<<Biblioteca Digital del Portal<<INTERAMER<<Serie Cultural<<El Río de los Sueños: Aproximaciones Críticas a la Obra de Ana María Shua<<Ana María Shua’s Stories for Children, 1988-1998: Tradition and Innovation in Fantasy
Colección: INTERAMER
Número: 70
Año: 2001
Autor: Rhonda Dahl Buchanan, Editora
Título: El río de los sueños: Aproximaciones críticas a la obra de Ana María Shua
NOTES
1. See Canela’s: Marisa que borra (1988); Para cuando llueve (1990); and
La boca del sapo (1992).
2. The boom in children’s literature continues, with each printing for well-known writers, such as Shua, totaling 8000 copies. This is an impressive number, when compared with works by such well-known writers of Argentine adult fiction (for example, the internationally recognized Mempo Giardinelli) will have a print run of only 2000 copies. Colihüe continues to be a major publisher of children’s work, but due to administrative problems Quirquincho has lost much of its former innovative direction. Its place has been taken by Primera Sudamericana, Alfaguara, and Aique.
3. Shua told me during a personal interview with her on June 10, 1992 that the best example of a writer who writes “en broma” is her friend Ema Wolfe whose works, not necessarily intended for children, but published for them, satirize television programing (A filmar canguros, 1993), the family (Familí, 1992), how-to articles in women’s magazines (Hay que enseñarle a tejer al gato, 1991), and vegetarianism in a meat eating country (La aldobranda en el mercado, 1989). Another well known author considered a writer “en broma” is Graciela Montes, yet I find Montes’ humor to coat /cover serious social concerns such as homelessness, the Dirty War, the environment, the marginalized, and debasing forms of address.
4. Carolyn Lehman, a US writer of children’s literature says: “Children’s literature is the only one written, marketed, published, and criticized by persons other than for whom it is intended. To be accepted at so many adult levels, it must meet adult criteria. (Personal interview, 15 Sept. 1999.)
5. In 1999 Editorial Sudamericana published Historia de un cuento for the young adult market (“literatura juvenil”), but since this book is nothing more than a compilation of Shua stories taken from her collections for adults (Los días de pesca and Viajando se conoce gente) it is not considered in this study.
6. This same structure applies to the stories in La puerta para salir del mundo.
7. Published in tandem in La puerta para salir del mundo (Buenos Aires: Sudamericana, 1992).
8. In the “Terror” books, La fábrica del terror (Buenos Aires: Sudamericana, 1990) and La fábrica del terror II (Buenos Aires: Sudamericana, 1998), Shua presents tales from five continents: Asia, Australia, Europe, North America, and South America. In the case of the latter, she retells only three stories, and these are indigenous:”Yasí-yataré, el que se oye y no se ve” (a “Guarani” tale, first volume), “La casa de Shushu (a Mapuche tale, second volume) and “El condenado” (a Quechuan tale, second volume).
2. The boom in children’s literature continues, with each printing for well-known writers, such as Shua, totaling 8000 copies. This is an impressive number, when compared with works by such well-known writers of Argentine adult fiction (for example, the internationally recognized Mempo Giardinelli) will have a print run of only 2000 copies. Colihüe continues to be a major publisher of children’s work, but due to administrative problems Quirquincho has lost much of its former innovative direction. Its place has been taken by Primera Sudamericana, Alfaguara, and Aique.
3. Shua told me during a personal interview with her on June 10, 1992 that the best example of a writer who writes “en broma” is her friend Ema Wolfe whose works, not necessarily intended for children, but published for them, satirize television programing (A filmar canguros, 1993), the family (Familí, 1992), how-to articles in women’s magazines (Hay que enseñarle a tejer al gato, 1991), and vegetarianism in a meat eating country (La aldobranda en el mercado, 1989). Another well known author considered a writer “en broma” is Graciela Montes, yet I find Montes’ humor to coat /cover serious social concerns such as homelessness, the Dirty War, the environment, the marginalized, and debasing forms of address.
4. Carolyn Lehman, a US writer of children’s literature says: “Children’s literature is the only one written, marketed, published, and criticized by persons other than for whom it is intended. To be accepted at so many adult levels, it must meet adult criteria. (Personal interview, 15 Sept. 1999.)
5. In 1999 Editorial Sudamericana published Historia de un cuento for the young adult market (“literatura juvenil”), but since this book is nothing more than a compilation of Shua stories taken from her collections for adults (Los días de pesca and Viajando se conoce gente) it is not considered in this study.
6. This same structure applies to the stories in La puerta para salir del mundo.
7. Published in tandem in La puerta para salir del mundo (Buenos Aires: Sudamericana, 1992).
8. In the “Terror” books, La fábrica del terror (Buenos Aires: Sudamericana, 1990) and La fábrica del terror II (Buenos Aires: Sudamericana, 1998), Shua presents tales from five continents: Asia, Australia, Europe, North America, and South America. In the case of the latter, she retells only three stories, and these are indigenous:”Yasí-yataré, el que se oye y no se ve” (a “Guarani” tale, first volume), “La casa de Shushu (a Mapuche tale, second volume) and “El condenado” (a Quechuan tale, second volume).