SoyViking [he/him]

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Joined 6 years ago
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Cake day: November 4th, 2020

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  • Nordic children’s literature from the 1970’s and 1980’s was next level.

    I found an old book that I’m reading as a bedtime story for my six year old. It presents itself as a light-hearted funny story about a country boy who moves to the big city and sets out looking for friends. That sounds innocent enough, right?

    Think again.

    CW: Mentions of self harm

    In the first chapter the boy’s dad is driven into a catatonic depression by debt and commits suicide. The bank takes the family farm and all their belongings while adding insult to injury by claiming that it’s doing the family a service by allowing them to keep a few pieces of furniture. All of it is told matter of factly without any softening euphemisms and illustrated with a drawing of the stump of rope where first responders cut the body down.

    By any contemporary standard this sounds completely insane. But the story is actually well written, funny and age appropriate for my kid. It manages to see the world through a children’s logic, not unlike that of The Good Soldier Svejk, and sees the world from the child’s perspective, something that a lot of the contemporary slop billed as children’s literature fails at doing with it’s safe and inoffensive cardboard cutout characters written by authors who mistakes bland middle class conformity for relatability and recoil at the thought of any kind of conflict.

    Starting in the late 1960’s a generation of writers and other producers of children’s culture broke with the earlier tradition of idyllic or moralistic tales. Influenced by 1968, the new left and the anti-authoritarian pedagogy of the time they wrote more realistically about the issues faced by children in their daily lives, such as bullying, divorce or social vulnerability and parental pressure, adopting a stance of solidarity with the children. They took children seriously both as readers and as characters, respecting them as competent, complex individuals. Many works from this period are still loved by children and parents alike, exactly for being serious high quality cultural products despite having children as their audiences.

    But still, starting a children’s story with social murder and dispossession by usury capital is fucking brutal.