Children's Literature in South Eastern Europe, Between Social And Economy Market Utopia

CH

ILD

RE

N'S L

ITE

RA

TU

RE

IN SO

UT

H E

AST

ER

N

EU

RO

PE / B

ET

WE

EN

SOC

IAL

AN

D E

CO

NO

MY

MA

RK

ET

UT

OP

IA

Milena M

ileva Blazic

Introduction

The countries of S

outh-Eastern E

urope -including A

lbania,

Bosnia an

d H

erzegovina, Bulgaria, C

roatia, FYR

Macedo

nia, Rom

ania, Serbia an

d M

ontenegro -share a com

p lex

history in addition to their geographicallocation at an ethnic

and

cultural crossroads. Since the E

astern Eu

rop

ean revo

lutions of 1989 and

the falI of the Soviet U

nion in 1991,

some form

er Yugoslavian countries (S

lovenia, Bosnia an

d

Herzegovina, C

roatia, FYR

Macedonia) have b

een inde

pen

den

t democracies, b

ut each has h

ad significant prob

lems in the transition period tow

ard a market-based eco

nomy.

In the countries of South-E

astern Europe the languages

spoken are Albanian, B

osnian, Bulgarian, C

roatian, Mace-

181

BLAZIC, Milena Mileva, Children's Literature in South Eastern Europe - Between Social and Ekonomy Market Utopia, 2005.

In: Webb, J., Muursepp, M.: Sunny Side of Darkness: Children's Literature in Totalitarian and Post-Totalitarian Eastern Europe. Tallinn, TLU Kirjastus, 2005.

CHILDREN'S LITERATURE

IN SOUTH EASTERN

EUROPE / BETWEEN SOCIAL AND ECONOMY

MARKET UTOPIA

Milena Mileva Blazic

Introduction

The countries of South-Eastern Europe - including Albania,

Bosnia and Herzegovina, Bulgaria, Croatia, FYR Macedo

nia, Romania, Serbia and Montenegro - share a complex

history in addition to their geographicallocation at an ethnic

and cultural crossroads. Sin ce the Eastern European revo

lutions of 1989 and the falI of the Soviet Union in 1991,

some former Yugoslavian countries (Slovenia, Bosnia and

Herzegovina, Croatia, FYR Macedonia) have been inde

pendent democracies, but each has had significant prob

lems in the transition period toward a market-based eco

nomy.

In the countries of South-Eastern Europe the languages

spoken are Albanian, Bosnian, Bulgarian, Croatian, Mace-

181

donian, Rom

anian, Serbian, M

ontenegrin and

in K

osovo

Albanian language. T

hey use the Latin (B

osnian, Croatian,

Rom

anian, Montenegrin, an

d A

lbanian) or the C

yrillic al

ph

abet (B

ulgarian, Macedonian, an

d S

erbian). The chief

religions are the Orth

od

ox

Ch

urch

(Serbia w

ith M

onte

negro, FYR

Macedonia, R

epublic of Srpska (in B

osnia and

Herzegovina), an

d B

ulgaria), Rom

an Catholicism

(Croatia,

Federation of B

osnia an

d

Herzegovina

(in B

osnia an

d

Herzegovina), an

d R

omania), and M

uslim (A

lbania, Kosovo

(an auto

no

mo

us province in S

erbia), Bosnians -

Bosnian

being part of the F

ederation of Bosnia an

d H

erzegovina).

The w

ord

com

mu

nism

is a term of ancient origin, m

ean

ing

a society in which m

aterial goods were o

wn

ed b

y the

comm

unists as citizens sharing in the com

mo

n w

ealth.

Co

mm

un

ist rule was confined to the S

oviet Union u

ntil

after WW

II; at that tim

e the Soviet R

ed Arm

y liberated

the countries of South-E

astern Europe from

Nazi G

ermany's

control. The educational function of physical lab

ou

r after

WW

II was stressed in children's literature. T

he theory of

concord portrays ideal characters in children' s literature.

Man

y children w

riters also contributed to the cult of the

'hero

of the country'. The p

op

ular genre w

as the novel in

which the conf1ict w

as betw

een the class collective an

d an

individualistically min

ded

pupil. Poetry w

as seen to serve

topical pu

rpo

ses as is evid

ent from

politically oriented

verses.

In the 1990s South-E

astern European countries encounter

ed econom

ic problems w

hen

they mo

ved

to a mark

et eco-

182

nomy. A

fter years of Co

mm

un

ist governments an

d col

lapse, man

y S

outh-Eastern E

uropean countries were unable

to compete in a free-m

arket economy. U

nem

plo

ym

ent an

d

inflation rose and the South-E

astern European countries did

not have social security systems to deal w

ith these problems.

Children's L

iterature in A

lbania in the

1990s and

beyon

d

The process of m

odernization in the field of children's lite

rature is connected w

ith the process of dem

ocratisation in

1991. Fantasy b

egan

as a major m

od

e of children's litera

ture in such

works as S

okol Jakova's creative fairytale no

vel s, with

fictional subjects such

as The Adventure o

f Brave

Mirosh (1995) w

hich has h

um

oro

us elem

ents. Mira M

eksi

Planetthi i ngrire -

The L

ittle Icy Planet (1997) is science

fiction in which h

um

an an

d anim

al inhabitants together

fight to free their planet from ice. Jorgji K

odra writes col

lections of fairy tales and

sho

rt stories such as The Boy w

ho

Ignored the

Tim

e and

Vocabulary

within

One W

eek (1999).

There are series books com

prising ten novels for child ren

by

Thanas P

ilafa, an inventive children's author, for exam

ple, his Great D

reams (1999) an

d H

ow 1 B

ecame a R

obinson

(2001).

183



donian, Romanian, Serbian, Montenegrin and in Kosovo

Albanian language. They use the Latin (Bosnian, Croatian,

Romanian, Montenegrin, and Albanian) or the Cyrillic al

phabet (Bulgarian, Macedonian, and Serbian). The chief

religions are the Orthodox Church (Serbia with Monte

negro, FYR Macedonia, Republic of Srpska (in Bosnia and

Herzegovina), and Bulgaria), Roman Catholicism (Croatia,

Federation of Bosnia and Herzegovina (in Bosnia and

Herzegovina), and Romania), and Muslim (Albania, Kosovo

(an autonomous province in Serbia), Bosnians - Bosnian

being part of the Federation of Bosnia and Herzegovina).

The word communism is a term of ancient origin, mean

ing a society in which material goods were owned by the

communists as citizens sharing in the common wealth.

Communist rule was confined to the Soviet Union until

after WW II; at that time the Soviet Red Army liberated

the countries of South-Eastern Europe from Nazi Germany's

control. The educational function of physical labour after

WW II was stressed in children's literature. The theory of

concord portrays ideal characters in children's literature.

Many child ren writers also contributed to the cult of the

'hero of the country'. The popular genre was the novel in

which the conflict was between the class collective and an

individualistically minded pupil. Poetry was seen to serve

topical purposes as is evident from politically oriented

verses.

In the 1990s South-Eastern European countries encounter

ed economic problems when they moved to a market eco-

182

nomy. After years of Communist governments and col

lapse, many South-Eastern European countries were unable

to compete in a free-market economy. Unemployment and

inflation rose and the South-Eastern European countries did

not have social security systems to deal with these problems.

Children's Literature in Albania in the

1990s and beyond

The process of modernization in the field of children's lite

rature is connected with the process of democratisation in

1991. Fantasy began as a major mode of children's litera

ture in such works as Sokol Jakova's creative fairytale no

vels, with fictional subjects such as The Adventure of Brave

Mirosh (1995) which has humorous elements. Mira Meksi

Planetthi i ngrire - The Uttle Icy Planet (1997) is science

fiction in which human and animal inhabitants together

fight to free their planet from ice. Jorgji Kodra writes col

lections of fairy tales and short stories such as The Boy who

Ignored the Time and Vocabulary within One Week (1999).

There are series books comprising ten novels for children

by Thanas Pilafa, an inventive children's author, for exam

ple, his Great Dreams (1999) and How 1 Became a Robinson

(2001).

183

Everyday problem

s in the

mo

dern

family,

school, an

d

issues of emigration are touched u

po

n in realistic fiction

by

Viktor C

anosinaj in They were Lookingfor H

appiness (1997), an

d from

a child's narrative perspective in Ram

adan Pas

maciu' s C

hildhood Paths

(1998). Bedri O

edja reissued his

novels Revolution in a F

lat in Tirana (1995) and A D

angerous

Trip (1999) cutting ou

t the ideological elements. In

A D

ange

rous Trip Oedja p

ortray

ed the turbulent aspects of the lives

of three run

-away

children as they move tow

ard maturity.

The classic au

thor Gaqo B

ushaka return

ed to a personified

protagonist in a fairy-tale novel, The Film of C

ufo, the General

(1994), Cufoja 4he B

ubu Cacurrel -

Cufo and B

ubi the Curly

(1996) in which an

Albanian child identifies w

ith Cu

fa the

Pig; an

original character wh

o is em

ployed in the text to

brin

g together positive characteristics. O

alan Shapllo's in

novative fairy tales, The Girl W

ho Knew

the Language of B

irds

(1995), cross

the bo

un

daries betw

een prose an

d

verse.

Ferit L

amaj continued the creative fabIe tradition w

ith 202

Fables (1995). S

tavari Po

n's The A

dventures of Queros and

Eram

il (1996) renewed interest the in folk hero Q

ueroz. In

Besiana A

vdyli's collection of poetry Mos

me zgjoni (D

o

no

t wak

e me) the poem

s de al with

man

y aspects of life

thro

ug

h the p

oin

t of view of a child. V

iktor Canosinaj' s

Meriyll

(2000) follows the tren

d in E

urope tow

ard prob

lem-orientated realistic novels about contem

porary society;

here ateenag

er has to take care of a w

hole family, w

hich

is another exploration of the cris is in Albania. C

hmiter

Xhuvani's Street C

hildren (2000) is another problem-orien

tated realistic novel.

184

Mo

dern

trend

s in Albanian children's literature alternate

betw

een the traditional genres of the folkloric tradition via

Socialist

Realism

to

mo

dern

tren

ds

and

searching

for

poetic forms,

problem-orienta ted realism

in novels an

d

science fiction.

Children's L

iterature in B

osnia and

Herzegovin

a in the 1990s and b

eyond

.

After the C

ivil War (1992-1995) in B

osnia and

Herzego

vina, three separate literatures arose: Bosnian, C

roatian,

and

S

erbian. T

he language

that w

as used,

kn

ow

n

as

Serbo-C

roatian, split into Serbian, C

roatian, and

Bosnian

(Bošnjački), dep

end

ing

on

the speaker or writer's ethnic

and

political affi1iation.

The characteristics of children's literature at the

cross

road

s of Bosnia an

d H

erzegovina lie in the search for

identity an

d

polarization between

nations. O

urin

g

the

war,

as in cris is

periods everywhere in

Europe,

man

y

children need

ed an

imaginary friend

and

therefore au

thors wro

te diaries, stories, journals, and

poems. Zlata's

Diary b

y Z

lata FilipoviC (1993) w

as one published example

of this genre. The country, people, an

d children's litera

ture demonstrate clear distinctions betw

een periods and

associated problems, for exam

ple the difficulties which arose

185



Everyday problems in the modern family, school, and

issues of emigration are touched upon in realistic fiction

by Viktor Canosinaj in They were Lookingfor Happiness (1997),

and from a child's narrative perspective in Ramadan Pas

maciu's Childhood Paths (1998). Bedri Dedja reissued his

novels Revolution in a Flat in Tirana (1995) and A Dangeraus

Trip (1999) cutting out the ideological elements. In A Dange

rous Trip Dedja portrayed the turbulent aspects of the lives

of three run-away child ren as they move toward maturity.

The classic author Gaqo Bushaka returned to a personified

protagonist in a fairy-tale novel, The Film of Cufa, the General

(1994), Cufaja d.he Bubu Cacurrel - Cufa and Bubi the Curly

(1996) in which an Albanian child identifies with Cufa the

Pig; an original character who is employed in the text to

bring together positive characteristics. Dalan Shapllo's in

novative fairy tales, The Girl Who Knew the Language of Birds

(1995), cross the boundaries between prose and verse.

Ferit Lamaj continued the creative fabIe tradition with 202

Fables (1995). Stavari Pon's The Adventures of Queros and

Eramil (1996) renewed interest the in folk he ro Queroz. In

Besiana Avdyli's collection of poetry Mas me zgjoni (Do

not wake me) the poems de al with many aspects of life

through the point of view of a child. Viktor Canosinaj' s

Meriyll (2000) follows the trend in Europe toward prob

lem-orientated realistic novels about contemporary society;

here ateenager has to take care of a whole family, which

is another exploration of the crisis in Albania. Chmiter

Xhuvani's Street Children (2000) is another problem-orien

tated realistic novel.

184

Modern trend s in Albanian children's literature alternate

between the traditional genres of the folkloric tradition via

Socialist Realism to modern trends and searching for

poetic forms, problem-orienta ted realism in novels and

science fiction.

Children's Literature in Bosnia and

Herzegovina in the 1990s and beyond.

After the Civil War (1992-1995) in Bosnia and Herzego

vina, three separate literatures arose: Bosnian, Croatian,

and Serbian. The language that was used, known as

Serbo-Croatian, split into Serbian, Croatian, and Bosnian

(Bošnjački), depending on the speaker or writer's ethnic

and political affiliation.

The characteristics of children' s literature at the cross

roads of Bosnia and Herzegovina lie in the search for

identity and polarization between nations. During the

war, as in crisis periods everywhere in Europe, many

children needed an imaginary friend and therefore au

thors wrote diaries, stories, journais, and poems. Zlata's

Diary by Zlata Filipovic (1993) was one published example

of this genre. The country, pe ople, and children' s litera

ture demonstrate clear distinctions between periods and

associated problem s, for example the difficulties which arose

185

following the w

ar. Alija D

ubocanin's Pas pismonoša (T

he P

ost Dog, 1998) is a photo-realistic picture book of the w

ar horrors in S

arajevo as experienced by a yo

un

g girl, D

ina, an

d h

er dog, Jenny, wh

o carried letters d

urin

g the civil

war. F

erida DurakoviC

's Am

ilina abeceda (Am

ilia's Alpha

bet, 1999) is a book of thirty stories, each one connected to a letter from

the B

osnian alphabet accompanied b

y an

illustration. H

er books include the earlier noveis: Jos jedna bajka o ruzi (A

nother Fairy T

ale about aRose, 1989), M

ikijeva abeceda (M

ickey's Alphabet, 1994), an

d N

ajnovije vijesti iz Sarajeva

(The

latest N

ews

from

Sarajevo,

1999). Ž

eljko IvankoviC

' s novel was w

ritten as a dictionary Tko je upalio m

rak? Sarajevski pojmovnik (W

ho Sw

itched on

Darkness?

Sarajevo's dictionary, 2000),

Ad

van

Ho

zk's stories from

the C

ivil War in B

osnia and

Herzegovina N

a kraju placa (In the E

nd of Marketplace, 1997).

Aro

un

d the tu

m of the century an

d in

the period after 1995, the m

ajor trend s were: the quest for identity; digging

deeper in tradition; the search of the writer for B

osnian, C

roatian and

Serbian nationality an

d the preparation of

national anthologies (e.g. Bošnjačka književnost za djecu u 20 knjiga -

gro

up

of editors; 2700 pages, 1998). C

hildren's literature in B

osnia and

Herzegovina is in a process of

transition. National interests have strangled creativity. T

his trend led to the publishing of a ru

sh of national authors

based on

national, not aesthetic criteria. Even the classical

authors such as Bosnian N

asiha Kap

idžk

Hadžic, Irfan

Horozovic; C

roatian Ivica Vanja R

oric, Šim

o Ešic, V

alerija

186 4

Škrinjar T

vrz; Serbian B

ranko Čopk, etc.) are facing reevaluation.

Children's L

iterature in B

ulgaria in

the 1990s and

Beyon

d

The trend in the 1990s is orienta ted tow

ards present-day problem

s: Lilia R

atcheva, Tsvetan P

eshev, Chavdar S

hinov, an

d A

nastas Stoyanov base their w

ork

on

folklore or parodied folklore, an

d others use the fairy-tale form

to exam

ine present-day reality. Vladim

ir Zelengorov's short sto

ries Strange Jobs 1990; is a collection of tales ranging from

an ad

ven

tu re story set in T

ibet to hu

mo

rou

s tales about everyday life. T

here are allegorical stories abo

ut anim

als an

d

everyday life

such as

Kina

Kadreva' s

Prikazka za

palavoto skakalche (The S

tory of the Litt1e G

rasshopper Who

Could

No

t Hop,

1992) an

d Y

ordan Radichkov's M

alki Zhabeshki Istorii (S

mall F

rog Stories, 1994). N

onsense tales are n

ew an

d are w

ritten by Kina K

adreva, Mile M

arkovski, R

oumen S

homov an

d P

etya Aleksandrova, e.g. O

o nemaj

kade i obratno (To N

o-Land an

d B

ack Again, 1997).

Ivan Tsanev w

rote an interactive book,

Vesela m

isterija (F

unny Mystery, 1996), in

which children becam

e co-authors and co-illustrators. L

iana Daskalova O

jadovata gradina (M

y Grandfather's G

arden, 1998) is about friendship be-

187



following the war. Alija Dubocanin's Pas pismonoša (The Post Dog, 1998) is a photo-realistic picture book of the war horrors in Sarajevo as experienced by a young girl, Dina, and her dog, Jenny, who carried letters du ring the civil war. Ferida DurakoviC's Amilina abeceda (Amilia's Alphabet, 1999) is a book of thirty stories, each one connected to a letter from the Bosnian alphabet accompanied by an illustration. Her books include the earlier noveis: Jos jedna bajka o ruzi (Another Fairy Tale about aRose, 1989), Mikijeva abeceda (Mickey's Alphabet, 1994), and Najnovije vijesti iz Sarajeva (The latest News from Sarajevo, 1999). Željko IvankoviC's novel was written as a dictionary Tko je upalio mrak? Sarajevski pojmovnik (Who Switched on Darkness? Sarajevo's dictionary, 2000), Advan HoziC's stories from the Civil War in Bosnia and Herzegovina Na kraju placa (In the End of Marketplace, 1997).

Around the turn of the century and in the period after 1995, the major trend s were: the quest for identity; digging deeper in tradition; the search of the writer for Bosnian, Croatian and Serbian nationality and the preparation of national anthologies (e.g. Bošnjačka književnost za djecu u 20 knjiga - group of editors; 2700 pages, 1998). Children's literature in Bosnia and Herzegovina is in a process of transition. National interests have strangled creativity. This trend led to the publishing of a rush of national authors based on national, not aesthetic criteria. Even the classical authors such as Bosnian Nasiha Kapidžic Hadžic, Irfan Horozovic; Croatian Ivica Vanja Roric, Šimo Ešic, Valerija

186 ..

Škrinjar Tvrz; Serbian Branko Čopk, etc.) are facing reevaluation.

Children's Literature in Bulgaria in the 1990s and Beyond

The trend in the 1990s is orienta ted towards present-day problems: LiHa Ratcheva, Tsvetan Peshev, Chavdar Shinov, and Anastas Stoyanov base their work on folklore or parodied folklore, and others use the fairy-tale form to examine present-day reality. Vladimir Zelengorov's short stories Strange Jobs 1990; is a collection of tales ranging from an adventu re story set in Tibet to humorous tales about everyday life. There are allegorical stories about animals and everyday life such as Kina Kadreva' s Prikazka za palavoto skakalche (The Story of the Littie Grasshopper Who Could Not Hop, 1992) and Yordan Radichkov's Malki Zhabeshki Istorii (Small Frog Stories, 1994). Nonsense tales are new and are written by Kina Kadreva, Mile Markovski, Roumen Shomov and Petya Aleksandrova, e.g. Do nemaj kade i obratno (To No-Land and Back Again, 1997).

Ivan Tsanev wrote an interactive book, Vesela misterija (Funny Mystery, 1996), in which children became co-authors and co-i1lustrators. Liana Daskalova Djadovata gradina (My Grandfather's Garden, 1998) is about friendship be-

187

tween generations. F

antasy and

ghosts constitute a new

trend in Krasim

ir Mircev's V

ampiri -

Gunduraci -

Zmej

(Vam

pires -C

enta urs -

Dragons, 1998), w

hich presents a

great diversity of creatures in a typical tale abo

ut good

and

evi!.

Bulgarian children's literature is rich in term

s of thematic

diversity and

original authorial styles. It has ex

pan

ded

traditional ideas and

developed new

trend s in fantasy,

nonsense, parody, and

an ironic view

of the world.

Children's L

iterature in C

roatia in the

1990s and

Beyon

d

In the 1990s an

d beyond, C

roatian children's literature

chan

ged

considerably, because of independence and

war

(1992-1995). The political changes in C

roatia influenced

the motives an

d them

es in children's literature regarding

national patriotic and

religious themes. W

ar and

po

st-war

changes also influenced Croatian children's fiction.

The

complex changes an

d post-w

ar syn

dro

me resulted in a

loss of aesthetic and

hu

man

values in favour of po

pu

lar

national goais. Božidar P

rosenjak' s novel abo

ut D

ivji konj

(Wild H

orse) and

the action story by

Joža Horvat; D

upin

Dirk i lijena kobila (D

olphin Dirk an

d the L

azy Mare) are

allegories of mo

dern

times.

Frka v Ščitarjevu's detective

188 ~

story (Chaos in Ščitarjevo) is ab

ou

t archaeological items.

He also

wrote a fam

ous fantasy, W

aitapu (1984),

influ

enced by

legends from Indonesia. P

ost-war childhood w

as

portrayed in Želim

ir Ciglar's D

ekameron za golob rade pustolove

(Decam

eron for a Young A

dventurer, 1999) about a father's

role with

refugees which utilized post-m

odern elements

employing the form

of a diary, an address book, an

d poem

s

etc. Also w

orthy of mention are the quality novels of A

nton

Gardaš, K

oliba u planini and

Miron u škrip

cu (House in

the

Mountain, M

iron in Trouble, 1999).

Them

es conceming m

od

ern children, u

nh

app

y fam

ilies,

and

the urb

an child w

ere represented by

Sanja P

ilic in O

mam

i sve najbolje (About M

other Every G

ood, 1990), Mrvice

iz dnevnog boravka (1995), E, baš mi je žal (O

h, 1 Am

Really

Sorry, 1998), V

idiš, da se moram

zabavljati (See 1 Should H

ave

Fun, 1999), D

arko Macan in

Knjige lažu (B

ooks are Liars,

1997) and

Maja B

rajko Livakovic in K

ad pobjedi ljubav (When

Love W

in s, 1997).

Interesting texts for child ren and young adults were w

ritten

by

Zvjezdana O

dobašic, an 18-year old stu

den

t wh

o w

rote

the fantasy

Čudesna krljušt

(Marvelous

fishskin, 1995).

Svjetlana G

rkovic Janovic wrote books w

ith intertextual

reminiscence s of C

roatian classics from children's litera

ture by

Ivana Brlic M

ažuranic Priče iz davnine -Striborovim

stazama (Sto ri es from

the Past -

On

Stribor's P

aths, 1997).

Un

hap

py

childhood is ato

pic

for Sunčana Škrinjaric in

Čarobni prosjak (Magic B

eggar, 1999). Božica JelušiC

's Po

189



tween generations. Fantasy and ghosts constitute a new

trend in Krasimir Mircev's Vamp iri - Gunduraci - Zmej

(Vampires - Centa urs - Dragons, 1998), which presents a

great diversity of creatures in a typical tale about good

and evil.

Bulgarian children's literature is rich in terms of thematic

diversity and original authorial styles. It has expanded

traditional ideas and developed new trends in fantasy,

nonsense, parody, and an ironic view of the world.

Children's Literature in Croatia in the

1990s and Beyond

ln the 1990s and beyond, Croatian children's literature

changed considerably, because of independence and war

(1992-1995). The political changes in Croatia influenced

the motives and themes in children's literature regarding

national patriotic and religious themes. War and post-war

changes also influenced Croatian children's fiction. The

complex changes and post-war syndrome resulted in a

loss of aesthetic and human values in favour of popular

national goais. Božidar Prosenjak's novel about Divji konj

(Wild Horse) and the action story by Joža Horvat; Dupin

Dirk i lijena kobila (Dolphin Dirk and the Lazy Mare) are

allegories of modern times. Frka v ŠČitarjevu's detective

188 oo

story (Chaos in Ščitarjevo) is about archaeological items.

He al so wrote a famous fantasy, Waitapu (1984), influ

enced by legends from Indonesia. Post-war childhood was

portrayed in Želimir Ciglar' s Dekameron za golobrade pustolove

(Decameron for a Young Adventurer, 1999) about a father's

role with refugees which uti1ized post-modern element s

employing the form of a diary, an address book, and poems

etc. Also worthy of mention are the quality novel s of Anton

Gardaš, Koliba u planini and Miron u škripcu (House in the

Mountain, Miron in Trouble, 1999).

Themes conceming modern children, unhappy families,

and the urban child were represented by Sanja Pilic in O

mami sve najbolje (About Mother Every Good, 1990), Mrvice

iz dnevnog boravka (1995), E, baš mi je žal (Oh, I Am Really

Sorry, 1998), Vidiš, da se moram zabavljati (See I Should Have

Fun, 1999), Darko Macan in Knjige lažu (Books are Liars,

1997) and Maja Brajko Livakovic in Kad pobjedi ljubav (When

Love Wins, 1997).

Interesting texts for child ren and young adults were written

by Zvjezdana Odobašic, an 18-year old student who wrote

the fantasy Čudes na krljušt (Marvelous fishskin, 1995).

Svjetlana Grkovic Janovic wrote books with intertextual

reminiscence s of Croatian classics from children's litera

ture by Ivana Brlic Mažuranic Priče iz davnine - Striborovim

stazama (Stories from the Past - On Stribor's Paths, 1997).

Unhappy childhood is atopic for Sunčana Škrinjaric in

Čarobni prosjak (Magic Beggar, 1999). Božica JelušiC's Po

189

Children's L

iterature in R

omania in

the 1990s and

beyon

d

Monica S

avulescu-Voudouris' U

n alt glob, va rog! (A D

iffe

rent Globe, P

lease, 1992) is a book abo

ut em

igration. This

autobiographical story is told from a child's p

oin

t of view

and

is abo

ut a ten-year-old girl an

d h

er mo

ther w

ho

live

in a refugee-shelter in H

olland. In O

spatul lupilar

(The

Wolves' B

anquet, 1996), Diana Irim

escu writes ab

ou

t su

perstition amo

ng

the Rom

anian people. Eugenia D

oina

Gem

alii's Legenede din pinuturi dobrogene Legends from D

o

brudja, 1998 contains folk tales and

legends from different

parts of D

obrudja, a region of Rom

ania, in a well-chosen

mixture of 1iterary folk tales an

d retellings. R

omanian cul

ture and

people mirror the different influences w

hich deter

mined the developm

ent and

characteristics of children's

literature.

An

alternative textbook for elementary schools b

y Irina

Nicolau, C

armen

Huluta, M

atei Cerkez an

d A

na P

ascu,

Lectii cu povesti despre facere lumii (L

essons with S

tories about

Ho

w the W

orld was M

ade, 2000) com

bines my

ths an

d

legends into

didactic m

aterial w

hich com

plements

the

scientific education offered by

traditional textbooks. The

emphasis he re is o

n poetic, hum

orous, and

imaginative

content presen ted as free from

religious influence. T

he

classic po

et Ana B

landiana' s wo

rk C

artea albaa lui Arpagic

(Arpagic's W

hite Book, 1998) is an

example of the prob-

192 •

lem-oriented n

ew realism

of children's books in the 1990s.

It is written as a p

ostm

od

ern m

etaph

or of photographs,

documents, an

on

ym

ou

s letters, etc. in secret police files;

the book traces the life of atom

cat.

After D

ecember 1989, forbidden books flooded the book

stores along with classic genres like folk tales, p

op

ular lite

rature, and

classic adv

entu

re books as well as religious

literature which w

as previously absent. Ariel, the leading

children's magazine, w

hich was richly an

d beautifully illus

trated, was a victim

of the crisis and

ceased to exist in 1996.

National an

d m

ulticultural concerns in the 1990s h

ave be

come an

imp

ortan

t aspect of the new

realism in children' s

literature, which also b

rou

gh

t yo

un

g ad

ult literature into a

transition period bey

on

d the 1990s.

Children's L

iterature in Serbia an

d

Mon

tenegrol in

the 1990s and Beyon

d

Ch

ildren

's literature in S

erbia and

Montenegro (and the

Kosovo au

ton

om

ou

s province) faced similar trend s to the

rest of Europe. F

irst came the com

mercialization of chil

dren

's b

oo

k

and

th

en

problem-novel s

abo

ut

traumatic

childhoods (war, refugees, orphans, disease, death, violence,

I ln February 2003 the F

ederal Republic of Y

ugoslavia was renam

ed as Serbia an

d M

ontenegro. T

he renaming reflects the tw

o remaining R

epublics, Serbia an

d M

ontenegro.

193



Children's Literature in Romania in

the 1990s and beyond

Monica Savulescu-Voudouris' Un alt glob, va rog! (A Diffe

rent Globe, Please, 1992) is a book about emigration. This

autobiographical story is told from a child's point of view

and is about a ten-year-old girl and her mother who live

in a refugee-shelter in Holland. In Ospatul lupilor (The

Wolves' Banquet, 1996), Diana Irimescu writes about su

perstition among the Romanian people. Eugenia Doina

Gemala.'s Legenede din pinuturi dobrogene Legends from 00-

brudja, 1998 contains folk tales and legends from different

parts of Dobrudja, a region of Romania, in a well-chosen

mixture of literary folk tales and retellings. Romanian cul

ture and people mirror the different influences which deter

mined the development and characteristics of children' s

literature.

An alternative textbook for elementary schools by Irina

Nicolau, Carmen Huluta, Matei Cerkez and Ana Pascu,

Lectii cu povesti despre facere lumii (Lessons with Stories about

How the World was Made, 2000) combines myths and

legend s into didactic material which complements the

scientific education offered by traditional textbooks. The

emphasis here is on poetic, humorous, and imaginative

content presented as free from religious influence. The

classic poet Ana Blandiana' s work Cartea albaa lui Arpagic

(Arpagic's White Book, 1998) is an example of the prob-

192 •

lem-oriented new realism of children's books in the 1990s.

It is written as a postmodern metaphor of photographs,

documents, anonymous letters, etc. in secret police files;

the book traces the life of atomcat.

After December 1989, forbidden books flooded the book

stores along with classic genres like folk tales, popular lite

rature, and classic adventure books as well as religious

literature which was previously absent. Ariel, the leading

children' smagazine, which was richly and beautifully illus

trated, was a victim of the crisis and ceased to exist in 1996.

National and multicultural concerns in the 19905 have be

come an important aspect of the new realism in children' s

literature, which also brought young adult literature into a

transition period beyond the 19905.

Children's Literature in Serbia and

Montenegrol in the 1990s and Beyond

Children's literature in Serbia and Montenegro (and the

Kosovo autonomous province) faced similar trend s to the

rest of Europe. First came the commercialization of chil

dren's book and then problem-novels about traumatic

childhoods (war, refugees, orphans, disease, death, violence,

1 In February 2003 the Federal Republic of Yugoslavia was renamed as Serbia and Montenegro. The rena ming reflects the two remaining Republics, Serbia and Montenegro.

193

sex, drugs, etc.), a situation w

hich has become unfortu

nately comm

on. These topics influenced both children' s lite

rature and

yo

un

g ad

ult books. N

ew problem

-orientated

realism follow

ed similar patterns of those in E

urope. The

revival of the folk tradition was started b

y B

ranko V. R

a

dičevic, and

Grozdana O

lujilc (Princ oblaka, N

ebeska reka i

druge bajke, Sedefna ruža -P

rince of C

louds, Heaven's R

iver and other stories, M

other of Pearl Rose).

Despite the overw

helmingly traum

atic experience s of the

past years, children's and

yo

un

g ad

ult literature continues

to be written an

d includes the cosm

opolitan view of M

irjana

StefanoviC

's Sekino seoce (Seka's U

tt1e Village, 1994), an

d

the classic tale by

Gordana M

aletic-Vrhovac, Spasonosna

odluka (A S

aving Decision, 1999). G

rowing from

childhood

into adulthood

in present-day

Serbia

is the

problem

orientated top ic in the novel by V

esna Aleksic,

Marija

Modiglian (1999). C

hildren's literature is in a state of tran

sition and

will n

eed m

ore time to reconstruct itself an

d

achieve the flowering of outstanding w

riters like Jovan

Jovanovic Zm

aj, Branislav N

ušk

, Desanka M

aksimovic,

Du

šan R

adovic, Miroslav A

ntiC etc. It has high potential.

Due to political changes only tim

e will tell if it w

ill become

necessary to pro

du

ce aseparate account of child ren' s lite

rature in Montenegro.

The M

ontenegrin auth

or V

oja MarjanoviC

wrote a book

which identified M

ontenegrin writers for child ren: P

ortreti

crnogorskih pisaca za decu imlade, (P

ortraits of Montenegrin

children's authors, 1990---;0.). In the 1990s the most fruitful

194 •

writers such as N

ikola Vulanovic S

unčana zem

lja (Sunny

country, 2001), Sunčev pjevač (S

un's singer, 2001) and Osm

jeh

za Mariju (S

mile for M

aria, 2003) and

other s began to pro

duce original Montenegrin children's literature.

Children's L

iterature in K

osovo, an

Au

tonom

ous P

rovince in

the Republic

of Serbia

In the 1990s and

beyond, a change occurred in the political

and

cultural life of Kosovo. T

he status of child ren' s litera

ture declined. In the transition situation facing Kosovo,

the role and

content of child ren' s literature are once again

being re-examined. A

re-evaluation of the literary heritage

has b

egu

n once again. C

onclu

sion

In the 1990s progress was m

ade from

the passive depen

dence derived from socialist m

odes of tho

ug

ht through to

a social realist tradition. A distinct class of professional

authors for

child ren

arose w

ith

the grow

ing level

of

195



sex, drugs, etc.), a situation which has become unfortu

nately common. These topics influenced both children' s lite

rature and young adult books. New problem-orientated

rea1ism followed similar patterns of those in Europe. The

revival of the folk tradition was started by Branko V. Ra

dičevic, and Grozdana Olujilc (Princ oblaka, Nebeska reka i

druge bajke, Sedefna ruža - Prince of Clouds, Heaven's River and other stories, Mother of Pearl Rose).

Despite the overwhelmingly traumatic experience s of the

past years, children's and young adult literature continues

to be written and includes the cosmopo1itan view of Mirjana

StefanoviC's Sekino seoce (Seka's Utt1e Village, 1994), and

the classic tale by Gordana Maletic-Vrhovac, Spasonosna

odluka (A Saving Decision, 1999). Growing from childhood

into adulthood in present-day Serbia is the problem

orientated top ic in the novel by Vesna Aleksic, Marija

Modiglian (1999). Children's literature is in a state of tran

sition and will need more time to reconstruct itself and

achieve the flowering of outstanding writers like Jovan

Jovanovic Zmaj, Branislav Nušk, Desanka Maksimovic,

Dušan Radovic, Miroslav AntiC etc. It has high potential.

Due to political changes only time will tell if it will become

necessary to produce aseparate account of child ren' s literature in Montenegro.

The Montenegrin author Voja MarjanoviC wrote a book

which identified Montenegrin writers for child ren: Portreti

crnogorskih pisaca za decu imlade, (Portraits of Montenegrin

children's authors, 1990---;0.). In the 1990s the most fruitful

194

writers such as Nikola Vulanovic Sunčana zemlja (Sunny

country, 2001), Sunčev pjevač (Sun's singer, 2001) and Osmjeh

za Mariju (Smile for Maria, 2003) and other s began to pro

duce original Montenegrin children's literature.

Children's Literature in Kosovo, an

Autonomous Province in the Republic

of Serbia

In the 1990s and beyond, a change occurred in the political

and cultural life of Kosovo. The status of children' s litera

ture declined. In the transition situation facing Kosovo,

the role and content of child ren' s literature are once again

being re-examined. A re-evaluation of the literary heritage

has begun once again.

Conclusion

In the 1990s progress was made from the passive depen

dence derived from socialist modes of thought through to

a social realist tradition. A distinct class of professional

authors for child ren arose with the growing level of

195

awareness of children an

d their identity. T

he degree of

dependence from

authoritarian control decreased, espe

cially in the case of the influence of eastern com

mu

nist

ideology, concurrently there was a rise in the influence of

the philosophy of the western m

arket economy. A

t the

same tim

e children's books started to become highly in

ventive, however, they w

ere no

t recognised by

western

countries. Com

mercial concerns b

egan

to dominate w

ith

the pro

du

ction

of series books, teenage romance, an

d ani

mal books.

Books designed for y

ou

ng

adults with

socially relevant

themes an

d subjects have appeared, em

ploying mo

des of

writing

in the

new

realist

tradition. T

hey deal

with

matters such as u

rban

crisis, social discrimination, aw

are

ness of the environment, an

d w

omen's liberation p

lus the

more u

np

leasant aspects of m

aturation. Books in the 1990s

have sho

wn

concern with traum

atic experiences derived

from dislocating events such as divorce, alcoholism

, war,

disease, death, sex, violence, dru

gs an

d the im

pact of the

mo

vem

ent of refugees. A

t the same tim

e, the South-E

as

tern European authors developed n

ew form

s of genres and

exploited a variety of traditional one s, for example, folk

and

fairy tales. Children's literature in S

outh-Eastern E

uro

pean countries is dep

end

ent u

po

n translations an

d inter

national meetings. T

here are a quantity of books written

for children

annually p

lus

literary criticisrn,

wo

rks

of

scholarship, and

reviews. Institutionally there h

as been

development w

ith regard to libraries, publishing houses,

196 ..

and

associations such as IBB

Y. T

here has be en

an influx of

a general imitation of w

estern children' s b

oo

k alth

ou

gh

they are han

dicap

ped

by

language problems. H

owever,

there is every good reason for a positive response from

western

society tow

ards children's literature

in S

outh

Eastern E

uro

pean

countries, as this is a way

of overcom

ing the West-E

ast stereotype and

dismissing the sense of

an aesthetic curtain. References

CH

ILD

RE

N'S

literahire in S

outh-Eastern E

urope. 2002.

Special issue:

Bookbird:

a journal of international chil

dren

's literature.

DR

AB

BL

E, M

. 1995. The Oxford C

ompanion to E

nglish Lit

erature. Oxford U

niversity Press.

http://ww

w.biblioteke.org.yu/knjigoteka/

http://ww

w.interliber.com

/

HU

NT

, P., RA

Y, Sh. 1996. International com

panion encyclo

paedia of children's literature. London, N

ew Y

ork: Routledge.

IBB

Y honour list (1980-2002). B

asel: International board on

books for

yo

un

g

people. http://w

ww

.ibby.org/Seiten/

04_andersen.htm

197



awareness of child ren and their identity. The degree of

dependence from authoritarian control decreased, espe

cially in the case of the influence of eastern communist

ideology, concurrently there was a rise in the influence of

the philosophy of the western market economy. At the

same time children's books started to become highly in

ven ti ve, however, they were not recognised by western

countries. Commercial concerns began to dominate with

the production of series books, teenage romance, and ani

mal books.

Books designed for young adults with socially relevant

themes and subjects have appeared, employing modes of

writing in the new realist tradition. They deal with

matters such as urban crisis, social discrimination, aware

ness of the environment, and women's liberation plus the

more unpleasant aspects of maturation. Books in the 1990s

have shown concern with traumatic experiences derived

from dislocating event s such as divorce, alcoholism, war,

disease, death, sex, violence, drugs and the impact of the

movement of refugees. At the same time, the South-Eas

tern European authors developed new forms of genres and

exploited a variety of traditional ones, for ex am ple, folk

and fairy tales. Children's literature in South-Eastern Euro

pean countries is dependent upon translations and inter

national meetings. There are a quantity of books written

for children annually plus literary criticisrn, works of

scholarship, and reviews. Institutionally there has been

development with regard to libraries, publishing houses,

196

and associations such as IBBY. There has been an influx of

a general imitation of western children' s book although

they are handicapped by language problems. However,

there is every good reason for a positive response from

western society towards chi1dren's literature in South

Eastern European countries, as this is a way of overcom

ing the West-East stereotype and dismissing the sense of

an aesthetic curtain.

References

CHILDREN'S literature in South-Eastern Europe. 2002.

Special issue: Bookbird: a journal of international chil

dren' s li tera ture.

DRABBLE, M. 1995. The Oxford Companion to English Lit

erature. Oxford University Press.

http://www.biblioteke.org.yu/knjigoteka/

http://www.interliber.com/

HUNT, P., RAY, Sh. 1996. International companion encyclo

paedia of children's literature. London, New York: Routledge.

IBBY honour list (1980-2002). Basel: International board on

books for young people. http://www.ibby.org/Seiten/

04_andersen.htm

197

IDR

IZO

VIC

, M. 1990. Dječija književnost naroda inarodnosti

BiH

. Sarajevo: V

eselin Masleša: S

vjetlost.

PIRN

AT

, Z

. 1980.

Pregled m

ladinskih književnosti

jugoslo

vanskih naroda (1945-1968). Ljubljana: M

ladinska knjiga.

SEL

MA

NI, A

. 2001. Bibliografia e letersise shqiptare (per te

rritur) ne Maqedoni: 1951-1999. T

etove: Arberia design.

TH

E

white

ravens (1996-2002):

A

selection of Interna

tional children' s and

yo

uth

literature. Munchen: Interna

tionale Jugendbibliothec. http://ww

wjjb.de/

ZA

LA

R,

D.

2002. Poezija

u zrcalu nastave:

igre stihom

jezikom usustretim

a s djecom. Z

agreb: Mozaik knjiga.

http://ww

w.bulgaria.com

/children/

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IDRIZOVIC, M. 1990. Dječija književnost naroda inarodnosti

BiH. Sarajevo: Veselin Masleša: Svjetlost.

PIRNAT, Z. 1980. Pregled mladinskih književnosti jugoslo

vanskih naroda (1945-1968). Ljubljana: Mladinska knjiga.

SELMANI, A. 2001. Bibliografia e letersise shqiptare (per te

rritur) ne Maqedoni: 1951-1999. Tetove: Arberia design.

THE white ravens (1996-2002): A selection of Interna

tional children's and youth literature. Munchen: Interna

tionale Jugendbibliothec. http://www.ijb.de/

ZALAR, D. 2002. Poezija u zrcalu nastave: igre stihom

jezikom usustretima s djecom. Zagreb: Mozaik knjiga.

http://www.bulgaria.com/children/

198

Children's Literature in South Eastern Europe, Between Social And Economy Market Utopia

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