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Children’s literature in Latin America, as Consuelo Figueras’s article on Puerto Rico outlines, began with textbooks and moralistic stories imported from Spain, Spanish translations of European classics, and locally produced books based on European models. Not only did these stories present a homogeneous culture, but they were mainly didactic, intended to mold character and teach morals, manners, and family values, rather than to entertain. However, in the mid-twentieth century, the demand for books specifically directed at Latin American children increased, and by the 1970s and 1980s, dynamic changes resulted in specialization in writing, illustrating, and publishing for children. The emerging literature searched for an authentic identity through stories for children—stories that spoke in their voices and about their diverse realities. While there are many factors that give Latin Americans an overarching, common identity—the Spanish language, centuries of affiliation with Spain, and the mixing of Indian, Spanish, and African cultures—each country has a distinct history, immigrants from various European countries,1 indigenous languages, beliefs and rituals, food and clothing, festivals and dances, and folk art and storytelling. Brazil, a Portuguese-speaking nation, has common bonds with this Spanish-speaking region as a result of location, colonial experience, and cultural exchange. Adriana Malvido and Rebeca Cerda argue that in order to develop an inclusive Mexican literature for children, it is necessary to address the other—that is, the indigenous cultures that have hitherto been marginalized. The recovery of the stories and languages of pre-Columbian peoples is central to this new identity. Lucía Borrero on Colombia and Carmen Checa de Silva on Peru also affirm that oral literature—riddles, songs, sacred stories, legends, ballads, histories of various groups, and creation myths about lakes, mountains, and rivers—fosters pride and establishes a connection with the past, with the land. Even when material is adapted from outside sources, such as European fairy tales, it is given a local flavor. Furthermore, the legends and events associated with post-Conquest history, such as the chronicles of conquistadors, also form part of this heritage. This awakening pride in indigenous roots has influenced the development of various genres. Realistic fiction and fantasies have gained greater complexity through motifs and themes taken from folk tales and mythology and through cultural and historical allusions. Initiation stories, archetypal journeys, and quests for identity often employ magical realism, evoking a mythical, timeless atmosphere that facilitates the individuation process of protagonists (see Borrero’s article).2 Cecilia Beuchat emphasizes the richness of Chilean poetry and points out that some of the finest poets—such as Pablo Neruda and Gabriela Mistral—have written for children, taking inspiration from folklore, beauty of the land, and the experiences of children. There is ongoing experimentation with narrative structures as well. Laura Sandroni discusses the sophisticated techniques in Lygia Bojunga’s stories: monologues, letters and dreams, interpretation of pictures, and photocopies and recycled paper for a book on memories. Enrique Pérez Díaz traces the evolution of detective stories in Cuba and suggests that despite the huge commercial success of these formula stories, writers should lend depth and meaning to the plots by introducing themes that probe the human condition. Latin America also has a strong tradition of protest literature for children. These subversive texts display respect for the intelligence of children by presenting serious political, economic, and social issues, or philosophical and theological concepts. Lila L. Weinschelbaum’s article on Argentine authors and J. Roberto Whitaker Penteado’s on Monteiro Lobato, regarded as the founder of Brazilian children’s literature, state that these pioneering writers, motivated by social responsibility, speak against hypocrisy, authoritarianism, censorship, and ideological control. Their thought-provoking stories, often set in fantasy worlds or treating the subject humorously or irreverently, are aesthetically pleasing and empower young readers to think independently. The language that authors prefer—the Spanish or Portuguese spoken by ordinary people—also reflects a Latin American ethos because it captures the imagery and rhythm of daily speech and is rich in colloquial expressions and sayings. According to Graciela Montes, this regional, expressive language can voice the intimate thoughts and soul of the people (Andersen nomination dossier). Cultural hybridity is also evident in illustrations for children. Monika Doppert gives a moving account of how she searched for authentic images of the landscape, the people, and their beliefs in order to portray the familiar world of Venezuelan children. Moira F. Harris analyzes how Jean Charlot’s illustrations combine his training as an artist, his Mexican heritage, and the style of Maya sculptures and murals. Today, Latin American children’s literature speaks with the power of history and traditions. It is quality literature that has received international acclaim. Two Brazilian authors have won the Andersen Author Award—Lygia Bojunga in 1982 and Ana Maria Machado in 2000—and María Elena Walsh of Argentina was named Highly Commended in 1994. Latin American authors see the child as deserving the best imaginative literature, one that will inspire creativity, responsibility, and empathy toward others. Yours
sincerely, 1.
See Pablo L. Medina, “Out of the Trunks of Immigrants: The Art
of Puppetry in Argentina,” Bookbird Letters To the Point: children’s literature of Latin America How
Does a Venezuelan King Dress? The Authentic Image and Its Contradictions The
Flower of the Word in the Song of Indigenous Literature The
Children of Lobato: The Imaginary World in Adult Ideology Puerto
Rican Children’s Literature: On Establishing an Identity Returning
Home from Mexico: Jean Charlot’s Illustrations for Children Other
Voices Regular Features Focus
IBBY Reading Promotion: Latin America: Fertile Ground for Reading Promotion Programs Country
Survey: From the Periphery to the Center: Impact of Social and Literary
Changes on Colombian Children’s Literature Author
Spotlight: Lygia Bojunga: Childhood as an Act of Creation International Children’s Books of Note Professional Literature News and Announcements Calendar |
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