Returning to work
The Writing Life

Seeing green

Wildflower path

Jill Paton Walsh on writing for children:

"I suppose that it is because literature is so abstract that people evince so little common sense about it. For children's writers, like other writers, practice a craft. I don't imagine many people think that a children's doctor need not be so good at medicine as his colleagues, or that a carpenter who  Heidi Reading by Jessie Wilcox Smithmakes toys can manage with shoddy joinery. The truth is that a book which is bad literature just doesn't have much effect of any kind; doesn't work for anyone, young or old. Like any other writer, a children's writer has got to be good.

"It isn't even true that there is somehow a different sort of goodness appropriate to children's books. The problems and the satisfactions of the writer-craftsman working for children are mainstream problems, mainstream satisfactions. I am taking it for granted that an adult writer will seek to embody and communicate adult insights in his books, will not solve problems by talking down to his audience. That being so, one might think that the writer for children has a much greater problem in getting himself understood. But that thought underestimates children, and over-values understanding.

Winding into the woods border=

"One doesn't specially want a child reader to understand intellectually, to (as it were) decode the message in a work of fiction. After all, he doesn't -- God keep us from it! -- have to sit an examination on his reading. It is enough, it is better, if the reader simply experiences a book, simply feels it. And a reader can feel truly on a very partial understanding.

A shimmer of bluebells

"I will instance my own children, watching the televised War and Peace. When Natasha met clandestinely with Kuriagin they became deeply agitated. She couldn't! -- what would happen? -- what about Prince Andre? -- oh dear no! Of course, they couldn't understand the passion that motivated Natasha; they saw it entirely as a question of loyalty. But it is that, among other things. They see only a part of the whole, but what they do see is seen truly, not in distortion.

Following the light

Old oak

"Fully understanding a book is too often like being led forward in front of a pointilliste painting, and shown how the green is made up of spots of pure blue and pure yellow. One 'understands,' but one can no longer see green.

Black dog

"I can do without being understood," Walsh concludes, "as long as the reader sees green. The problem of being comprehensible is an emotional, an aesthetic problem -- that of making the book adequately embody its meaning: that of getting the reader to 'see green' and making the seeing of green, just thus and then, emotionally meaningful. This is the central problem of literary art."

Moss, rock, and bluebells

Queen of the woods

Devon bluebells

Tilly in the springWords: The passages above and in the picture captions are from "Seeing Green" by Jill Paton Walsh, published in The Thorny Paradise: Writers on Writing for Children, edited by Edward Blishen (Kestral Books, 1975); all rights reserved by the author. I recommend seeking out Blishen's book and reading the essay in full. Pictures: Bluebell season in the woods behind the studio. The drawing is an illustration for Heidi by Jessie Willcox Smith (1863-1935).

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