Rev Osullivan

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The Journal of Specialised Translation Issue 6 July 2006

OSullivan, Emer (2005). Compara t i ve Ch i l d ren s L i te ra tu re .

London: Routledge. Pp 205. 60.00 ISBN 0415305519

At last Emer OSullivans scholarly, state-of-the-art study of comparativechildrens literature is available in an English version by Anthea Bell,

whose commitment to childrens books makes her an excellent choice astranslator. OSullivan addresses here, and in the more comprehensiveGerman original (Kinderliterarische Komparatistik, 2000), the history ofchildrens literatures across the world, the intercultural exchange ofchildrens books, and the intriguing cross-cultural transformation ofindividual texts. She places her enterprise firmly within the tradition ofcomparative literature by listing a number of constituent areas, rangingfrom research into contact and transfer of childrens books to imagestudies, comparative genre studies (the development of girls stories orthe school story in particular countries, for example), and the comparative

historiography of childrens literature.

OSullivan sets the historical context for her study by presenting a criticalsummary of global perspectives on childrens literature, starting with theidealistic internationalism of pioneers Paul Hazard in the 1930s, and JellaLepman in the post-war period. Hazards universal republic of childhoodwas one dominated by western childrens literature, an untenable positiontoday. OSullivan also challenges recent theories that all childrensliteratures follow a similar pattern of development from didacticism todiversity (Zohar Shavit, Maria Nikolajeva), citing as counter examples the

childrens literatures of the Irish Republic and black Africa. Since eachpostcolonial childrens literature has a unique history and may follow avery different trajectory from that familiar in North America and Europe,the social purpose, conditions, and genres of recently emerging childrensliteratures offer a rich seam for future research. OSullivan suggests, too,that to preserve an international childrens literature heritage notrepresented by current published classics, scholars should take on thetask of establishing exemplary canons of childrens books in differentcultures. Although the promotion of an objectively legitimate canon islikely to be highly contentious and problematic, the proposition certainly

deserves further debate.

In addressing translation specifically, OSullivan demonstrates theimplications of the essentially asymmetrical adult-child relationship fortranslation practice. Historical examples of censorship, cultural contextadaptation (Klingberg), and didacticism reflect changing expectations ofchildhood and the peripheral status of childrens literature: the wholesaleremoval of culture-specific references or detailed translators explanationsand admonishments would not be tolerated in books for adults. To bringthe survey of translation strategies up to date, OSullivan introduces RiittaOittinens child-centred emphasis on the dialogue between the translatorand her audience (Translating for Children, 2000). Oittinen believes thatthe translator serves the writer of the original text best when the

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translated text is successful with the child reader. The translator should,therefore, privilege read-aloud qualities in translations for the youngerchild, and even adapt texts an approach that is anathema to manytranslators and theorists provided that alterations respect the child andare not the result of adults didactic or moralising intentions. To regard the

child readers response as a criterion for a successful translation is indeeda radical step in historical terms, yet childrens responses differ wildly and,as OSullivan points out, it is impossible for an adult translator to denycompletely contemporary adult constructs of childhood.

In one of the most thought-provoking and original sections of the book,OSullivan extends reader response theory to offer a systematic approachto the translators role in the cultural transition of texts for children. Sheapplies the work of Seymour Chatman and Giuliana Schiavi to childrensliterature by identifying the discursive presence (Hermans) of the

mediating implied translator. Whatever the nature of the relationshipbetween author/narrator and reader in the original text may be, thetranslator overlays or amends it by directing the translation towards whats/he perceives to be the requirements of the young audience in the targetculture. At one end of the spectrum OSullivan cites some crass examplesof the underestimation of young readers, such as the addition of lines oftext to the final, wordless pages of the first German edition of JohnBurninghams poignant and challenging picture book, Granpa. Thetranslator appears to be unable to trust German child readers to filltextual gaps, thus depriving them of an invaluable opportunity to exercise

inference and interpretation and to engage in the kind of readingexperience no primer can offer. On the other hand, at least in Germany,such unnecessary condescension to the child reader can be rectified.There is a new translation ofGranpa sanctioned by the author, and, afterintroducing the reductive translation ofWinnie-the-Pooh into German thatomits all Milnes witticisms intended for an adult audience, OSullivanpraises Harry Rowohlts retranslation that preserves Milnes dual addressand is appreciated by children and adults alike.

Finally, OSullivan turns her attention to globalisation in an era when the

international exchange of childrens books is changing rapidly andradically. Adjustments to the packaging of books are designed to easeentry into another country, often with reference to existing models orgenres within target cultures in blurbs and promotional material. Aworrying trend in recent decades is the removal of awkward differences inthe interests of uniformity and unproblematic distribution. Picture booksare particularly vulnerable; only texts that are not too culture-specific areaccepted for expensive co-production. Indeed, OSullivan reproduces adisturbing, unsigned document circulating in German publishing houses inthe early 1990s which recommends that artists and illustrators avoidrepresenting folk customs, regional costume, or street furniture such aspost-boxes, signs, and traffic signals that betray the country of origin. Theresult is a bland internationalism that once again denies children insights

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into difference. As OSullivan concludes, Hazards utopian vision of a worldrepublic has, inexorably, become a world market dominated by theEnglish-language childrens book: the accelerating internationaldistribution of the Harry Potter books are is case in point.

OSullivans award-winning book (International Research Society forChildrens Literature Award for outstanding research, 2001) willundoubtedly become a standard reference work in the field. Above all, shedemonstrates that childrens literature, precisely because of itsinternational history and perceived marginality, offers telling comparativecase studies and insights.

Gillian LatheyRoehampton University, London

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