Engaging in a dialogue with children is a reflection of human maturity and cultural depth. It is an effective strategy, serving as a gateway for parents, educators, and caregivers to access the child's inner world, a world rich with ideas, and vision , where thoughts , imagination, and perceptions are mixed .
In light of the social disconnection caused by modern passive media consumption leading to reduced interaction between parents and children, and even among brothers and sisters, dialogue emerges as a vital means of connecting with children's minds and emotions. Through dialogue, we can better understand them, convince them and influence their values, and guide them towards upright behavior, empowering them to become responsible members of society capable of serving their communities and contributing meaningfully to achieve its high goals in the near future.
Furthermore, dialogue plays a significant role in nurturing children's creative thinking. It offers a space for openness, comfort, and positivity. It enhances children's communication and life skills, shapes their personalities, builds self-confidence, and enables them to express their thoughts freely, eloquently, and clearly.
On the other hand , dialogue also instills values of understanding and empathy with others , and serves as a powerful tool for education, skill development, and the formation of sound perspectives about life, humanity, and the universe. It stimulates creativity talents provided we thoughtfully choose the topic, environment, approach, and logical reasoning that align with a child's level of understanding and emotional world. Moreover , dialogue opens new horizons for parents and educators, helping them decode their children's personalities, understand their inner worlds, and select the most effective educational approaches tailored to their individual traits and needs laying the foundation for informed, conscious parenting and education.
Key Tips for Effective Dialogue with Children :
Acknowledgement and respect of the child's status and individuality, considering their age and developmental stage, providing them with a sense of safety, trust, and comfort, accepting and welcoming their ideas with an open mind, and
listening to them attentively without interrupting
and responding them calmly, wisely, and in a manner appropriate to the child’s cognitive level
We can almost all agree that the publishing field was one of the first major areas to be notably affected—at an early stage—by the enchanting realms of connection and communication brought about by the internet. These networks have overshadowed many aspects of the publishing process, including the production of the book itself.
During an interview at a book fair, I put forward a proposal that was greatly appreciated by the audience for its originality and novelty. The idea revolves around engaging all parties involved in the book-making industry in an exciting experience. This journey would include all the steps and procedures of book creation—starting from the manuscript, moving through editing and proofreading, then illustration and design, followed by printing, and finally distribution to the beneficiaries.
This process involves the direct participation of the author, illustrator, designer, and professional distributor. The book then moves on to the reading phase, where a large number of children—attracted from many countries around the world from among Arabic speakers.
After the book has been produced and read, feedback is collected to evaluate the outcome. Suggestions for improvement are then implemented, followed by a study and investigation into the impact the book has had on its readers.
Undoubtedly this is an exciting experience—a call to every person has the ability to create, to embark on this worthy journey. It is worth noting that there are many potential participants who could engage in such an initiative, and they themselves will reap many benefits from their involvement. I hope that my fellow publishers will enrich this idea with their insights, and I sincerely hope that the opportunity arises to bring this concept into a tangible reality for all to see.
I had this idea and took shape as I contemplated and reflected with colleagues on the discussions taking place in publishing communities about the pros and cons of media and their impact on publishing.
Children's books are among the most important tools for shaping children's awareness, developing their imagination, and nurturing their linguistic and social skills. With the growth of the publishing industry, number of children's book releases has increased significantly. However, this quantitative expansion has not always been accompanied by a qualitative improvement that truly addresses children's developmental needs at different age levels.
Characteristics of Children's Books by Age Group:
• Early Childhood (Under 6 years): At this stage, children rely heavily on sensory perception and visual interaction. Books should therefore feature bright colors, large illustrations, and simple language with repetition and rhythm. Fabric and board books, as well as interactive books that incorporate touch and movement, are ideal for stimulating the senses and fostering a love of reading.
• Middle Childhood (Ages 7–11): Children begin developing independent reading skills and need stories with engaging plots and relatable characters. Language should remain accessible but rich in vocabulary. Stories with educational and moral themes help children understand social relationships , develop critical thinking, and explore the world around them.
• Adolescence (Ages 12–16): Teenager readers seek books that reflect their personal experiences and explore themes such as identity, ambition, and societal challenges. At this stage, teenagers appreciate more complex narratives, higher literary quality, and genres. Moreover, novels, science fiction, and realistic fiction encourage reflection and self-exploration.
Few Key Observations:
1- Lack of specialized professionals in children's book production
2- Children's book Industry: A growing number of publications, yet a shortage of high-quality content
3- Lack of innovation in interactive design in children 's books.
The Future of Children’s Publishing: Challenges and Opportunities
Despite the several obstacles facing children's book publishing, it is the time to move beyond traditional formats and embrace emerging technologies. Innovations such as 3D printing, augmented reality, sensory books, and interactive content can transform reading into a richer and more immersive experience.
With a strategic vision that prioritizes quality, creativity, and innovation, the future of children’s publishing holds great promise. A new generation of readers can discover in books their first window to knowledge, imagination, to be a tool for developing their thoughts and increasing their awareness .
زخر تراثُ أدب الطفل بحكايات ذات دلالة سياسية كحكايات "كليلة ودمنة" الذي ترجمه عبد الله بن المقفع للعربية، و"حكايات آيسوب"، حيث ضمَّ الكتابان الأمثالَ والحِكَم ومغامراتٍ ناقدةً الحياةَ الاجتماعية، وداعية للإصلاح الاجتماعي. ولتفادي السخط والنقد قصَّت الأحداثَ بأسلوب هزلي على لسان الحيوانات؛ مما أدى لاستمرار سردها وترجمتها وإعادة صياغتها لتناسب مختلف الأعمار والأجيال.
أحدث التغيرُ المتسارع في أنظمة المجتمعات والتوجهاتُ الفكرية الحديثة انشغالَ كُتّاب أدب الطفل عن الوعي المجتمعي وثقافة إصلاح قضايا الفساد، بالرغم من تعدد نوافذ الإعلام المؤثرة على ثقافة الطفل واتساع معارفه وتعايشه مع المواقف المختلفة كالسياسية والاقتصادية داخل المجتمع. لتأتي الكاتبة الكويتية "لطيفة بطي" وتعيد نهجَ قصص الإصلاح السياسي بنص ممتع بعنوان "فريج ضيم" رسوم "هناء أحمد" وإصدار سيدان عام 2022.
نصٌّ يسرد أحداثًا مؤسفة تَطالُ أهلَ "فريج ضيم" نتاجَ منافسة غير شريفة بين الجارتين "زوغة" و"صوغة" بذلت كلٌّ منهما الجهدَ للتفوق على الأخرى في بيع الحليب لأهل الفريج، ليتفاقم جشعُ "زوغة" وطمعُها فيتجاوز حدودَ الجارة، ويطال خداعُها استغلالها أهلَ الفريج كافة؛ مما تسبب بأضرار مادية، وصحية، وبيئية لسكان الفريج، تناقلت الصحفُ العالمية الأخبارَ لتتدخل هيئة الأمم المتحدة باستعجال لحل القضية.
ولتعدد قضايا القصة وأهدافها، تطلَّب النصُّ التحررَ من التقليدية والنمطية بخلْق نهْج مبتكر دافع للسخط، قريب من لغة الطفل وبيئته. لذلك لجأت الكاتبة لنسج القصة بأسلوب مبهر جامعةً عدةَ مناهج كتابية مختلفة، متلاعبة بعناصر القصة (الزمان، المكان، الشخوص)، دامجة بين الماضي والحاضر، موجدة لغة حوارية ونصية متشابكة، مستندةً على فكاهة الرسوم والإخراج. وبدا النصُّ مفعمًا بالرسائل الظاهرية والمبطنة.
وقد عكس الصراع بين شخصيتي القصة (زوغة، صوغة) قضايا مجتمعية ذات أهمية، منها:
• القضايا الاقتصادية، كالديون وسرقة المال العام.
• القضايا السياسية، الانتخابات والوعود الكاذبة.
• القضايا الاجتماعية، الواسطة وإهمال أصحاب الخبرة والعلم، وقضية البدون.
• قضايا الإعلام، وتأثيره على ثقافة المجتمع والذوق العام.
• القضايا البيئية، كالتلوث، ثقب طبقة الأوزون.
ولتشعّب القضايا ومساسها المباشر بالمجتمع وجبَ على الكاتبة الحذق والمهارة والتلون في تبيان الفكرة والنص، فكل قضية تؤثر على شريحة مجتمعية، ومن هنا تتجلى روعة ازدواجية العمق الفكري وبساطة النص؛ لتقدّم كتابًا يحترم عقلَ الطفل، ويخاطبه من عدة زوايا تعدّ كلٌّ منها نافذةً يطلُّ بها القارئ على موضوعات القصة، وتعد النوافذ تلك سرَّ تكامل العمل وتميزه، حيث قسَّمت القراءةُ التحليلية التالية نجاحَ العمل لأربعة عوامل رئيسة، هي:
أولًا: الأصالة والحداثة "ازدواجية الماضي والحاضر"
أحيا قلمُ الكاتبة الحكايات الشعبية بإعادة صياغتها مع الحفاظ على العناصر الأساسية للقصة، أو بالجمع بين أصالة القصة والتغيرات المتسارعة والمستحدَثة في المجتمع، وأتقنت "بطي" توظيفَ الشخصيات التراثية بصورة مبتكرة وشائقة، دامجةً بين الواقع والخيال لتنفرد بسياق قصصي ذي بصمة تراثية حضارية كوميدية تفاجئ القارئ بتطور الأحداث وتصاعدها بانسيابية وتشويق مستمر موجدة لغة مشتركة بين ماضي الأجداد وحاضر الأبناء لتنبثق جمالياتُ النص في موارد عدة نذكر منها ما يلي:
1- انطلقت الحكاية من نوع القصص الممتدة التراثية، حيث يعتمد هذا النوع على توالي الأحداث وترتيبها، فحدثٌ يعتمد على سابقه، ومهنة تعوّل على أخرى. فتكامل الحياة قائم على تعاون الأفراد وحاجتهم لبعضهم، هذا المعنى للتكامل يحقق العيشَ الكريم للأفراد، والاستقرارَ النفسي والاجتماعي والمالي من جهة، ويبين الترتيبَ المنطقي والتسلسلَ الطبيعي لحياة البشرية من جهة أخرى، والذي تجلى في القصة بحصاد المزارع وبيع البرسيم لمربي الماشية لإطعام الأبقار وإنتاج الحليب لبيعه في السوق من قبل الباعة. وبذلك وظفت الكاتبةُ بذكاء العباراتِ البسيطةَ المدعَّمةَ بصور توضيحية ليتحقق أمران؛ الأول: تعزيز مفهوم استمرار الحياة الطبيعية بتعاون العمل وتكامله بين أفراد المجتمع، والثاني: بيان الأثر المترتب على صفتي الجشع والطمع وانعكاسهما السلبي على طبيعة الحياة البشرية وهدمها مصالحَ الأفراد، وهي رسالة ذكية تمكّن القارئ الصغير من قياس الفارق بين الامتداد الطبيعي للحياة وبين العمل القائم على الجشع والتعدي على حقوق الآخرين، حيث تجلى الأثر بوضوح للقارئ بعد سيطرة "زوغة" وهيمنتها على سوق بيع الحليب وأثر ذلك في إهلاك العاملين في القصة، ليمثل الحدثُ ذاته مرحلةً انتقالية من المنافسة غير الشريفة إلى السيطرة على أهالي الفريج وثرواتهم والتحكم بسوق العمل.
2- من جماليات النص اشتقاق الكلمات من اللهجة الكويتية، وإن كان للفظها أصلٌ في اللغة العربية، واستلهام الكاتبة الكلمات الكويتية من صحاح اللغة العربية حقق قراءات عدة، أحدها بُني على المعنى الظاهر للهجة العامية؛ لتضفي روحًا تراثية قرَّبت القارئ إلى النص، فاستشعر أهميةَ الأحداث وأثرَها على المجتمع، والآخر المعنى الباطني لأصل الكلمة باللغة العربية؛ لتبين الكاتبة عمقَ اللغة العربية وأهمية الحفاظ على اللغة العربية وتحقق خطابًا مزدوجًا يُسَهّل إيصالَ الفكرة وفهمَ المعنى. وفّقت الكاتبةُ في اختيار الألفاظ الكويتية بدءًا من العنوان إلى أسماء الشخصيات والمرشحين وآخرين، نذكر منها ما يلي:
• "فريج ضيم" عنوان يسلط الضوءَ مباشرةً على مكان أحداث القصة، حيث يتضمن مضمونه الكثيرَ من الإيحاءات المثقلة بالهموم والألم؛ فالفريج في اللهجة الكويتية هو الحي الذي يسكنه الناس، وفي اللغة "الفرقة" طائفة من الناس، لتجمع كلمةُ فريج المعنين المكان والأفراد (المتمثل بشخصيات القصة) حيث يتشارك أهلها بالمصالح والأهداف والقضايا فضلًا عن دفء العلاقة بينهم والتقارب والجيرة. وصْفُ الفريج وأهله بالضيم، الذي يُعرَف في اللغة بالظلم والتعب، لهو تعبير صريح عن الحالة النفسية والاجتماعية والمادية السيئة لأهل الفريج التي أوجِدَت جراءَ جشع "زوغة" وطغيانها، ليشير العنوانُ المبنيُّ على اللهجة واللغة إلى رؤى متعددة منها خضب القصة بطابع التراثية، كما تعرف الصغار باللهجة الكويتية وتعزز مفرداتها، وأخيرًا تشويق القارئ لمعرفة حكاية الفريج واستثارة فضوله لمعرفة علة نعته بالضيم.
• ثراءٌ لغوي للكاتبة نسج رباطًا وثيقًا بين اللهجة واللغة، ليقدمَ قراءةً متناغمة بين ظاهر المعنى وباطنه، تجلى في استنباط الأسماء من اللهجة الكويتية كاسمي "زوغة" و"صوغة" بالرغم من انعدام استخدام الاسمين في الحياة المجتمعية إلا أن في الأمر دلالات تكشف سماتٍ داخليةً حُجبت بسلوك خارجي، وبانتقاء حاذق للأسماء حفزت القارئ لاكتشاف خبايا الرموز لكل من "زوغة، صوغة".
"صوغة" من العادات الاجتماعية الجميلة وهي هدايا المسافرين التي يأتون بها من السفر، أما "زوغة" فهي تعبير باللهجة الكويتية للإيحاء بجمال الشيء وروعته. اشتركت الكلمتان بجمال الشيء ظاهريًّا، واختلفتا في المعنى العام لأصل الكلمة لغويًّا، ليكتشفَ القارئ فهمًا أدقَّ وأعمقَ لكلا الشخصيتين. ففي المعاجم العربية "صوغة" اسم من الفعل صاغ الشيءَ أي صنعه، ويقال صاغه الله أي خلقه الله، ولا يكون خلقُ الله إلا جميلًا، أما لفظ "صوغة" في اللغة سكبة فتُستخدَم في صياغة الذهب وتشكيلة وصناعته، ليتضمن الاسمُ لهجةً ولغةً المعنى الجمالي، ويتجلى المعنى للقارئ في جمال أصالة عمل "صوغة" واجتهادها لصياغة الأفكار لإنتاج مشروع لكسب المال الحلال. تمثل "زوغة" جمالاً ظاهري أكد المعنى المتعارَف عليه باللهجة، وعُزِّز بالرسوم التوضيحية وبلباقة الحديث والإقناع اللذين تمتلكهما "زوغة"، ذلك القناع المزيف كشفه فعل اسم "زوغة" الذي جاء من زاغ أي مالَ وانحرفَ كما انحرفت شخصيتُها عن جادة الصواب لتتعدى الشرعية والقانون وتصبو لكسب مادي بالمراوغة والخداع.
• يتسع الثراء اللغوي "لبطي" لتستلهم أسماءَ مرشحي انتخابات الفريج من الأمثال الشعبية، التي تُعدُّ حكمةَ الشعوب، ليُوظف بحنكة للإشارة المجازية عن بعض القضايا والمشكلات المجتمعية من جهة، وخذلان أصحاب الرئاسة من جهة أخرى. ومن خلالها تصبو الكاتبة لأحد أهداف القصة بأسلوب هزلي مقتضَب يقلُّ بها الكلام ويتسع المعنى، لتبعث رسالتين؛ إحداهما لأهل الفريج لتوقظ الوعيَ والإدراكَ للتمييز بين الصالح والطالح، والأخرى للقارئ ليستنبط الحكمة من المثل، وعلة الاستخدام المغاير للأمثال لتنوير بصيرته، بذلك لا يقتصر توظيفُ الأمثال كأسماء، بل هي سمة للمرشح وما ستؤول إليه البلادُ وثروتها بتولي المناصب.
ولتوضيح المقصد نذكر بعضَ ما ورد في نص القصة ملازمًا لما رمَزَ من الصفات وتبيان المعنى المقابل له.
"من صادها بن معشى عيالها" المقصد الاستغلال مقابل العدل.
"حاميها بن حراميها" المقصد سرقة المال العام مقابل الأمانة.
"خشمك خشمك بن لو كان عوي" المقصد الواسطة مقابل المصلحة العامة.
"عط الخباز خبزك لو أكل نصه" المقصد اختيار الكفاءة والشخص المناسب للعمل.
"اللي ما يعرف الصقر بن يشويه" المقصد الجهل مقابل العلم.
"ليحبتك عيني بن ما ضامك الدهر" المقصد التحيز مقابل الإنصاف.
• يستمر النص بتضمين كلمات تراثية كالأكلات الشعبية مثل "الدرابيل"، وتوظيف كلمة "التجوري" للإشارة للكنز المدفون في أرض الفريج، والقارئ للنص بإمعان يعي المقصد من التجوري باعتباره ثروة البلد ومصدر الدخل الأول "النفط"، وعُلَل ذلك بأمرين؛ الأول لا حاجة من دفن التجوري لصلابته وثقل وزنه، والثاني: للإشارة الرمزية للنفط كثروة موجودة في باطن الأرض، كما في دفن التجوري دلالة فنية مُستلهَمة من الحكايات الشعبية، وفيه تعزيز للروح التراثية للقصة.
ثانيًا: الخطابات النصية المتعددة:
تعددت الخطابات وتنوعت ما بين النص السردي، الإعلانات، أخبار الجرائد والصحف، الهاشتاق، والأفكار الداخلية المُعلَنة للشخصيات، وكان لتعدد الخطابات أهداف منها: إيضاح الفكرة بإيجاز ودون إسهاب لتفادي ملل القارئ وتشويشه، توجيه غير مباشر لانتباه القارئ لبعض الرسائل المبطنة وعلل أسباب الأحداث، توعية القارئ الصغير للتأثير المباشر للإعلام على ذوق القارئ واهتماماته وأفكاره.
ثالثًا: لغة الرسم والخطاب الجسدي:
تكامل النص برسوم فكاهية ساخرة مع وضوح بساطة الحياة وتقارب العناصر البيئية كالمنازل، والملابس، مع بيئة المجتمع الكويتي، عبَرت عنها ريشة الفنانة بصدق مشاعر شخصيات القصة وآمالهم وآلامهم وبدت المشاعرُ جليًّا من تعبيرات الوجه، والحواس الجسدية (كالحركات، والمؤثرات المصاحِبة للشخصيات، والجيوب الفارغة المتدلية للخارج، وتنكيس الحقائب النسائية للدلالة على الأزمة المادية لأهالي الفريج).
رابعًا: أثر الخطاب الإعلامي على الذوق العام:
للخطاب الإعلامي قدرة على التغلغل في أعماق المجتمعات، وتغيير الثقافة، وتوجيه الذوق العام كما يشاء أصحابُ الرأي، وكان الصوت الإعلامي عاليًا ذا تأثير مباشر على ذائقة وثقافة أهل الفريج، وبدا بوضوح من خلال الترويج للبضائع، ومنافسة البضائع الأجنبية للمنتج المحلي والضرر السلبي المباشر على التاجر المحلي، والترويج لمنتجات رديئة بتكلفة مالية باهظة، وأخيرًا تأميل أهل الفريج برؤية متطورة وحديثة دون تغيير واقعي ملموس. وجهت الكاتبة خطابًا إعلاميًّا مغايرًا للقارئ بتوخي الحذر والوعي واليقظة الذهنية عند تلقي الرسائل الإعلامية بمختلف وسائطها.
انتهت حكاية "فريج ضيم" ومازال مصيرها غامضًا، غُيّبت عن أهل الفريج لكثرة المتاعب والمشكلات، كمصير الرجل العالق في الهواء يبقى وحيدًا يعوم في السماء كالبالون الطائر وهي ذات دلالة عميقة للإخفاق في معالجة بعض القضايا المجتمعية.
يعد "فريج ضيم" إنتاجًا قصصيًّا فريدًا يقدم رؤى مختلفة لثقافة الطفل، ومنحى فكريًّا منبثقًا من بيئة المجتمع، وهذا أمر يُحسَب للكاتبة بقدرتها على قراءة القضايا المجتمعية وسردها بأبعاد تراثية حضارية كوميدية تتناسب وعمر الطفل.
Based on this reason, the creative awards in the reality of ArabIt is an interesting thing to be invited to have an entertaining and exciting reading of books that overflow with pleasure and suspense; on one hand, and with a lot of novelty and innovation, on the other hand. This is what happened actually. I had the honor to receive a kind invitation from the management of Arab Children's Book Publishers Forum, for which I wish all the best, as I was instructed to have a critical reading for the winning works of the Forum’s Award in its eighth session of 2021. I was fully aware of the value of this Award and its moral importance before its physical significance, as it serves children’s literature and writing as per multiple aspects, which are the important and basic technical, objective and creative aspects and all of which are concerned with writing, illustration, designing and industry of the book in our Arab world, which really complains about the lack of encouragement and support required for the child’s book, in terms of writing, industry and presence. Hence, this would lead to irregular and weak steps of this book on the right path and regarding its desired goals, the necessary fulfillment of the appropriate level and the achievement of the proper and effective reception for the Arab child, who forms the basis of our rules and the starting point for all of us to develop the child’s abilities and skills and enhance his personality and position in our Arab reality.
Therefore, the Award, regardless of the type of award, in its form, objective, moral and physical existence, would be presented as it is planned, desired, seen and hoped in all cases, in order to support and enhance this aspect, from two consistent directions together in the correct vision manifested in evaluating creativity and its distinction. It is presented in the first direction in order to overcome a set of difficulties, obstacles and challenges that stand in the way of the writer and book and their effectiveness, on one hand, and in the way of the publisher and his effectiveness, on the other hand, so as to achieve, as a result, the reinforcement of the required support and the necessary encouragement for the makers of the new and renewed child's book, including writers, illustrators, designers, publishers and distributors.
In addition, the other direction, including the establishment and existence of this Award, represents a basic, substantial, important and extremely significant trend, as it should mainly stimulate creation, innovation and excellence in the spirit of creativity and its meaning and significance by calling for a creative competition in the relevant arena, and encouraging legitimate competition among creators with all their names and tendencies, in order to create and find the superior, innovative, amazing and brilliant outputs in form and content of new creativity in children’s literature and writing. In turn, this alone constitutes a distinct and important sign of the Award and its impact on the essence of creativity and creator.
children’s literature have now a special and important consideration, as they, in the first place, are presented to stimulate the determination, energies and imaginations of the creators who are deeply involved in this literature, as well as promote and elevate their reality and the status of what they create and produce, including their ideas, methods, imaginations and forms, in which the new spirit of meanings of surprise, excitement and attraction for the receiving child is embodied. Thus, this is what makes the child’s book and its maker always alive and vibrant, and in a constant race for innovation, proficiency and quality improvement at the verge of creativity and its output. This also prompts us to constantly request the authorities concerned with culture, literature, creativity, book industry and digital content and invite them to open broad horizons for the creative race and serious competition by finding and reviving more creative awards, provided that these awards go beyond the narrow frameworks and the restricted limits of competition, as we find in some local competitions and awards, which are marked with the names of children’s literature, especially those that have no effect on the general reality of Arab children's literature, as we have seen and deduced from their results.
The fact that the revival and vitality of the reality of Arab children’s literature remains dependent on the extent of the revival and vitality of the major and important Arab awards, whose existence comes in harmony with the existence of the new achievement of children’s literature, so as to revive creative, impressive and innovative aspects of children’s literature and books, along with always providing them with vitality and distinction.
There is no doubt that the major Arab awards in children’s literature and book, which represents another fact that must be mentioned and declared herein, have a great role in the existence of a creative and distinguished output of what is written and published within this literature, since such awards stimulate the energies of the writer, the illustrator, designer and publisher and push them to have accuracy and adhere to standards of quality, renewal and keenness on inventing what is not previously presented in his new product. If we examine the thinking way of any of these persons and ask them, we will find that one of their ideas and wishes would include the moment they begin their creativity, formulation of their product, as well as their plans and keenness on quality, distinction and excitement, in order to allow this produced creativity to reach an advanced degree of prestige by winning one of those awards, which accompany the status of Arab children's literature and enhance its reality.
In this case and reality, we never exaggerate if we consider the “Arab Children’s Book Publishers Forum’s Award” as one of the most prominent Arab awards associated with children’s books in our Arab world, if not at the forefront of these awards, since it is one of the most important, serious, sober and professional awards, after “Etisalat Award for Children’s Book” and “Abdul Hameed Shoman Award for Children's Literature”, especially that the Forum’s Award is presented and granted by an Arab, professional, competent, sober and specialized entity, which is always keen to promote the Arab children's book and its publishing, and allow it to reach high quality level of creativity and excellence in its formulation and industry, namely "Arab Children’s Book Publishers Forum". This Forum has lavish professionalism, inputs and activity and this has a great merit and a clear impact on the growing institutional, societal and cultural interest in children's book, just as it has this impact and more on the development of the children’s book, the expansion of its understanding, appreciation, publishing and reception in our Arab world. The Forum always seeks to develop effective, efficient and renewable plans and programs for the affirmed advancement of the Arab children’s book, in form and content, as we have seen in most of publishers who fall under the banner and umbrella of a comprehensive and professional forum, as this Forum is the important and major gathering place for all main publishers of children’s books in our Arab world, since it always seeks and tries to improve quality standards in children’s books through its continuous and renewed plans, programs and activities in this direction. Moreover, its creative award, which is provided yearly till its eighth year, is nothing but a sincere and serious scientific and practical step in this direction and it represents an effective input in the ripe fruits planned and provided by the Forum.
Based on this fact, I have now four important works that represent the winning products of the Forum’s Award for Best Children’s Book for the eighth session of 2021, and all of which constitute an important and distinct value to the book and literature of the Arab child. I wish I could delve deeply and spend more time in my critical reading of these important works, but the available space provided for me would force me to shorten the reading time to a specific limit, so that I do not prolong it, and the important thing is that I will try here to have a brief reading to present a deserved objective and artistic critical reading for each of these books. (Amal) “Hope” book, which is written by Amal Nasser and illustrations are done by Hia Halawa, while it is published in its first edition of 2020 in a joint publication between Hekaya Qamar and Dar Roumaneh Publishing Houses in Beirut, which is the winner of the best illustration, amazed us with its charming illustrations and fascinating elegance in its design and printing, as well as its size and selection of appropriate and good quality of paper, which would stimulate and motivate the appetite for reading and tempt the child to touch, embrace and read it with a certain desire, passion and enjoyment, although this book was not directed to the child only, as the targeted group of this book, as indicated on the front of its first page (from the age of zero till 100 years old), which is a really funny and correct targeting, as I found it, since it represents the hope which revolves within the orbit of man and in the folds of all his days. Hence, the hope, either a reality or imagination, is brilliance and vitality of life in the human spirit and it is the first and main feeding factor of the positive energy for each of us. None of us, at any age, either old or young, can ignore hope or avoid it, as it is the driving element for us and all our energies, by which we cling to life and live it. This is what is embodied in the text of the book. Amal “Hope” (idea and text) stimulated the illustrator, designer and publisher to go ahead on the road to excellence and allow this book to win the award.
The story (I am almost suffocating), which is written by its author, Sahar Shehade, illustrated by Atifah Abdullah and published by Al-Buraq House for Children’s Culture in Iraq, in its first edition of 2020, which is the winner of the (Best Text) Award, as I found it, really deserves this award, due to the text formulated by its writer, which is based on an appropriate and enjoyable storyline event. It was shaped for us and embodied in a lively form, while it is not deviating or exaggerating in its textual structure as compared to the linguistic, expressive and psychological structure we want, in order to address children and lure them into what we write for them and what we create within our writing, including the worlds that do not go, in their ideas, nature, discourse, language and systems, beyond the vast boundaries of the worlds of children, the extents of which are sometimes difficult to be predicted, because of the enchanting fantasies that permeate them and are mixed with them and this aspect requires they are harmonized with childhood magic and its constantly changing psychological and emotional formation. Hence, this transformation makes writing like magic, whose real effectiveness can only be achieved by its harmony and cohesion with the magic and exoticism of childhood, which enthralls us, arouses our attention and attracts our interest and interaction with it to the extent of surprise and contemplation.
This is what the writer, Sahar, handled in her story, when she got involved in one of the (familiar and unfamiliar) events in the worlds of the child, in his movements and stillness, when she took us to a side of these worlds with their realistic and imaginary dimensions, in a simple language and interesting narration, which would feed reality with imaginary touches that do not stray too far from this reality and its descriptions, so it would coincide with it and depicts it with all aspects of its beauty and enjoyment. Thus, it allowed us to fly with its language to the story of "Waseem", that naughty boy with his movements, attitudes, funny and sometimes frightening actions, while he is playing with the house stuff with his dominance and emotions, in order to make them under his control according to what he wants in an action closer to emotional humanism for him whereas such stuff respond to his emotions with complete freedom of movement and action, which does not make him suffocate, but he feels suffocated again if he is restricted by a limited level of freedom, movement and action. Accordingly, the writer sought and struggled, until she succeeded in leading us and luring the children with us, to stories and events that are not far from children’s general feelings and behaviors, which are well-known at home, especially among children with hyperactivity in their movement, thinking and playing, which we often consider as (troublemaking), since it is deemed in our discretion a positive troublemaking, in spite of the negative effects it provokes and produces on some people inside the house. However, as per the other perspective of psychological and mental emotion, and even from the mental and behavioral perspective, it is considered as an innovative and exploratory troublemaking, which increases the child’s intellectual and imaginative energies, as well as his mental and creative outcomes. Hence, this was the end of the troublemaking of the hero of the story (Waseem) when he was tamed by (Science Encyclopedia) and he began identifying the situations, images and heroes contained in such book, till he became a creative reader and he learnt how to tame his troubles and control his movement in the correct and creative direction based on reading and according to this book. This was the idea concluded by the text and its wonderful aesthetics, for which we commend the writer and praise her imagination for producing this text, just as we appreciate the publisher's keenness and his creative and distinguished energy in the illustration and design of the book and how it is directed in such beautiful form.
As for the story (Where the Words Flew), which is written by its author, Muhannad Al-Aqos, and the illustrations are made by Dr. Amira Al-Tabeai, while it is published by Noor Al-Maaref Publishing and Distribution House in Cairo, in its first edition of 2020, which is the winner of childhood books for the age group (before 12 years), it is a story written in its aesthetic, objective and artistic form, since it is formulated in its charming shape as a book that fulfills the elements of quality with all technical standards in printing, directing, illustration, design and choice of paper in its quality and suitability for this category, which we found competing with the best international versions of children’s books. Therefore, it is, in such form, no less wonderful, beautiful and charming than its predecessors that are the winning stories. Regarding the text, it is an impressive text. After we were fascinated by his work and industry as a dazzling children's book, the writer here fascinates us with his deep, simple and charming text, which approaches the important therapeutic texts in children's literature. Then, he takes us to the story of that child afflicted by his deep silence against his brothers' talkativeness and their long, continuous and rumbling talks all the time. Such child was unable to release the words inside him that are deposited deeply inside him and piled up before his silence, which prevented him from talking and expression. However, he was not silent internally, he rather used to utter and say words whenever he passes through the necessary cases and situations. Then, the writer takes us in a tour inside such child (the hero of the story), in his inner speech with its depth, his external silence with the perspective of things and their personal and general interactions inside him. This led to his victory over his inner silence and his celebration with his brothers by saying his words and their utterance with their natural resonance in the sound space. The writer depicted and portrayed all of these aspects in a vivid, realistic and imaginary way, as well as in a poetic and interesting language that added to his text a lot of excitement that attracts the recipient and tempts him to proceed with reading and enjoy the beauty of this text and its quality.
The fourth and final work is the story (Queen Suhaila), which is targeted at the category of young people, as defined by the book’s winning of the award in this category (12-16 years), or as stated on its cover (a novel for young people), which is written by Rania Hussein Amin, who is the illustrator of its drawings and cover as well. This novel is published jointly between Nahdet Misr Publishing, Distribution and Printing House in Cairo and Arab Women Organization. It is well-known that Nahdet Misr is one of the oldest and most important publishing houses specialized in children's books and it is always keen to produce distinguished children's books, in terms of their quality, including, most probably, this novel, which talks about, with its idea and events, the general mass of girls, as we find today that every girl thinks about and looks for beauty in all its forms and meanings, especially the beauty of appearance, as sought by doing actions, showing attitudes and through the events of this endeavor, by the heroine of the novel "Miranda", who was motivated by her desire and without it, and based on the encouragement of her mother, to reach the level of beauty she wants after admiring herself, since the writer embodied the same and even intentionally by choosing the name of the heroine, “Miranda”, which is a Latin name meaning the girl who is worthy of admiration. However, at the end of the story, the heroine fully realized that true beauty is that beauty that lies within the girl, and for this reason, the writer sent to the reader, both girls and boys, more than a message in this regard and portrayed the reality of beauty and its real and natural meaning, in different images, many of which were not stereotypical. Then, the writer wanted to alert the young men and women and their families to the real beauty that must be considered and seen in the internal human formation of the energies and skills of girls and boys. This is something good embodied in the pages of the novel, but on the other hand, we have seen several narrative phrases that cannot be accepted or passed by unnoticed, such as: (Consider them like an insect… You step on them with your shoes - p. 16), (I looked in front of me to see Suhaila and her mother walking towards us and Suhaila is enrolled with me in the classroom and she is the most ugly and least popular girl and this applies to Suhaila and her four friends who are unsuccessful like her. Usually, I don't talk to her at all, as I never bring myself down to such a low level and, of course, I put myself in a position higher than her. Also, my mother does not befriend her mother for the same reason - p. 24), and (I am always amazed to see Suhaila and her mother together in this loving and pathetic state. I do not understand how can this girl stand herself and how can she stand her life, while she was born with this unfortunate face? If I looked like her, I would have buried myself under the dirt before anyone can see me - p. 26). Such expressions cannot be said or accepted in writing for children and young people. Hence, what is the significance the writer intended from them? Likewise, it is not possible in writing for children to consider the loss of an arm or a foot as a source of weakness, as it was mentioned in the novel: (...We will talk and smile like normal people… Do you lack an arm or a foot? Why did you show this weakness? p. 22). In addition, there are other phrases not supposed to be mentioned in the language used for children and young people and they cannot be addressed through the literature targeted for them. Here, there is no purpose for a deeper reading of these phrases and others and I am surprised how the expert in the novel missed this point before publishing it. As a result, I will devote my efforts at a time, and in another place for this novel to present a broader and deeper critical reading, Allah willing.
It is difficult to separate morals from literature, as both of them follow the same path. Since the beginning of literature in all its various forms, it has been clear and evident that morals enhancement comes at the top of literature’s list of priorities and goals, as literature is intended to support and promote everything that exalts morals. The vast majority of literature creators are keen that their works support all rules of moral education in different and diverse societies throughout the ages. In fact, there are some people who have departed from this rule, but the vast majority of them take moral principles into consideration during the different stages of their creativity if this is the case of literature in its overall and general form that addresses all categories, cultures and races.
What about children's literature which is mainly based on a moral principle and cares, enhances, seeks and supports everything related to raising and recommending the morals of child and developing them in a smooth, simple, easy and natural manner, away from exaggeration and reliance on the approach of guidance and education?
Children’s literature is based on a simple and expressive language that uses common words and terms, but they are selected in a proper manner that complements its main goal, which is to recommend morals. In fact, there is no charter that forces the creators of children’s literature to adhere to morality in the creative works they provide and present, but the whole matter is related to criticism for everything presented by such literature if it goes beyond the moral boundaries and transgresses the rules of commitment and decency.
The content provided by the creator is considered the moral element, which represents his backbone on which he relies and the firm foundation in which he is interested while building all the elements of his story, starting from his dependence on characters and heroes that necessarily and basically show the right behavior that is consistent with the principles of society. In addition, the events of his story must comply with a gradual natural sequence that is consistent and in line with the principles of life and does not deviate from the ordinary aspects. Even when the creator unleashes his imagination and flies away from reality, he is basically linked to many fixed moral rules and it is difficult for him to deviate from or transcend them.
Children’s literature is characterized by being the only one in which all of its creators worldwide, despite their different cultures, share their moral commitment in spite of the varying and gradual forms of commitment, but in general it is rare that transgression occurs, because all of them realize that their stories, novels and even their poems directed to the child are nothing but rules and foundations that support the family and society in building strong and morally decent generations.
The moral terms adopted by children’s literature are various. A literature creator sometimes exalts one of good traits such as sincerity, honesty, courage, altruism, cooperation, and others and he does not explicitly declare his adoption of a moral principle, which he defends and presents through the events of his story, but this is evident through the language used and the plot on which he relies in the sequence of events till he reaches a satisfactory and rational output, through which he raises one of the moral values, even if this does not appear explicitly.
In many cases, the author is not satisfied with presenting a single moral principle through his story, as some of them try to show a comprehensive and complete set of situations that support one of the general or prevalent moral rules in the environment, to which the creator belongs. The author even seeks to discard a bad trait in an easy and splendid presentation manner.
Throughout its long history, children’s literature has gone through many stages of development and it was affected by temporal situations and various events. The form and methods of expression, ways of narration, type of plot, manners of writing and presentation differed, but all of them did not in any way affect its backbone and main goal, which is to recommend morals and elevate them, since morals are still the dominant and controlling aspect in thought, attitude and goal of all creators of children's literature.
Since ancient times, reading has been one of the most important means of human learning to acquire knowledge, self-development skills and deepen experiences. Reading has always been a tool for human refinement and development. It is still appreciated and given due care by individuals, organizations and governments. The close connection between the progress of peoples and their interest in reading has been affirmed, as it is a tool for understanding reality and planning to control and develop it, and even establish the rules of a new reality that suits the conditions of society and its renewed needs and various demands. Development cannot be achieved without reading and opening up to books and pursuing them. Books are the epitome of human experience and creativity. (1)
Unfortunately, this is not the case for our Arab societies, which are still lagging behind in this regard. Our societies publish only a very small number of books and magazines, while clearly neglecting human culture and fine arts. As for the Arab citizen’s share of reading, it does not exceed 6 minutes per year, as compared to 36 hours in Europe, due to the absence of government policies to address the phenomenon.
Benefits of reading:
Gaining language balance;
Supporting school learning;
Improving the ability to understand others; and
Enhancing creativity.
Obstacles of book circulation:
Human development reports present a bad image of the situation of book and reading in the Arab countries and warn of their decline based on the difficult circumstances our nation is going through. The reasons for this case are numerous and we would shed light on some of them as follows:
The educational system does not encourage cultural reading: poor and rural children only read school books and the family looks at the book from a utilitarian perspective. Is it necessary for school? Did the teacher request it? If the answer is No, then there is no need to worry about providing it. Oral culture is prevalent among these children. It has a strong presence in all social, artistic, cultural and religious aspects of life. The oral transmission of information is dominant, which would entrench in their minds a negative image of the cultural book and keep them away from reading the written text.
How can someone who has grown up neglecting the written culture and devaluing the book contribute to the promotion, usage and reading of books? The phenomenon of reluctance to read is linked to early childhood, from the first years of childhood even before going to school and it is not possible in any way to create a generation of readers unless we develop effective plans to encourage young people to read in primary education institutions and initial levels of primary education, so that reading can be an individual hobby and a source of sensory and mental pleasure. We can even keep them away from sources of oral knowledge, such as television and entertainment culture such as video games.
Library publishing: the demand for culture in our countries often takes an occasional form. In Ramadan, the religious book is promoted, and in exams, the book parallel to the textbook is promoted. In the summer, the recreational and artistic book is promoted. Publishing takes the same into account in most cases and there is no plan for publishers to support reading and instill the demand for it in children and young people in particular. In addition, the prices of books do not consider the purchasing capabilities of low-income citizens, especially children and young people. Literary books that young people tend to like, such as novels and story collections, remain beyond their purchasing power.
Reading spaces: reading spaces are missing. Primary and secondary educational institutions, which include millions of children, are not reached by the cultural book. At such institutions, there are no suitable reading spaces, with the exception of cold and dry halls that are not lively, entertaining or attractive, which cannot resist the fierce competition of modern and entertainment media. The management of school libraries is often assigned to a non-specialist employee or a tired old man who has been exhausted by years of work. He treats children dryly and alienates them from entering reading space.
Ways to urge students to read:
In addition to these experiences and initiatives that aim at spreading the habit of reading in the social body and encourage people to love the book, educators have devised many ways to accustom young people to reading, believing in the importance of the childhood period in acquiring this good habit. Some of such ways includes the following:
The answer is in the book: The student may ask a question about a topic, in astronomy, medicine, history, literature or others and the teacher may be kind enough to provide an answer to the student, or better than that, to suggest to him the book in which he finds the answer. This includes exploiting his self-motivation, which would help him acquire the skill of self-learning, and perhaps convert it later into a lifestyle.
Positive reinforcement of reading behavior: By supporting the reading behavioral responses shown by youngsters through thanking them and verbally commending them, or the credits that can be given by physical gifts, school medals or prizes and rewards, regardless of their value, as they are a source of pride for young people and are important in promoting reading behavior for them.
Holding book fairs: The school space should be a field for promoting the cultural book and introducing it to the students. Organizing book fairs is an exciting and pleasant work, especially when students participate in its management and promotion. Parents and cultural and artistic events can be invited to these fairs, as this would raise enthusiasm of children and young people to read. It is also desirable that fairs offer promotional offers at appropriate prices to encourage the acquisition of books.
Reading break: In order to avoid forcing students to read, which creates boredom and aversion to it, some educators suggest allocating a break between classes and dedicating it as a time for free reading. Students choose what they like from the books whose reading is a source of pleasure and relaxation for them to relieve them from the hardship of the lesson. This reading mostly captures the students’ attention and interest.
Reading games: It is recommended to include reading games within the free reading lessons, such as a guessing game, by asking questions about the cover and drawings of the book, in order to prompt the reader to imagine the topic of the book. In addition, individual or group reading race should be executed to urge the students to compete for reading as many books as possible and submit reports on the books that have been read, along with providing other entertaining games that are intended to encourage people to read.
"Detective Conan" is one of her most famous stories known globally and in the Arab world, of which close to 100 volumes have been published. It is characterized by its events and strong plot, as it tells about the story of the detective and his quest to solve the mystery of many strange events with an intelligent and knowledgeable way. This story and other features are included in one of the most important forms of Japanese art, "manga". It includes graphics, books and graphic novels, it varies from cartoon stories or what is known as comic, that are usually read from back to front and from right to left, unlike comics that are read from front to back. Manga magazines are printed on white pages or recycled papers with black ink, and contain more than 400 pages in the form of serial stories, which are published in magazines first then printed in books, and are concerned with the values, morals and customs of Japanese society, and are characterized by a method of events narration, as the focus is on the details, and its long and complex plots. They are characterized as well by simplicity in dialogue and its characters are close to reality. The details of the eyes are one of the most famous features of manga drawings, where the eyes of the characters are used to show various emotions such as horror, sadness, happiness and despair.
Manga has been in use for two centuries in Japan to give a description of comic stories. This is the most famous and largest of the cartoons known as animation, and was first known by Katsushika Hokusai, who published the first collection called "Hokusai Manga" in 1814 AD, which consisted of 15 volumes and contained 4000 comic drawings.
The manga is published mostly in black and white, and in some versions, it is printed in color, and there are many types of manga classified according to age groups. Manga is showing all kinds of subjects (romance, adventure, science fiction, comedy) and addressing all segments of society equally. It is deemed as one of the most successful experiments in comics worldwide, as its weekly revenues in Japan are equivalent to the annual revenues of the American comics industry, due to the high demand for it. Manga invaded Western societies in the early 1980s, with a wave of (Japanese animation) on European television screens. It has gained great popularity among young people in particular, making it a global art form that the world expects from Japan, whether by imitation or by the emergence of a new change in it insofar as all the children in the world love comics or that are turned into animation, and currently you can't find a child in our Arab homeland who only knows Japanese series or comics.
Japanese cultural centers around the world are one of the most important sources for the export of this art form. Japanese series dubbed into Arabic in the 1980s, such as "Grendizer" and "Lady Oscar", helped lay the foundation for the popularity of this type of art in the Arab community, and with the spread of the Internet, the popularity of manga began to increase. The easiest source for him became the translated pages available on the Internet.
Be that as it may, it is a beautiful and ancient art that is keen on recommending high morals and values and rooting them in a unique way through comic stories with plots embedded in a narrative style characterized by ease of presentation, and has many defining qualities that have made it unique in its genre, The Arabs were influenced by it and even took an interest in producing similar models that fit its reality and existence, but it did not deviate from the original Japanese model, which has proven its success, uniqueness, distinction and wide distribution.
Literature directed to the child derives its stereotypical definition from being a kind of literature, and in this sense, it belongs to the family of Arab literatures covered by artistic prose, poetry and narration in its various forms. However, in this respect, it is close to visual arts of all kinds, and the presence of the visual arts in the child's literature has a special and exceptional value. Visual arts mean full alternatives and technical options related to the painting, photographs, television drama, child’s theater and cinema. In all these arts, the written texts of the child are blended with those arts dedicated for providing a technical semantic expression that addresses the child and gives him many cognitive, gustatory and educational dimensions.
However, this exceptional presence of children's literature in the framework of visual arts does not make us overlook the programs, radio drama and pages related to the child in newspapers and magazines, as well as the book of the child, which represents a cornerstone in addressing the child. We do not forget here the world of digital multimedia that created new opportunities for expression, as well as moral and educational challenges that cannot be ignored.
Based on all of the above reasons, we can observe the stormy changes in the world of childhood coupled with different influences, which would require addressing the new and renewed benefits, which are summarized in the following:
Cognitive, perceptual and technical encirclement of the arts of authorship and modern writing of children's literature, which requires a context; considering the compelling transformations of the written text and the probability to be written, visible and audible at the same time;
Addressing the child according to the different age levels; adapting the written texts for an age group, in terms of its specific sensitivity, cognitive awareness, the language of discourse and the nature of influences;
Considering the rules of modern artistic standards without compulsion and coercion, which would require a balance and parallelism between the writer, director, photographer, artist and musician, so that the result can express such balance;
Balancing the public and the private aspects, which means the search for historical cultural privacy, taking into account the reasons for creative usage of the human product in children's literature, and there is proof indicating that the private aspects do not have its beauty and significance except by addressing the open world and providing educational and creative terms included in the global art industry; and
Participating in the writing and production processes with the exterior world, as such partnership would be sufficient for clarifying the relevant merits for each party and the mutual benefit at various levels.
Based on the foregoing, we can conclude the common denominator in the characteristics of children's literature, which we would summarize in saying that the art of writing and addressing the child is raised and promoted to the level of mixed arts, which are interactive in the presence and more interactive in the future, as barriers between the types of arts disappear under the framework of children's literature, and the past, present and future are mixed together. Such barriers are broken before children of all ages, and they are eliminated by the recent digital technology.
Every time has its own circumstances and lifestyle, and one has to be flexible enough to live through any circumstance. The business suspension and loss faced by the world and the psychological and social impact of obligatory home quarantine for people at their homes due to COVID-19 pandemic had undoubtedly affected the entire world, whether individuals or families, institutions and governments. Publishing sector in the Arab world was one of the most important sectors that have been deeply affected, since publishing industry was paralyzed for more than three months.
As the owner of a publishing house concerned with children's literature, we decided to support the reader, so we launched a blog called (# Remotely_Together), through which we provided some of our publications for free digital reading and we organized a competition for creative writing. Then, we held reading sessions for children and young people, in cooperation with institutions in the country, such as Abu Dhabi Libraries, UAE Board on Books for Young People, Culture Without Borders and Ministry of Culture. Such sessions were various, as some of them were previously recorded and some were presented in an audio form only, including live broadcast sessions with children.
As far as we are concerned at Al Fulk Translation and Publishing, the cultural experience of direct digital reading sessions had the greatest impact on us and children. We gained the experience of learning and interacting with children digitally. In addition, we believe that such sessions achieve one of our most important goals, in terms of instilling reading behaviors in our children. Thus, direct interaction with them allows them to love reading. We did not read and narrate stories only, but we held discussions with them about what we read, so we made sure of our children's ability of comprehension, analysis, discussion and creative narration.
As a publishing house concerned with Arab children's literature, we must make use of the content we produced before the crisis in such reading sessions, so as to revive the love of reading in the hearts of our children, and we should not be worried about the severe decline in the number of publications and sales during 2020. Therefore, what we will gain from encouraging and motivating our children to read through these digital reading sessions is the greatest and most successful investment that can be made during this crisis.
One of the frequent situations in the world of children is that a child asks the other child to share his toys, and if he does not receive the required response, he would cry. The mother often finds herself embarrassed in such situation, and if her child does not share his toys, she may fear that her child's behavior will show a negative image of her personality as she did not raise him properly. Thus, she may ask her son to share his toys, and if he does not respond, she may threaten him, or force him to do so.
However, does the mother's behavior teach the child the value of sharing?
In fact, this behavior is not only useless to teach the value of sharing, but it also conveys incorrect and harmful messages to the two children. As for the child who owns the toy, taking the toy from him or threatening him to take it violates the concept of ownership. The child no longer understands that each person has his own needs and properties, and that he must preserve them. Rather, he may conclude that what he or others own can be taken away from him whenever he is strong. This behavior, which was intended to teach the child the value of sharing, will not achieve the targeted purpose, because it was compulsive and imposed on the child and was not done by him freely.
Children, especially in the first three years of their lives, need to understand and practise the concept of ownership and privacy, which is a concept reinforced by our respect for their toys and simple possessions and we would not underestimate them. This concept helps them to hold responsibility for their properties and maintain them as a basic principle in their lives. Hence, this would also affect their treatment and respect for the properties of others. As for the concept of sharing, it is based on the child's understanding of the concept of ownership; so that the child could be moved from thinking about himself to thinking about others and the child would take decisions accordingly.
On the other hand, a child who asks for the other child’s toy and gets it as a result of his crying, learns that by crying he gets the property of others, and he has the right to take it even for a short period. Then, he would lose the value of caring for the needs of others and feeling their pains.
We can communicate the value of sharing to the child and train him correctly in simple ways, such as encouraging him to share his toys with the other child to have fun together, or the mother could prepare some games that assist in sharing process, such as providing tools for playing with sand that are sufficient for the number of present children, or the mother would agree with her child in advance on toys that will be shared with other children. However, if he refuses to share them with the other child, we must respect his desire, provided that we keep on enhancing his concept of sharing and encouraging him. The most important method is that the parents should practise this value in front of their children, so that the children could learn it through practice.
As for the child who asks to play with the toy of the other child, it is important that such child should learn to ask permission from the owner of the toy, use polite words in this situation and accept the child’s refusal if he refuses to share the toy with him, so that he would learn to respect the property of others and their choices.
Sharing has two sides; the child who owns the toy and the child who wants to share it, and both of them need to learn the foundations of proper sharing.
The issue is an old one, and we come face to face with the same every year at the Cairo International Book Fair on its old dates of the last week of January and the first of February.
Once the fair ends, our interest in the issue ceases, despite its danger to publishing, which is one of the indicators of civilization and intellectual life, not in our modern age with all the visions it presents to us, but since mankind has known the publication of the book. Some countries boast about the number of books they print and consider them a measure of civilization and life in the 21st century.
Eventually, Muhammad Rashad, Head of the Arab Publishers Association, sent me an article on the concerns that haunt every intellectual, whatever his orientation, because a world without books is unbearable. Temptations may be here and there, but books are essential to modern man. Since the invention of the printing press in 1440 by John Gutenberg, the cultural product that was handwritten and held by a limited number of elites has been transformed into a printed book that allows readers to acquire and benefit from it, and even to appreciate the values, ideas and meanings it carries. So much so that some philosophers say that after one person has finished reading a book, another person is about to start reading. I wish the matter would stop at the limits of book falsification, despite its danger and negative effects on the publishing movement in Egypt and the Arab world. Indeed, the Corona epidemic arrived last year, negatively affecting the publishing movement. Because of the epidemic, 70% of publishing houses stopped production, as libraries are not visited by anyone and exhibitions are not organized.
I come back to book falsification, and before I go inside the issue and try to perceive its dimensions, I say that reading is weak in our Arab world, and Egypt is one of them for many reasons, which I will not enumerate for my certainty that I will reach illiteracy, the major problem in all areas of life, not only reading books. And I dream that my life will extend until we celebrate the literacy of the last Egyptian. It will be a celebration that has before and after impacts. But with the existence of falsification, its scale and impact on publishing, one only has to walk the square streets of downtown Cairo to realize the size of the issue and the choices of the falsifiers as to the type of books they falsify. It is known that they do not falsify all modern books, but they concentrate on popular books with very high sales. Once the book reaches a level where the author and the publisher can be happy, the falsifiers will immediately activate their disruptive roles in the publishing process from start to finish.
The types of falsification are paper and electronic, and today I will just write about the paper falsification, because its results seem to be faster than the others, and even if someone told me that the electronic falsification is more serious than the paper one, and that its effects are frightening for the future of the publishing process in our country, and falsification if it is a piracy process, for the publisher, which causes him unlimited losses and is difficult to control, it is a huge loss for the author, who has the right to live a decent life with an acceptable standard of living, and perhaps he can only have a stable income from his books.
Furthermore, falsification causes huge losses to many publishing houses, which has led to the closure of some of them because of the losses they incur, and as a result they are unable to meet their obligations to the government such as taxes, insurance for their employees, etc.
To understand the extent of the devastation caused by falsification, you only need to consider that the difference between the prices of falsified and original books is 60% of the price. This has created a feeling among the reader that the original publisher was exaggerating the price of the book. He loses the reader's trust and treats him as a greedy trader and not as a bearer of a message, although publishing without taking into account profit and loss is a real message. The reader, far from any narrative, must have realized that the falsifier is a thief who steals from the author and the publisher and destroys the publishing industry, which may bring us to a point where the modern book is no longer to be found, not even the old one. Once reprinted, the falsifier does not bear the book cost of authorship or the printing process, and he also forfeits the right of the state and society to obtain financial obligations in terms of taxes, insurance and many other things. We are dealing with a full-fledged crime, and when you understand that Egypt is a country that has a role, and the cultural role comes at the forefront of its many and varied roles, and although all roles are important because this is the destiny of Egypt, the cultural role comes first. Therefore, there must be an objective and precise consideration before the fall. For the sake of Egypt and its cultural role, which may recede, disappear or weaken at times - God forbid - but it cannot die, and we must defend its survival, no matter what our brothers and friends expect and seek, no matter what it costs us.
During his educational stages, the child needs to be provided with literary texts that are smooth, in terms of narration and description, and complex, in terms of rhetorical image, as this duplication contributes to granting the child the talent of expression and the feature of imagination, which would lead to new textual constructions based on the core texts that he keeps in his memory.
It is appropriate for the teacher in this regard to select for his student textual models tinged with colours, which are framed in the form of: similes, intense narrations, reduced dialogues, along with taking into account his age stage and refining his linguistic experiences with stylistic methods that motivate him to come up with similar and analogous forms that grant him the energy of interaction, through which he can tackle the literary texts without getting bored or alienated, especially at an age crowded with distractions.
Providing literature with gradual colours would add new options to the child in using lexical alterations and morphological structures that are consistent with every linguistic context imposed by expressive communication, without falling into the trap of repetition. Colours have cultural, artistic and psychological functions, which contribute to developing his productive efficiency and getting acquainted with his intellectual tendencies at an early age. For example, but not limited to, if we present this brief phrase to a sample of children: Palace laborers laid red carpets on the floor, in preparation to receive foreign delegations.
It is unavoidable that the dimensions of the picture would be associated with how the red colour is manifested and depicted within the linguistic content, as the child may understand it as referring to love and peace that surround the country and appreciation of the guest coming from foreign countries, while another child understands it as a sign of greatness and reverence, since only the presidents and ministers are received on flat red beds.
The use of colour in rhetorical metaphors allows the child to improve his mood and treat him from some intractable psychological diseases. Therefore, it is recommended to mix the textual aspects with colour formats to lure the child and support him with defensive psychological means, as if we tell him a piece of story dominated by blue colour: Wasim’s father bought a water blue pistol, so he had a list of toys of one colour: a blue crystal ball, a blue wooden boat, a lamp with a blue light and even his dreams became blue.
Perhaps the insistence on refining the blue colour is a deliberate linguistic position based on the American study in 1932, which found out the importance of the blue colour in calming the child and giving him a sense of safety.
It is desirable for the child to listen to story parts including colours, in order to be able to enhance his imagination by recalling the rhetorical image, programming it and then recycling it. The basis on which the child relies to maintain the sustainability of this complex process is the colour as an effective and indispensable link.
If the teacher narrates the famous Arab proverb to his students, which says: I was eaten on the day the white bull was eaten, then in this case he should review the story in its details, so that the real meaning becomes clear, which is the feeling of shame and betrayal because of the neglect of friends. Most importantly, to understand the depths of the meaning, it is necessary to trace the colour in the story scene, as it is the main key to achieve his desired goal.
There was a tripartite alliance in the woods (white bull, red bull and black bull) that emerged as a deterrent force for the lion. Then, the latter, in order to preserve its kingship, thought of dispersing the alliance by claiming that colour is a physical defect that brought danger.
It informed the red and black bulls about news indicating that nothing guides others towards us in our forest except the white bull and my colour is like yours. Then, the two bulls were deceived by this trick and they allowed the lion to devour the white bull. The lion repeated the process and said to the red bull that my colour is like yours, so shall I devour the black bull? Then, it liked the idea and instructed the lion to eat the black bull. Finally, the red bull became lonely and it became an easy prey for the lion and when it was about to be eaten, it said the famous proverb: I was eaten on the day the white bull was eaten.
In conclusion, an effective education strategy imposes including colours and mixing them in literature to enhance the child's imagination towards innovation and embodiment.
