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.
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.
Children get science and knowledge through the school educational system and the educational process in particular, within many changes that occur in their psychological, physical and mental development. It is noticeable that developed and developing countries exerted unremitting efforts to develop children’s upbringing and education, as they are keen on educating them and improving their conducts within a behavioral and developmental methodology based on sound foundations and values in line with the principles and policies of those countries. They also aim at caring about the learner and improving his behavior by intensifying intellectual and cultural details and behaviors within the school curricula. Can children’s stories enhance these details and behaviors in the educational process?
The diversity in the audio-visual and sensory knowledge means contributes to the preparation of an integrative curriculum for the child, and the stories have an effective and direct impact on the child’s behavior, its refinement and improvement, in addition to their ability to mix the literary and imaginative side with scientific and historical facts without prejudice to the attractive and enjoyable aspect of story-telling. Stories encourage the child to use imagination, employ creativity and develop his verbal competencies, criticism and listening skills.
There are many stories that reinforced and contributed to instilling the concept of education in children and adolescents, since the emergence of children's literature until the present day. We see that children's stories are scientific, religious and historical. Some of the stories aim at instilling lofty values and principles, and some of them enhance the concepts of citizenship and good morals. There are stories that support the scientific and imaginative aspects and others include a philosophical spirit.
From the above stories we would mention an immortal global fictional example that was written in an unprecedented miraculous manner in both literary and educational history, which is the book “Wonderful Adventures of Nils”, which was published in 1906 by the Swedish writer, Selma Lagerlöf, winner of the Nobel Prize for Literature in 1909, as she was the first woman to get this prize.
Selma started her writing project for this book upon the request of the “National Teachers Association” in 1902, since she intended to write a geography curriculum in which students would overcome the difficulty of this subject and the student would learn about the conditions of his country, Sweden, its wealth, and the diversity of its regions.
The writer devoted three years of her life for writing her fictional story grafted with scientific material that included the Swedish regions, their trees, animals, topography and their inhabitants. The writer was not satisfied with all of these aspects, but she was also keen on enhancing her literary masterpiece with legends and folkloric songs to provide scientific material in a funny and exciting way for important age stages in the general national and cultural context of her country. The writer also made a significant linguistic development in her book at the verbal, grammatical and rhetorical levels.
The simple story of Nils has shown a sign of transformation at the educational and national level, and the speed of its translation into other languages contributed to an amazing transformation in the educational process and the Swedish folklore at that time. The popularity of this book did not stop at this point, as it was turned into animated films which adults enjoy watching before children.
Hence, we find out that stories have a prominent and pivotal role in the interactive, cognitive and educational development of the child if the appropriate standards for creative writing are exploited, away from direct indoctrination.
The subject of translating children's books has attracted growing interest among publishers and remains a recurring topic at cultural forums, particularly in events accompanying book fairs. This interest reflects several contemporary developments, most notably the unprecedented cultural openness brought about by globalization.
Today, English and French are no longer the sole sources for children's literature translation. Other languages, including Chinese, Japanese, Hindi, and even several Latin American languages, have entered the field. These works have found their way into the Arab world through various channels, including modern digital technologies that have helped publishers discover new opportunities in international children's publishing.
As this promising field continues to expand, an important question remains at the forefront of discussions among children's book publishers: What is the best approach to translating children's books into Arabic in a way that achieves the desired objectives? Answering this question requires careful consideration of several key factors.
The first challenge facing children's publishers is selecting the right book. Not every children's title published in another language is suitable for Arab children. Winning an international award does not automatically qualify a book for translation, as many works are deeply rooted in the cultural systems of their original audiences.
Publishers may encounter values, perspectives, or treatments of certain topics that do not align with the cultural context of Arab children. Therefore, careful selection remains the first prerequisite for a successful translation project. Leading children's publishers often maintain written guidelines and protocols to regulate the selection and translation process.
Once a title has been selected, the search begins for a qualified and professional translator. The translator is the cornerstone of the entire process, and their cultural knowledge, linguistic expertise, and literary sensitivity are crucial factors in the success of translated works.
Many successful Arabic translations produced during the twentieth century owed their excellence to pioneering translators who were themselves writers, poets, and gifted literary figures. Their work resonated with generations of young readers. Today's translators face the challenge of continually developing their skills and keeping pace with the rapidly evolving publishing and translation landscape.
Children's books often contain symbols, names, customs, and cultural references that may affect how young readers engage with the text. This raises important questions regarding translation strategies and the degree of flexibility allowed when adapting content.
Some authors and publishers insist that their texts remain unchanged, rejecting any modifications at the linguistic or cultural level. Consequently, publishing agreements should clearly define the extent to which adaptations are permitted when translating children's and young adult books. Publishing houses should also establish clear procedures identifying who is authorized to make editorial adjustments when necessary.
Another important consideration is determining whether a book has already been translated into Arabic or other languages, and whether translation rights are exclusive or available for additional territories.
Major publishers may license translation rights on a regional basis, while others focus on language-based rights. Given that the Arabic language serves readers across twenty-two Arab countries, publishers must carefully assess rights agreements. Multiple translations of the same work can also create confusion among readers, a phenomenon that has occurred with numerous literary titles.
Experience has shown children's publishers that illustrations and characters play a vital role in children's books, especially during early reading stages. An important question concerns the publisher's ability to adapt visual elements to suit the cultural environments in which the translated book will be marketed.
Critics have often highlighted the issue of transferring illustrations and scenes exactly as they appear in the original editions. Children are naturally more attracted to familiar environments and characters that resemble their own experiences. As the saying goes, "Like is drawn to like."
Translation remains one of the most important avenues for creativity, renewal, and cultural enrichment in children's publishing. It should remain open and active in order to continuously introduce fresh ideas and perspectives to young readers.
When children's publishers address these considerations comprehensively rather than individually, they increase their chances of producing outstanding translations that enrich the Arabic children's library and provide meaningful added value for future generations of readers.
Grandmothers’ Tales and Children’s Literature
Children’s literature, as we know it today in its written and printed form, did not emerge overnight. Like all other forms of literature, it passed through many stages before reaching its current shape. Storytelling was considered the very first and most important stage, especially because writing stories and preserving them in written form was once difficult. Therefore, oral narration became the easiest and most complete way to preserve and share stories.
Storytelling methods varied from one storyteller to another, even when the main elements of the story remained the same. The style of narration often depended on the atmosphere and emotions the storyteller wished to convey to listeners. The storyteller usually aimed to deliver educational, moral, heroic, or historical messages, while emphasizing certain events or values. Sometimes storytelling included gestures and movements, while in many cases the narrator relied solely on the spoken word.
As time passed, storytelling methods evolved. To attract children and provide more entertainment, enjoyment, and participation, storytellers began using puppets and moving dolls to represent different characters and bring stories to life. Despite these additional tools, the storyteller never abandoned the essential role of oral narration, changing the tone of voice between strength, softness, and kindness to suit each character being portrayed.
In the beginning, storytelling was not considered a profession. Anyone with the ability to narrate events in an engaging and attractive manner could become a storyteller. Such individuals possessed the talent to present details in a captivating way that kept listeners eager until the end of the story. Over time, however, storytelling became a profession. Traveling storytellers emerged, searching for the best stories—whether ancient or contemporary—to share with children. This required constant travel and continuous training in entertainment and communication skills to attract larger audiences. Storytellers eventually had scheduled gathering times that children awaited with excitement and affection.
Besides their ability to attract attention and directly influence children, storytellers were often characterized by kindness, honesty, tenderness, and credibility. In the absence of professional storytellers, grandmothers took on this important role. They narrated stories in ways very similar to traditional storytellers, but with a stronger educational and moral purpose. Through storytelling, grandmothers focused on teaching values, emphasizing goodness, and presenting stories with sincerity and emotional impact. Their tales often highlighted positive lessons and noble qualities that distinguished grandmothers’ storytelling throughout history.
Despite the passage of time, changing eras, and the dominance of modern technology, grandmothers’ tales have not lost their essence. Grandmothers still tell stories in the same familiar and heartfelt way practiced for generations. What unites them all is a shared purpose: building balanced generations filled with noble values and positive qualities. Through charming and meaningful storytelling, grandmothers preserved the beauty of the past and passed it on to their grandchildren, ensuring that these timeless stories remain rich in elegance, depth, and authenticity. These tales come from loving hearts that strive to pass on the very best of earlier times in order to shape bright and promising future generations.
Publishing and Distribution Challenges
The profession of publishing and distributing books, in all their forms, is considered one of the noblest industries and professions. It not only provides knowledge, culture, and literature — a continuation of the mission of prophets and messengers — but also engages with minds and seeks to nourish them with diverse sciences and ideas. Publishing houses constantly interact with scholars, thinkers, writers, students, and readers.
The publishing industry is divided into three important stages before a book reaches readers or markets. The first stage is publishing itself, which includes selecting the scientific or literary content and presenting it in a form that reflects the publisher’s identity and suits the reader or audience. This stage also involves design, layout, printing, and marketing.
The second stage involves distribution companies, which purchase books wholesale from publishers and then distribute them through various outlets such as public and private bookstores, as well as online stores.
The final stage is sales outlets or bookstores and online marketplaces, which deal directly with the public through sales.
Sometimes these stages overlap; some publishers may handle distribution themselves, while some distributors may sell directly to consumers.
Each stage has its own advantages and challenges. Publishing houses choose authors, manuscripts, printing methods, and layouts, then manage marketing, pricing, and distribution channels. One of the major challenges publishers face is that they cannot force distributors to carry all their titles. Distributors often select only certain books based on their own preferences and market vision.
As for distributors, they may not participate in selecting the content or bear production costs such as authors’ fees, design, printing, or marketing expenses. Instead, they choose titles they believe suit their business interests. In many cases, distributors pressure publishers regarding pricing, discounts, and display methods while focusing mainly on distribution efforts.
Some distributors require books to be supplied on a consignment basis, meaning payment is only made for sold copies, while others reserve the right to return unsold books. Distribution challenges also arise because distributors do not control the content, authors, or production quality, in addition to their limited influence over book pricing set by publishers.
Bookstores, on the other hand, benefit from direct interaction with readers, allowing them to gather genuine feedback about books. However, they also face difficulties, including limited shelf space, the vast number of titles available, multiple editions, varying prices, and differing discount rates offered by publishers.
Focusing on the relationship between publishers and distributors, publishers are expected to dedicate themselves to selecting quality works, collaborating with authors, illustrators, and designers, and overseeing printing, production, marketing, and fair pricing to ensure sustainability. Yet, a major issue remains: many distributors view publishers primarily as profit-driven businesses without fully appreciating the challenges publishers themselves face.
Many distributors insist on exclusive agreements that prevent publishers from distributing through other channels, while still reserving the freedom to select titles, quantities, and supply contracts for government tenders and institutions. This reduces publishers’ ability to showcase all their products freely. In some regions, weak distribution networks also limit book availability, and sometimes distributor profit margins exceed those of publishers, resulting in higher book prices and reduced accessibility.
Personal relationships can also influence dealings between distributors and publishers. Some distributors prefer working with publishers that offer larger discounts or maintain favorable relationships with distribution managers. Additionally, distributors may delay payments until they receive funds from bookstores or marketplaces, which in turn delays payments to publishers.
Ultimately, the relationship between publishers and distributors is a strategic partnership built on cooperation and coordination to achieve success. Overcoming these challenges and improving collaboration can help both parties achieve shared goals and reach wider audiences.
Where Are the Bestselling Children’s Books?
One cannot fail to notice the significant gains that Arab children’s books have achieved over the past two decades. This field has witnessed growing awareness, culminating in the emergence of numerous specialized publishing houses and professional entities. Children’s publishing has become an increasingly independent sector, which has encouraged the rise of many related activities and events.
It is worth noting that initiatives aimed at drawing attention to books are experiencing remarkable growth, especially in developed countries. These initiatives have introduced various innovative methods, including reading competitions, highlighting a specific book, or focusing on a particular category of books such as announcing bestsellers, most popular books, or most widely circulated titles. All of these serve as incentives that spark a love of reading and encourage book purchasing.
Such initiatives have played a major role in attracting readers and intellectuals. Through the spotlight on a specific book, readers can be guided toward a broader engagement with publishers’ catalogs. This is considered an advanced practice that deserves recognition and support. These pioneering experiences are also worth adopting, as there is nothing preventing children’s book publishers from applying them in ways that suit their capabilities and local context.
Here, the role of forums, publishers’ unions, and reading associations becomes essential, as these institutions can effectively contribute to organizing such emerging practices in gradual forms. For example, they could launch an initiative for “Bestselling Children’s Books” during specific book fairs such as the Sharjah Children’s Reading Festival or other Arab book fairs. They could also organize events under the theme “Most Popular Children’s Books,” based on the availability of selected children’s books in a particular library or a network of libraries.
Initiatives focusing on popular books, in their various forms, provide researchers with highly valuable data. They help identify children’s reading preferences for specific types of books, whether during a particular season or period. Such statistics also enable more accurate studies on readership, reading patterns, and comparative analyses.
What encourages the adoption of such ideas in the children’s publishing sector is the flexibility that allows multiple implementation options. However, the most important factor is the consistent effort to provide the necessary data, which is not difficult to obtain. It can be gathered from publishing lists available with publishers and associations. Once this is achieved, the opportunity becomes ripe for organizing such innovative and dynamic initiatives, which can further be developed through careful evaluation and continuous improvement of the experience.
Poetry in Children’s Books: Is Its Absence Continuing?
Critics of children’s literature have long and consistently raised the issue of the absence of poetic content in Arabic children’s books, and they are justified in doing so. A review of catalogues from specialized publishing houses reveals that many are devoid of poetry collections for children. On a broader level, a visit to book fairs is sufficient to confirm this absence; in both cases, researchers will not need much effort to notice this unjustified scarcity of such publications.
It is striking that this absence has persisted despite repeated warnings across various conferences, seminars, and articles, all of which have continuously highlighted the scarcity and near disappearance of poetry from the field of children’s literature.
There is no doubt that those who raise the issue of the absence of poetry in Arabic children’s books are fully aware of the profound impact of poetry on children. Poetry has a strong emotional influence and a remarkable ability to shape imaginative and elegant forms that can be filled with meaningful content. This is achieved when the poet master's clarity of style, musical rhythm, and clear meaning, along with graceful expression and evocative imagery. In fact, some poets have succeeded in presenting their poetic work in a beautiful form that appeals to children, who receive it like songs and carry it with them as melodies.
Indeed, critics’ calls regarding the absence of poetry deserve careful study and deeper examination. Likewise, concerns about the decline in publishers’ interest in poetry call for bold initiatives that bring together publishers and Arabic poets. Arabic, our beautiful language, has never ceased to produce outstanding creative poets. Is it reasonable, then, for children’s poetry to remain confined to the legacy of great pioneers such as Ahmed Shawqi and the great poet Suleiman Al-Issa in his children’s poetry collection?
Children’s Book Publishers: Between the Local and the Global
The new generation of children’s book publishers is making notable efforts to move toward globalization. Through professional practice, they have come to realize that the narrow classification of “local publishing” no longer satisfies their ambitions in a publishing world that is constantly interacting with rapid changes. These changes have left their impact on various professions and fields, including publishing, which in some Arab countries has reached a critical turning point. This has pushed publishers to seek solutions through available options and alternatives, most importantly repositioning themselves in order to address spatial fragmentation in professional practice—a concept often referred to as the dialectic of (local vs. global).
Local publishing requires the children’s book publisher to remain firmly rooted in his geographical space and legal place of operation, allowing him to remain an active and influential player in his field. Global publishing, on the other hand, implies going beyond geographical boundaries, making the publisher an integral part of the global publishing landscape with all its conditions, standards, and regulations.
Such requirements demand a high level of awareness and professional culture capable of managing a gradual and well-planned transition to globalization. This is not achieved in a single leap, but through a step-by-step process that includes openness to the best alternatives, policies, and practices. Among the most important of these are:
Mergers and consolidation are among the most important professional strategies that help publishing houses achieve global reach. The individual publisher with limited capabilities, or the traditional small-scale publisher, is increasingly less able to survive in a rapidly changing environment full of unpredictable challenges. Therefore, mergers and other collaborative models provide a strong foundation for children’s book publishers to move toward globalization.
Experience has shown that such models are effective in achieving major goals, while also offering protection against professional instability and unexpected disruptions. However, their success depends primarily on awareness and on the belief of “merged” publishers in collective work as a necessary strategy to achieve shared goals.
Specialization opens wide doors for children’s book publishers to reach global markets, as it enables the achievement of higher quality standards and transforms children’s books into globally accepted “products.” This is done by focusing on a specific niche, in line with the broader trend of specialization that has become dominant across sciences, arts, literature, and professions.
In children’s publishing, there are several forms of specialization, including:
Translation is one of the most important forms of specialization. It is worth recalling that the early foundations of Arab children’s books were originally based on translation, particularly from French. Arab envoys to France in the eighteenth century were impressed by the remarkable development of children’s books there. Upon returning home, their first initiatives included translating several books, which became among the earliest modern Arabic children’s books.
It is also important to note that many specialized children’s publishing houses in Europe, America, and other developed countries adopt a strict strategy of extensive translation from various literatures and cultures, making it a distinctive feature of their production.
Alongside translation, field specialization is one of the most prominent strategies in children’s publishing. Some publishing houses focus exclusively on scientific books, while others specialize in storytelling, novels, science fiction, travel literature, biographies, or specific personalities, among other fields.
Some believe that field specialization provides a safe and effective pathway for Arab children’s books to reach global markets, as it encourages both authors and publishers to produce high-quality, precise, and credible content.
In addition to translation and field specialization, some publishers adopt style-based specialization, such as producing silent books that rely solely on illustrations without text, or focusing on screenplay-based formats. Others adopt dual specialization, combining two or more areas as part of a risk management strategy.
Regional specialization is a relatively new trend that has emerged in response to the desire of Arab families living abroad to raise their children in Arabic and maintain their cultural and linguistic identity, thereby protecting younger generations in distant diaspora communities.
Global content in children’s books is one of the most debated issues, particularly among literary agents who argue that not all content in Arab children’s books is suitable for global audiences. They emphasize the need to consider shared human values across nations and cultures, while avoiding isolation and overly localized or simplistic topics.
Creativity has become an urgent necessity in producing pioneering content capable of capturing children’s attention everywhere, by addressing their interests, stimulating their imagination, and engaging their sense of wonder, aspiration, and curiosity.
Many publishing houses place great importance on visual identity, considering it a key marketing strategy that supports their journey toward globalization. With the expansion of markets and the diversification of consumer preferences, publishers have increasingly focused on strengthening their visual identity.
Recently, there has been growing enthusiasm among publishers regarding visual identity, with some even revisiting their logos, strategies, values, vision, and mission. These elements contribute to creating a strong and influential visual and mental image that highlights the uniqueness of the publishing house and integrates it into the perceptions of consumers worldwide.
The path toward globalization remains open to all publishers who wish to pursue it. All routes can lead there, provided the publisher is capable of working with available options, policies, and professional strategies. However, it must always be remembered that tomorrow will not be like today in a world where the wheel of change never stops turning.
