You can still attend “Creating Children’s Books” the October 2014 symposium at UPenn’s Kislak Center!

kislak flier croppedIf you are interested in the modern American picture book, but weren’t able to make it down to the Kislak Center in the University of Pennsylvania’s Van Pelt Library on October 18-19 for the “Creating Children’s Books” symposium, it’s possible to watch the videos of the four lively Saturday sessions. Here is a who’s who of the program (the link to the session follows the names of the panelists):

Session 1: “Creating Children’s Books: Authors and Illustrators”

Moderator

Andrea Immel, Curator, Cotsen Children’s Library, Princeton University Library

Panelists

Harry Bliss, Children’s book illustrator and cartoonist http://www.harrybliss.com

Richard Egielski, Children’s book author and illustrator http://www.richardegielski.com

Matt Phelan, Children’s book author and illustrator http://www.mattphelan.com

Robert Sabuda, Children’s book author, illustrator, and pop-up artist http://www.robertsabuda.com

For the video recording of session 1: Click here

Session 2: “The Role of Collaboration: Publishers and Agents”

Moderator

Lynne Farrington, Curator of Printed Books, Kislak Center, University of Pennsylvania Van-Pelt Library

Panelists

Wesley Adams, Executive Editor, Farrar, Straus & Giroux, McMillan Children’s Publishing Group

Lily Malcolm, Executive Art Director & Associate Published, Dial Books for Young Readers

Holly McGhee, Creative Director, Pippin Properties, Inc. http://www.pippinproperties.com

For the video recording of session 2: Click here

Session 3: “Diversity in Children’s Books”

Moderator

Ebony Thomas, University Pennsylvania School of Education

Panelists

Jerry Pinkney, Children’s book author and illustrator www.jerrypinkneystudio.com

Deborah  Taylor, Coordinator, School and Student Services, Enoch Pratt Free Library, Baltimore

For the video recording of session 3: Click here

Session 4: “The Future of Children’s Books”

Moderator

Leonard Marcus, Children’s book historian, author, and critic

Panelists

Lauri Hornik, President and Publisher Dial Books for Young Readers

Judy Schachner, Children’s book author and illustrator www.judithbyronschachner.com

Laurent Linn, Art Director, Simon & Schuster Books for Young Readers

For the video recording of session 4: Click here

 

 

Cotsen’s Covert Collections, part 1: A Pair of Burmese (Myanma) Buddhist Manuscripts

Around Princeton, Cotsen Children’s Library is most often referred to as “the children’s library” (with a myriad of connotations). In the research community, the library is well-known for its wealth of children’s literature, folk tales, educational material, toys, manuscripts, and juvenilia. Material is available in scores of languages spanning the last 400 hundred years or so. But Cotsen is also home to an array of fantastic and surprisingly rare material that most wouldn’t expect to find given our collection interests and reputation.

In a blog series I’d like to call “Cotsen’s Covert Collections” (so I’m calling it that), I will showcase some of the more unexpected collections material that I come across. These are the items that I find in the vaults that make me say: “I can’t believe we have this. I don’t quite know what it is, but this is really cool!”.

The first items I’d like to show are a pair of Burmese (Myanma) Buddhist manuscripts:

2 volumes, Cotsen 101728

2 volumes, Cotsen 101728

The shape of these manuscripts differs drastically from a typical Western bound manuscript. Both feature accordion folded sections of rag paper pasted together between highly decorative red and gold painted wood boards.

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The manuscripts have no spine like in a typical codex. The sheets are pasted together at even intervals and stacked, they are only connected to the binding at the terminal ends.

Each panel can be read separately or the whole work can be unfolded vertically like a wall chart. In this way, the manuscripts are something between a bound manuscript and a scroll. Unlike a western manuscript or a typical scroll, however, the works are double-sided. On one side the works feature hand painted illustrations and text, on the reverse side the works feature only inscribed text.

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The top manuscript in the first picture above.

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The bottom manuscript in the first picture above.

The record indicates that both manuscripts were made around 1890 in Burma (Myanmar). This information was probably provided from a dealer’s description which we no longer have with us. Though the items themselves provide no indication of place or date (as far as I can tell) the manuscript style is iconically Burmese; and we’ll just have to take the date on face value for now.

Judging by the skill of the paintings, the mistakes in the texts, and the similarities of the works, I think it’s safe to assume that one artist probably authored both works; and that he or she was an amateur or novice.

Though my knowledge of the Burmese (Myanmar) language can hardly be called knowledge, the script does seem to differ from modern Burmese. My guess is that the manuscripts were written in Burmese-pali as is typical of other more ornate Buddhist manuscripts from Myanmar called Kammavaca. Burmese-pali uses an older form of Burmese script in order to write the Pali language, the liturgical language of Theravada Buddhism (the dominant branch of Buddhism in South East Asia).

The first manuscript seems to depict various previous lives of the Buddha juxtaposed against his final earthly state. Called Jataka tales, stories about previous lives of the Buddha are moral tales in which a particular virtue is correctly exercised by the Buddha in one of his past forms:

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1st panel, Possibly a short depiction of The Story of Chaddanta Elephant

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4th panel

Of course, the text on the reverse side of the manuscript would probably offer further clues about the content of the images. Unfortunately, we don’t yet know what the text says either:

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First text panel

Last 2 panels

Last text panel

The second manuscript might be focused on scenes from the life of Siddhārtha Gautama, but I’ll admit it’s difficult for me to discern:

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2nd panel

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6th panel (luckily this final panel is not stained by red dust which has soiled the rest of the work)

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1st text panel

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Last text panel

By including items like these on the blog, I hope to make it more transparent that Cotsen has a variety of materials that one would not expect at “the children’s library”. Hopefully, bringing these objects to light means that someone more knowledgeable than me can help us discover more about these wonderful (and under-described) materials. We have a range of unusual or unexpected artifacts, books, and objects. I hope this blog series will inspire researchers to see what else they can find in our collection.