Narrating the Past: Writing History Books for Children
While writing is understood as an art that allows writers to wield their imagination through the power of the word, the process of writing is best understood through the example of recursion. Recursion, most commonly inferred in the mathematical or computational context, refers to the use of a rule or procedure in a manner that can be executed repeatedly, breaking down the larger picture into smaller parts that adhere to similar forms and narratives.
This practice of recursion does not change when the intended audience of readers is children, either. Michael Rosen, in his essay on writing for children, recognised this when he said, “I think of children’s books as not so much for children, but as the filling that goes between the child world and the adult world.” In addressing this gap, children’s writing allows for recursion through recognition of the idea that a child’s mind is quite complex, and it is this complexity that should be addressed to satiate their curiosity.
These ideas become even more important when navigating the writing of history books for children. When children are bored with history because it is about “facts and dates” that they can’t be bothered to remember, it becomes important for the adults in the picture (writers, in this case) to recognise the power of a good narrative. Narratives and the building of rich stories and lives can help navigate these perceptions of history, and help shift it in a more positive context. History writing becomes a space to be able to talk to children about ideas of representation, the importance of narratives, understanding perspectives, rights and wrongs, and how society can move forward and be better. Rosen also recognised that “the world of children’s books is a very friendly, decent place to be. It’s full of people who are desperate to enlighten, interest and excite children in ideas, imaginary worlds and contemporary issues.”
So how do authors strike a balance between a conversation that is relevant to the reader’s age while still making sure the child doesn’t feel like they are being talked down to? How much information is too much information to give a child — how do we navigate ideas of information, factual overdose, and censorship when writing for a younger audience? The trick lies in being recursive, while still not being overly reductive. The vocabulary one might have to use may end up being simplified, but the ideas don’t have to be.
There are several examples of books that take such narratives forward and do so in an effective manner. A key factor that’s indicative of their success is the ability to choose a point of focus and address it in perspectives that have not been previously employed. For instance, Little Leaders: Bold Women in Black History by Vashti Harrison tells the story of forty black women who shaped the course of American history in different ways. In highlighting the voices of the real women who overcame adversity to shape the world into being a better place, Harrison allows children to see themselves represented more often that is usually achieved by mainstream historical narratives that tend to be whitewashed.
Closer to home too, there are books that set out to explore complex ideas of the meaning of home and identity through writing historical fiction for children. The Night Diary by Veera Hiranandani is one such book that explores the aftermath of the partition of India in 1947, told in an epistolary format through the perspective of the twelve-year-old narrator, Nisha. In its focus on the personal impact of this historical event, the book is able to weave in and out of difficult conversations in the context of migration, belonging, loss, and personhood. Through doing so, this book becomes a pertinent read for children and adults both.
In a similar vein, historical fiction can touch upon nostalgia as well, through relaying the story of a simpler, easier time. Malgudi Schooldays, by R.K. Narayan, achieves exactly this by providing different kinds of joy to its readers of different ages. While adult readers of the book experience the book through memory and relating it to their own lives, younger readers find in it a space where their thoughts are voiced out loud, where their actions are mimicked on the page, and somewhere they can finally relate to older generations. Things have changed a lot, but perhaps not too much?
Other authors, like Barb Rosenstock, use specific events to paint a vivid picture of a time less understood or a story less known. Her book, The Secret Kingdom, illustrated by Claire Nivola, is a picture book that tells the story of Nek Chand post the partition of India, his artistic flair, and how his eye for turning the ordinary into the extraordinary led to the creation that we now know as the Rock Garden of Chandigarh.
An interesting interspersing of fact and fiction, age-appropriate vocabulary, and demanding the reader broaden their horizons has proven to be a means of effective storytelling that has definitely worked for children’s writing, specifically history. Increasingly, authors have recognised that children don’t enjoy being talked down to — sometimes, to reach out to them and challenge their thinking, all that we should do is talk to them, and know that they will continue to listen and learn and grow.
