the ability to build community when two or more people share stories in the same space, at the same time, breathing the same air. Somewhat ironically the advent of social media may have broadened the audience for any one person’s storytelling, whilst diminishing the social intimacy of the storytelling experience. As part of its research work into storytelling as a means of engaging people in the public debate around environment, the Storytelling Academy at Loughborough University has been developing new forms and processes of digital storytelling to promote wider engagement and dissemination of environmentally driven personal stories. ‘The Reasons’, first staged in Cambridgeshire in 2016, was an attempt to create a live, community social event that provided a public forum for storytelling as a way of debating issues around drought and water governance in the Fens. Inspired by a re-staging of La Rasgioni in Sardinia in 2015, a traditional form of conflict resolution, whereby a ‘mock’ court provides the means for the community to publicly tell its stories to each other, ‘The Reasons’ was co-designed for the Fenland context and was performed twice in 2016. It was then further adapted for use in the Korogocho slum in Nairobi for an event to discuss the issue of waste management with members of the local community, as part of an initiative with UN Live. ‘The Reasons’ is an attempt to bring together the advantages of digital storytelling as a reflective process with the social intimacy of the live storytelling event. The result is a new form of hybrid storytelling that seeks to build community and establish co-thinking processes to build resilience to environmental change. This article reflects critically upon the development and evolution of this work over the past five years.

Platformized book prosumption on Wattpad: Reading and writing in the case of a pandemic diary

This article investigates how readers and writers engage on the Wattpad platform. As examples of the digitalization of book culture, platforms such as Wattpad allow converging practices of reading and writing by means of collaborative community actions of prosumption in a data-driven environment of communication and cultural exchange. Following the concepts of prosumption, communities of practice and the platformization of media cultural production, I refer to Wattpad’s converging practices of reading and writing as ‘platformized book prosumption’. To understand how platformized book prosumption works on the Wattpad platform, I will analyse the reading and writing of the most frequently read COVID-19 online diary as a case study. In doing so, I will discuss the mutual relationship between author reflection and community engagement in social reading and writing on the Wattpad platform.

Interview between Elaine Gold and Mark Turin

This interview between the Director of the Canadian Language Museum, Elaine Gold, and Board Member Mark Turin explores the history and goals of a small museum that achieves national reach through travelling exhibits dedicated to an intangible subject matter – language.

Experiments in sandscaping: Liminal entanglements on the Norfolk and South Holland Coast

This hybrid creative-critical article explores how new ways of living beyond the current environmental crisis are forged on two sandscaping schemes that have been constructed as new experimental measures against coastal erosion. The Zandmotor, created in 2011, is an artificial peninsula built out of sand on the coast of South Holland. The success of this project inspired a similar sandscaping scheme at Bacton on the coast of Norfolk, constructed in 2019. The strange liminal landscapes that are the result of these projects are not just symbols of adaptive, nature-based water management in times of rising sea levels, they also become time machines, making fossils of different times emerge out of the sand taken from the seabed of the North Sea. In addition, the sandscapes are symbols of the artificialization of the coastal landscape, given the fact that sand suppletions disrupt not only life on the beach, but also destroy much bottom-dwelling life on the seabed from which the sand is harvested. However, these unique liminal landscapes between land and sea also create new ecological opportunities. At the Zandmotor, for example, rare bristle worms and Baltic clams have made their unexpected appearance. Moreover, the sandscape invites people not just to look for fossilized mammoth teeth, but also inspires them to create sense-altering art projects specifically adapted to the unique conditions in the area. In this article, I trace these various significances of both sandscaping schemes and argue that they cannot be reduced to any of these different meanings. Instead, I describe the Zandmotor as an example of Donna Haraway’s idea of ‘staying with the trouble’ (2016: 4) and Anna Lowenhaupt Tsing’s concept of ‘contaminated diversity’ (2015: 30). For although enormous amounts of animal and plant life have been destroyed for the creation of the Zandmotor, this does not discredit the fact that this new liminal environment has opened up new ecological opportunities for multispecies flourishing, creating unexpected combinations of landscapes and creatures. These new combinations inspire a shift in thinking about coastal environments and present new ways of living that may emerge beyond the current environmental crisis.

Nanook: He Is Coming: A dystopian young adult novel from Brazil1

This article discusses Nanook: ele está chegando (‘Nanook: He Is Coming’) (2016), written by Brazilian author Gustavo Bernardo, a Brazilian dystopian apocalyptic young adult (YA) novel influenced by an Inuit legend that mixes science with mysticism and human subjectivity. In this book, 15-year-old Bernardo emerges as a harbinger of events that will occur in the narrative, when he affirms that ‘Nanook is coming’. From that point onwards, climatic and supernatural events happen, which affect the whole world, with consequences for Ouro Preto, the former capital of the state of Minas Gerais, Brazil, where the story takes place. These consequences include snowfalls, increasingly intense cold and the disappearance of some animals. Nanook: He Is Coming was selected by the Brazilian National Textbook Program (PNLD – Programa Nacional do Livro Didático) for high school students. This programme is designed to evaluate didactic, pedagogical and literary works and make them available for free to Brazilian students what are studying at public schools. This article concludes with an analysis of the text, using critical tools, which include Reception Theory to examine the communicability of the novel with its implicit reader, the dialogical relationship with that reader and the novel’s language, stylistic characteristics, the constitution of its narrative operators and its ideological discourse.

Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies

Review of: Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies London: NMC, D260, Audio CD, £12.99.