Arab Children’s Book

It is a journey that takes us far into the worlds of imagination. Each time an artist allows themselves to float with the words, to breathe them in and become part of them, their feet rise from the ground and they find themselves gently floating, leaving behind the constraints of reality and embarking, through imagination, on a new world of lines, colors, shapes, and varying emotions. At that moment, the artist realizes that this text was written so that they could give it a part of themselves. Illustrating books in general, and children’s books in particular, is a space unrestricted by the constraints of reality. It allows every artist to be their true creative self. Swimming between and within words requires us to detach ourselves from reality and connect with our inner selves before thinking about techniques and artistic skills. We first set our imagination free and experience life as though we are seeing it for the first time, with wide-open eyes that absorb everything that touches our senses. We breathe it in and store it, allowing it to become part of our endless visual repertoire. We build towers of emotions, sensations, colors, images, and childhood memories stored in scented glass jars, releasing their fragrance whenever we encounter or see something that reminds us of them in our everyday lives. A creator of children’s books and picture books forever gathers within themselves a collection of intangible treasures that serve them throughout their creative journey. How Does an Artist Begin Illustrating Children’s Books? The artist begins by connecting their creativity with their actual technical skills and working on illustrations that represent what they love most about children’s books, whether a particular age group or a general theme that stimulates their imagination and inspires them to create with enthusiasm. In many cases, artists struggle to connect their technical abilities and the images they create with their imagination, allowing external influences and the styles of other artists to affect their confidence and their perception of their own creative work. Building a portfolio requires us to be ourselves and to allow our skills and creativity to blend naturally and confidently. Producing 8 to 12 illustrations, varying in size and level of detail, is very important in demonstrating a range of skills and techniques to publishers or literary agents. In addition, a strong portfolio gives the prospective employer confidence in the artist. When an artist begins the journey of searching for a publisher or a book to illustrate, they should always remember that the right text is out there waiting for them; they simply need to seek it out. They can begin by sharing their own work, reaching out to publishers and writers, promoting their work, practicing, and becoming part of the children’s book community through exhibitions, publishers, workshops, and professional networking. The world of children’s books is a welcoming one, with its doors open to you. All you need to do is take your artistic tools and creativity and set off on the journey.

The following article presents a critical reading of three distinguished works of Arabic children's literature that have received the Arab Forum for Children's Book Publishers Award. Through these readings, the author examines themes of courage, identity, belonging, family, and hope, while offering insightful observations on narrative structure, symbolism, and literary technique. Miss Waw's Dream Miss Waw's Dream is an inspiring novel for young adults set in the community of storytellers—a simplified microcosm of society at large. Many years earlier, the elderly Chief Storyteller had decreed that woman should be forbidden from storytelling, arguing that they were incapable of bearing such a great responsibility. He also believed that women tended to invent new stories, thereby threatening the preservation of traditional tales and the storytellers' mission of safeguarding cultural heritage. According to this decree, the kitchen was the only place suitable for women. For decades, the rule remained unquestioned until the courageous Waw emerged. Inspired by her grandmother's legacy, she believed it was her right to become a storyteller. Although her parents initially tried to dissuade her, she remained steadfast. During the annual Festival of Storytellers, she openly declared her wish to the Chief Storyteller himself—a man feared and respected by everyone. The Chief first attempted to persuade her gently, insisting that storytelling was too difficult for women and incompatible with long-established traditions—traditions that he himself had created. Unmoved by his arguments, Waw purchased a rababa (a traditional one-stringed instrument) and sat in the village square to perform her very first story. Her determination placed the entire community in an uncomfortable position. The novel presents a subtle conflict between tradition and renewal, rigidity and change. Determined to test her resolve, the Chief Storyteller ordered Waw to climb the mountain alone and spend the night inside the Cave of the Covenant. He declared that if she were sincere in her purpose and dreamed of the ancient grandmother of storytellers, she would be officially recognized as one of them. Waw accepted the seemingly impossible challenge without hesitation. She spent the night alone but did not dream of the grandmother. Instead, something unexpected happened. When she descended the mountain the following morning, a star-shaped mark had appeared on her forehead—a symbol that, according to ancient tradition, had once distinguished true storytellers. The Chief Storyteller finally surrendered and proclaimed Waw a storyteller. From my perspective, however, this symbolic ending, which celebrates the rise of Waw as a new storyteller, does not entirely harmonize with the novel's otherwise realistic atmosphere. Throughout the narrative, the author relies on logical dialogue and rational argument. Waw's courage, perseverance, and unwavering commitment to her dream seem sufficient to justify her success without resorting to a supernatural sign, whether in the form of a prophetic dream or the miraculous appearance of a star. After all, her determination had already earned the support of her parents and several members of her family. Her cousin, inspired by her bravery, found the courage to reveal his own secret: he loved cooking rather than storytelling, and the delicious dishes the Chief Storyteller enjoyed every festival had always been his creations, not his mother's as everyone believed. Waw's remarkable courage—especially her lonely ascent of the mountain through darkness, cold, and solitude, carrying a heart filled with stories—was, in itself, enough to establish her as a storyteller. She did not need a miracle that might or might not occur to validate her dream. The Hoopoe's Return The Hoopoe's Return is a brief and seemingly simple story, yet it is emotionally profound and deeply moving. It addresses the themes of displacement, uprooting, exile, and the enduring hope of return. Although grounded in reality, the story is richly woven with symbolism. Ghassan is a cheerful boy who shares his secrets with an orange tree. At the same time, he carries an unspoken fear that the world around him might suddenly change. Yet the story never clearly explains what prompted this fear or what Ghassan had witnessed to make him feel this way. Although his anxiety is later justified by the events that unfold, the narrative leaves its origins unexplained. After a deafening uproar, everyone leaves the village carrying the keys to their homes. Here again, the author leaves the details to the child's imagination: What exactly happened? Why were the villagers forced to leave? While the symbolism clearly points to the events of the 1948 Palestinian Nakba, the narrative does not provide sufficient clarity for young readers unfamiliar with that historical context. Although Ghassan disappears physically from the story, his presence endures through the orange tree that patiently waits for his return. The tree symbolizes his deep roots in the land—roots that can never be severed. Its continued flourishing also embodies the enduring hope that one day he will come back. When autumn arrives, a hoopoe appears in the village. The hoopoe carries profound symbolic significance in Arab and Islamic culture. It is associated with spiritual insight and the ability to perceive truths hidden from others, recalling the Qur'anic verse in Surat An-Naml: "I have come to you from Sheba with certain news." Its arrival in the story functions as a prophecy that Ghassan's return is inevitable, reinforcing the hope already represented by the steadfast orange tree. Notably, the author writes that the trees "fell ill" rather than saying they "died." Illness implies the possibility of recovery, and this is precisely what the hoopoe brings about. Carrying seeds from tree to tree, it scatters them until the "Forgotten Hill" blossoms once again. This description evokes a forgotten cause that inevitably returns to public consciousness, no matter how much time passes. Throughout the story, the orange tree repeatedly wonders why the hoopoe chose her and why it chose the hill. The text states that the bird "continued to ignore her and flew away." In my view, the word "ignore" is not the most appropriate choice here, as it unintentionally diminishes the importance of both the tree and her questions. A gentler expression, such as "it flew away in silence," might have better preserved the story's poetic atmosphere. Everything remains hidden beneath the surface, like seeds lying dormant in the earth, until the right moment arrives. Then the Forgotten Hill blossoms, and Ghassan finally returns, now grown, holding the hand of a little girl named Lamees. Her name evokes the Arabic root meaning "touch," suggesting that the long-awaited return has finally become tangible. The child herself also symbolizes continuity, renewal, and the enduring fertility of the land. Here again, however, time is compressed, and the symbolism seems to suggest that the flourishing trees alone brought about Ghassan's return. The extensive use of symbolism may prove intellectually demanding for young readers who possess little or no knowledge of the Nakba. At the end of the book, the author explicitly refers to Ghassan Kanafani, thereby anchoring the story firmly within the Palestinian context. In my opinion, the narrative could have addressed the issue more directly, without excessive reliance on metaphor. Likewise, the symbol of the house key is inseparable from a specific historical reality—it belongs uniquely to Palestine. The story is heavily imbued with sadness. Some emotional relief might have been achieved by including a charming secret that Ghassan once shared with the orange tree, allowing the memory to resurface upon his return and gently soften the narrative's emotional weight. The language is lyrical, concise, and beautifully crafted. Descriptions such as the oranges being "golden like the stars in the sky" add poetic richness. Yet, since stars are more commonly associated with silver or white light, comparing the oranges to "golden suns" might have created a more vivid and harmonious image. Me and My Very Big Daddy This picture book is intended for children in early childhood. The word Daddy in the title immediately conveys warmth, affection, and emotional closeness, while the description "very big" reflects the child's perception of the father as a figure of strength, security, and admiration. The story follows the everyday experiences of a young child with his father. In the morning, covered in shaving foam, the father resembles a snowman—a humorous image that encourages children to observe the people around them and relate what they see to their own experiences and imagination. The father also carefully grooms himself in front of the mirror, inspiring the child to hope that one day he, too, will be neat and well-presented. As a role model, the father naturally becomes someone the child wants to imitate, and these simple daily rituals remain deeply rooted in the child's memory. When the father returns home from work carrying groceries and household necessities, his strength is shown not merely through physical power but through his dedication to caring for his family and providing for their needs. In the child's eyes, the father is much more than someone who works outside the home; he is many skilled people in one. He repairs broken chairs and leaking taps, paints the walls, and takes care of the family's belongings. Through these everyday acts, the story quietly promotes the values of responsibility, maintenance, and respect for personal property. The child also enjoys moments of play with his father, reminding readers that children's needs are emotional as well as material. Together they race, climb the trees in the garden, and pick fruit. Later, the father is seen reading a book in the evening, offering children a gentle and positive model that encourages reading as a natural part of everyday family life. With every new experience they share, the child dreams of becoming just like his father when he grows up. The story concludes with a delightful reversal: the father wishes he were as small as his child because his large size always gives away his hiding place whenever they play hide-and-seek. This warm and engaging story celebrates the father's role not only as a provider but also as a companion, mentor, and role model. Through simple, familiar moments, it highlights the emotional bond between parent and child and reminds us that the most meaningful lessons are often found in everyday family life.

In Times of War, Hope for the Future Becomes Fragile Our world today is filled with knowledge that spreads across every corner of the globe through publishing. Publishing is a precious treasure that encompasses books, magazines, newspapers, electronic articles, and various forms of digital content. These resources help us develop ourselves and shape our future, which is built upon the knowledge and learning we acquire through publishing. Given its significance in our daily lives, it is important to understand how publishing began. The history of publishing dates back to the fifteenth century following Johannes Gutenberg’s invention of the movable-type printing press around 1440. This groundbreaking innovation enabled books and printed materials to be produced more quickly and efficiently, leading to a wider dissemination of knowledge and information. Over the centuries, publishing continued to evolve and expand. Numerous publishing houses emerged and played a major role in advancing the industry. Later, the advent of the Internet brought about a transformative leap, particularly through electronic publishing, which made it much easier to distribute books, magazines, and articles, benefiting countless seekers of knowledge and learning. Despite the remarkable growth and expansion of the publishing industry worldwide, several factors have negatively affected it, with wars being among the most significant. Wars have had a profound impact on publishing in several ways. First, wars often force writers to stop working due to political instability and security concerns. They may become unable to produce their creative works and experience fear, sadness, and despair as a result of displacement and the loss of their homeland. In such circumstances, hope for the future diminishes, and despair can take hold. As security and stability decline, a writer’s passion for creativity may fade, especially when writing itself becomes a threat to personal safety and freedom. This directly affects the writer’s ability to continue producing works that reflect their aspirations and ideas. Second, many publishing houses are forced to close because of shortages in the raw materials required for printing, such as paper and ink. These materials become difficult to obtain due to wartime conditions and rising costs. Furthermore, publishing facilities may suffer damage or destruction as a result of conflict, rendering them unable to continue operating. Together, these factors bring production to a halt and directly affect the availability of books in the market. Third, wars can sometimes destroy internet infrastructure, disrupting the publication of articles and the exchange of information. This negatively affects communication between individuals and institutions and hinders the flow of essential news and information. Such disruptions can limit access to reliable sources, contributing to the spread of misinformation, fake news, and rumors. Fourth, during times of war, publishing is often threatened by strict government censorship imposed on books, newspapers, and magazines. In some cases, authorities may even prohibit the publication of certain works altogether. Such restrictions limit intellectual diversity and literary creativity within the publishing industry, weaken freedom of expression, and reduce opportunities for cultural and intellectual exchange. Finally, it can be said that wars destroy nearly everything, including the publishing industry. They obstruct the very means through which we build a future enriched by knowledge and learning—the knowledge that inspires dreams and ambitions. Many individuals aspire to leave a legacy through books that express their ideas and preserve their names for future generations. Therefore, wars leave a profound impact on the publishing industry by limiting its role in transmitting ideas and facilitating the exchange of knowledge.