Philip Nel – författare

Racism is resilient, duplicitous, and endlessly adaptable, so it is no surprise that America is again in a period of civil rights activism. A significant reason racism endures is because it is structural: it''s embedded in culture and in institutions. One of the places that racism hides-and thus perhaps the best place to oppose it-is books for young people.Was the Cat in the Hat Black? presents five serious critiques of the history and current state of children''s literature tempestuous relationship with both implicit and explicit forms of racism. The book fearlessly examines topics both vivid-such as The Cat in the Hat''s roots in blackface minstrelsy-and more opaque, like how the children''s book industry can perpetuate structural racism via whitewashed covers even while making efforts to increase diversity. Rooted in research yet written with a lively, crackling touch, Nel delves into years of literary criticism and recent sociological data in order to show a better way forward. Though much of what is proposed here could be endlessly argued, the knowledge that what we learn in childhood imparts both subtle and explicit lessons about whose lives matter is not debatable. The text concludes with a short and stark proposal of actions everyone-reader, author, publisher, scholar, citizen- can take to fight the biases and prejudices that infect children''s literature. While Was the Cat in the Hat Black? does not assume it has all the answers to such a deeply systemic problem, its audacity should stimulate discussion and activism.

Racism is resilient, duplicitous, and endlessly adaptable, so it is no surprise that America is again in a period of civil rights activism. A significant reason racism endures is because it is structural: it's embedded in culture and in institutions. One of the places that racism hides-and thus perhaps the best place to oppose it-is books for young people.Was the Cat in the Hat Black? presents five serious critiques of the history and current state of children's literature tempestuous relationship with both implicit and explicit forms of racism. The book fearlessly examines topics both vivid-such as The Cat in the Hat's roots in blackface minstrelsy-and more opaque, like how the children's book industry can perpetuate structural racism via whitewashed covers even while making efforts to increase diversity. Rooted in research yet written with a lively, crackling touch, Nel delves into years of literary criticism and recent sociological data in order to show a better way forward. Though much of what is proposed here could be endlessly argued, the knowledge that what we learn in childhood imparts both subtle and explicit lessons about whose lives matter is not debatable. The text concludes with a short and stark proposal of actions everyone-reader, author, publisher, scholar, citizen- can take to fight the biases and prejudices that infect children's literature. While Was the Cat in the Hat Black? does not assume it has all the answers to such a deeply systemic problem, its audacity should stimulate discussion and activism.

A biography of the book that inspired Prince to adopt purple as his signature color, Pulitzer-Prize-winning author Richard Powers to become a writer, and countless other creative people to become artists.A primer on the art and design of children's picture books, renowned children's literature scholar Philip Nel takes the reader on an illustrated tour through all that made Crockett Johnson's Harold and the Purple Crayon an astonishing success: from Harold's clear line, Johnson's carefully planned improvisation, the Garamond typeface, the real “Harolds” who inspired the title character, how Johnson overcame his editor's initially lukewarm reaction, to the role of the book's three colors (purple, brown, white), and whether or not the tan-hued Harold himself is a child of color. In a series of microhistories that ripple outward from Harold and the Purple Crayon, 30 brief chapters explore the big ideas behind this small book. Johnson's classic raises questions about the nature of reality; creative expression during the Cold War; the implied audience of children's literature; abstract art versus representational art; and the color of crayons, ink, and people. All of these questions depend upon how children's picture books work--in this case, the apparent invisibility of Johnson's design choices, the limits imposed by the offset color lithography printing process, the history of the crayon, and the book's circulation into the hands of many real children around the world.This small book explores the pleasures of looking closely. Indeed, picture books are many people's introduction to looking closely. As a portable gallery, the picture book is a democratic art form, requiring only a library card to view. In modeling the pleasures of sustained attention, this book invites you to look closely at art that interests you--picture books, of course, but any kind of art. When you look, listen, or read closely, what questions does the art invite?

Are ordinary citizens capable of shaping foreign policy? To answer this question, fifteen established and emerging scholars use South Africa as a case study to assess the extent to which democratic consolidation can be translated into the realm of foreign policy. Contributors discuss the South African Development Community as an arena of transnational democracy, the impact of European Union trade policy, and the significance of South Africa's controversial 'arms deals' as they explore the opportunities and constraints facing recently democratized societies in the Southern Hemisphere. Democratizing Foreign Policy? Lessons from South Africa provides a broad-ranging assessment—investigating conceptual issues regarding the role of women, think tanks, civil society, labor movements, and the impact of globalization upon the process of foreign policy making—of the opportunities and challenges involved in opening the process of foreign policy making to civil society and the need to do so if the developing world is to better manage the complexities of globalization.

Radical leftist stories…for childrenIn 1912, a revolutionary chick cries, "Strike down the wall!" and liberates itself from the "egg state." In 1940, ostriches pull their heads out of the sand and unite to fight fascism. In 1972, Baby X grows up without a gender and is happy about it.Rather than teaching children to obey authority, to conform, or to seek redemption through prayer, twentieth-century leftists encouraged children to question the authority of those in power. Tales for Little Rebels collects forty-three mostly out-of-print stories, poems, comic strips, primers, and other texts for children that embody this radical tradition. These pieces reflect the concerns of twentieth-century leftist movements, like peace, civil rights, gender equality, environmental responsibility, and the dignity of labor. They also address the means of achieving these ideals, including taking collective action, developing critical thinking skills, and harnessing the liberating power of the imagination.Some of the authors and illustrators are familiar, including Lucille Clifton, Syd Hoff, Langston Hughes, Walt Kelly, Norma Klein, Munro Leaf, Julius Lester, Eve Merriam, Charlotte Pomerantz, Carl Sandburg, and Dr. Seuss. Others are relatively unknown today, but their work deserves to be remembered. (Each of the pieces includes an introduction and a biographical sketch of the author.) From the anti-advertising message of Johnny Get Your Money's Worth (and Jane Too)! (1938) to the entertaining lessons in ecology provided by The Day They Parachuted Cats on Borneo (1971), and Sandburg's mockery of war in Rootabaga Pigeons (1923), these pieces will thrill readers intrigued by politics and history—and anyone with a love of children's literature, no matter what age.

Dr Seuss: American Icon celebrates one of the most influential authors and artists of the 20th century: Theodor Seuss Geisel, best known as 'Dr Seuss'. Dr Seuss's ascendance from children's author to American icon confirms that his cultural significance rests not just with the beginning reader, but with the scholar, the artist, and the poet. Seuss's Beginner Books (starting with The Cat in the Hat in 1957) have obscured the enormous range of his contributions to American literature. Similarly, his art actually covers a range of styles, including Surrealism, Art Nouveau, and Cubism. Bringing to light the adult perspective behind the children's writer, Philip Nel also examines Seuss's lesser-known works. The book also features the most comprehensive Seuss bibliography ever produced, documenting his prestigious output.

This work is part of the "Continuum Contemporaries" series giving readers accessible and informative introductions to 30 of the most popular, most acclaimed and most influential contemporary novels. It contains a biography of the novelist, a full-length study of the novel, a summary of how the novel was received upon publication, a summary of how the novel has performed since publication, and a wide range of suggestions for further reading.

Emerging regional powers such as India, Brazil and South Africa pose a challenge to the global order, but it is not always clear what and how fundamental that challenge is. This edited volume highlights various dimensions and interpretations of that challenge, arguing that it is characterized by internal tensions. On the one hand these states pursue the global redistribution of material, institutional, and symbolic resources in the name of promoting global justice. They also promote South-South solidarity by providing modest amounts of assistance to selected least developed states. On the other hand, regional powers gain at least some of their global legitimacy and identities from their largely unacknowledged role as pillars of an order that undermines the opportunities for redistributive change. Their domestic politics and regional policies also place distinct limits on the extent of the global redistribution that they can pursue credibly.This book was published as a special issue of Global Society.

Emerging regional powers such as India, Brazil and South Africa pose a challenge to the global order, but it is not always clear what and how fundamental that challenge is. This edited volume highlights various dimensions and interpretations of that challenge, arguing that it is characterized by internal tensions. On the one hand these states pursue the global redistribution of material, institutional, and symbolic resources in the name of promoting global justice. They also promote South-South solidarity by providing modest amounts of assistance to selected least developed states. On the other hand, regional powers gain at least some of their global legitimacy and identities from their largely unacknowledged role as pillars of an order that undermines the opportunities for redistributive change. Their domestic politics and regional policies also place distinct limits on the extent of the global redistribution that they can pursue credibly.This book was published as a special issue of Global Society.

Introduces key terms, global concepts, debates, and histories for Children's Literature in an updated editionOver the past decade, there has been a proliferation of exciting new work across many areas of children's literature and culture. Mapping this vibrant scholarship, the Second Edition of Keywords for Children's Literature presents original essays on essential terms and concepts in the field. Covering ideas from "Aesthetics" to "Voice," an impressive multidisciplinary cast of scholars explores and expands on the vocabulary central to the study of children's literature.The second edition of this Keywords volume goes beyond disciplinary and national boundaries. Across fifty-nine print essays and nineteen online essays, it includes contributors from twelve countries and an international advisory board from over a dozen more. The fully revised and updated selection of critical writing—more than half of the essays are new to this edition—reflects an intentionally multinational perspective, taking into account non-English traditions and what childhood looks like in an age of globalization. All authors trace their keyword's uses and meanings: from translation to poetry, taboo to diversity, and trauma to nostalgia, the book's scope, clarity, and interdisciplinary play between concepts make this new edition of Keywords for Children's Literature essential reading for scholars and students alike.

Introduces key terms, global concepts, debates, and histories for Children's Literature in an updated editionOver the past decade, there has been a proliferation of exciting new work across many areas of children's literature and culture. Mapping this vibrant scholarship, the Second Edition of Keywords for Children's Literature presents original essays on essential terms and concepts in the field. Covering ideas from "Aesthetics" to "Voice," an impressive multidisciplinary cast of scholars explores and expands on the vocabulary central to the study of children's literature.The second edition of this Keywords volume goes beyond disciplinary and national boundaries. Across fifty-nine print essays and nineteen online essays, it includes contributors from twelve countries and an international advisory board from over a dozen more. The fully revised and updated selection of critical writing—more than half of the essays are new to this edition—reflects an intentionally multinational perspective, taking into account non-English traditions and what childhood looks like in an age of globalization. All authors trace their keyword's uses and meanings: from translation to poetry, taboo to diversity, and trauma to nostalgia, the book's scope, clarity, and interdisciplinary play between concepts make this new edition of Keywords for Children's Literature essential reading for scholars and students alike.

Was there a sudden break in the world of art, literature, and music when modernism gave way to postmodernism?Philip Nel attacks the notion of tremendous and sudden change in artistic understanding and literary practice. Instead, in The Avant-Garde and American Postmodernity: Small Incisive Shocks he proposes that a series of small but far-reaching changes drew understanding from modernism to postmodernism.What bonds these two periods together? The constant agent of change, Nel argues, was the avant-garde. Tracking its influence on novelists, popular culture figures, and children's authors, this book re-evaluates how twentieth-century culture has been traditionally divided into ""modern"" and ""postmodern.""Suggesting that a modernism and postmodernism division prevents accurate evaluation of a work, Nel realigns our conceptions of twentieth-century literature, art, and music. Focusing on eight figures--Nathanael West, Djuna Barnes, Dr. Seuss, Donald Barthelme, Don DeLillo, Chris Van Allsburg, Laurie Anderson, and Leonard Cohen--as representative, The Avant-Garde and American Postmodernity examines works along a spectrum of political involvement.This first book to analyze postmodern children's literature revives the radical Dr. Seuss by reading him alongside avant-garde artists. Nel argues that Chris Van Allsburg speaks the internet generation's vernacular, using a surrealist idiom to pose questions that linger beyond his picture books' final pages.The Avant-Garde and American Postmodernity is a nuanced and wide-ranging re-reading of how postmodernism displays art's ability to imagine a better world.

Crockett Johnson (born David Johnson Leisk, 1906-1975) and Ruth Krauss (1901-1993) were a husband-and-wife team that created such popular children's books as The Carrot Seed and How to Make an Earthquake. Separately, Johnson created the enduring children's classic Harold and the Purple Crayon and the groundbreaking comic strip Barnaby. Krauss wrote over a dozen children's books illustrated by others, and pioneered the use of spontaneous, loose-tongued kids in children's literature. Together, Johnson and Krauss's style--whimsical writing, clear and minimalist drawing, and a child's point-of-view--is among the most revered and influential in children's literature and cartooning, inspiring the work of Maurice Sendak, Charles M. Schulz, Chris Van Allsburg, and Jon Scieszka. This critical biography examines their lives and careers, including their separate achievements when not collaborating. Using correspondence, sketches, contemporary newspaper and magazine accounts, archived and personal interviews, author Philip Nel draws a compelling portrait of a couple whose output encompassed children's literature, comics, graphic design, and the fine arts. Their mentorship of now-famous illustrator Maurice Sendak (Where the Wild Things Are) is examined at length, as is the couple's appeal to adult contemporaries such as Duke Ellington and Dorothy Parker. Defiantly leftist in an era of McCarthyism and Cold War paranoia, Johnson and Krauss risked collaborations that often contained subtly rendered liberal themes. Indeed, they were under FBI surveillance for years. Their legacy of considerable success invites readers to dream and to imagine, drawing paths that take them anywhere they want to go.

Crockett Johnson (born David Johnson Leisk, 1906-1975) and Ruth Krauss (1901-1993) were a husband-and-wife team that created such popular children's books as The Carrot Seed and How to Make an Earthquake. Separately, Johnson created the enduring children's classic Harold and the Purple Crayon and the groundbreaking comic strip Barnaby. Krauss wrote over a dozen children's books illustrated by others, and pioneered the use of spontaneous, loose-tongued kids in children's literature. Together, Johnson and Krauss's style--whimsical writing, clear and minimalist drawing, and a child's point-of-view--is among the most revered and influential in children's literature and cartooning, inspiring the work of Maurice Sendak, Charles M. Schulz, Chris Van Allsburg, and Jon Scieszka. This critical biography examines their lives and careers, including their separate achievements when not collaborating. Using correspondence, sketches, contemporary newspaper and magazine accounts, archived and personal interviews, author Philip Nel draws a compelling portrait of a couple whose output encompassed children's literature, comics, graphic design, and the fine arts. Their mentorship of now-famous illustrator Maurice Sendak (Where the Wild Things Are) is examined at length, as is the couple's appeal to adult contemporaries such as Duke Ellington and Dorothy Parker. Defiantly leftist in an era of McCarthyism and Cold War paranoia, Johnson and Krauss risked collaborations that often contained subtly rendered liberal themes. Indeed, they were under FBI surveillance for years. Their legacy of considerable success invites readers to dream and to imagine, drawing paths that take them anywhere they want to go.

The long-lost comic strip masterpiece by legendary children's book author Crockett Johnson, is finally collected and designed by acclaimed graphic novelist and Barnaby superfan Daniel Clowes (Ghost World). Volume Five collects the final two-plus years of the strip, including the rarely-if-ever-seen conclusion of the strip, as five-year-old Barnaby Baxter says goodbye to his Fairy Godfather, Mr. O'Malley. Unlike most comic strips, Barnaby ended its ten-year run with an emotionally satisfying ending that broke the hearts of fans when first published in newspapers. The magic of Barnaby resides in its canny mix of fantasy and satire, amplified by the understated elegance of Crockett Johnson's clean, spare art. Barnaby expanded our sense of what comics can do through its combination of Johnson's sly wit and O'Malley's amiable windbaggery, illustrating a child's feeling of wonder and an adult's wariness, highly literate jokes and a keen eye for the ridiculous. This volume also features essays by comics historian Susan Kirtley and Johnson biographer Philip Nel, as well as an introduction by filmmaker Ron Howard, whose acting career was launched in 1959 at the age of five, when he was cast as Barnaby in a 1959 adaptation for General Electric Theater, hosted by Ronald Reagan. The book includes rarely-seen stills from the 1959 production - which also featured Wizard of Oz alum Bert Lahr as Mr. O'Malley!