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1. Illustrator Interview – Olivier Tallec

Apart from greatly admiring his work, my impulse to interview Olivier was three-fold: firstly, my author -illustrator friend Julie Rowan-Zoch urged me to, secondly Olivier is published in the US by one of my favorite publishers (who are right here … Continue reading

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2. The Road to Ypres

Time passes quickly. As we track the progression of events hundred years ago on the Western Front, the dramas flash by. In the time it takes to answer an e-mail the anniversary of another battle has come and gone.

We have celebrated the fumbling British skirmishes at Mons and Le Cateau in late August, but largely forgotten the French triumph at the Battle of the Marne which first stemmed and threw back the German wheeling attack through Belgium into Northern France under the Schlieffen Plan. We have already bypassed the spirited Franco-British attempts at the Battle of the Aisne in September to take the Chemin des Dames. The Race to the Sea was under way: the British and German Armies desperately trying to turn their enemy’s northern flank.

Throughout, the performance of the British Expeditionary Force has often been exaggerated. Imaginative accounts of Germans advancing in massed columns and being blown away by rapid rifle fire are common. A rather more realistic assessment is that the British infantry were steadfast enough in defence, but unable to function properly in coordination with their artillery or machine guns. The Germans seemed to have a far better grip of the manifold disciplines of modern warfare.

Yet everything changed in October. The Germans were scraping the barrel for manpower and decided to throw new reserve formations into the battle. Young men with the minimum of training, incapable of sophisticated battle tactics. They were marched forward in a last gambler’s throw of the dice to try and break through to the Channel Ports. To do that they needed first to capture the small Belgian city of Ypres.

One might have thought that Ypres was some fabled city, fought over to secure untold wealth or a commanding tactical position. Nothing could be further from the truth. Ypres was just an ordinary town, lying in the centre of the fertile Western Flanders plain. Yet the low ridges to the east represented one of the last feasible lines of defence. The British also saw the town, not as an end in itself, but as a stepping stone to more strategically important locations pushing eastwards, such as the rail centre at Roulers or the ports of Ostend and Zeebrugge. For both sides Ypres was on the road to somewhere.

The battle began in mid-October and soon began to boil up. Time and time the Germans hurled themselves forward, the grey-green hordes pressing forwards and being shot down in their hundreds. The British had learnt many lessons and this was where they finally proved themselves worthy adversaries for the German Army. On the evening of 23 October young Captain Harry Dillon was fighting for his life:

A great grey mass of humanity was charging, running for all God would let them, straight on to us not 50 yards off. Everybody’s nerves were pretty well on edge as I had warned them what to expect, and as I fired my rifle the rest all went off almost simultaneously. One saw the great mass of Germans quiver. In reality some fell, some fell over them, and others came on. I have never shot so much in such a short time, could not have been more than a few seconds and they were down. Suddenly one man – I expect an officer – jumped up and came on. I fired and missed, seized the next rifle and dropped him a few yards off. Then the whole lot came on again and it was the most critical moment of my life. Twenty yards more and they would have been over us in thousands, but our fire must have been fearful, and at the very last moment they did the most foolish thing they possibly could have done. Some of the leading people turned to the left for some reason, and they all followed like a great flock of sheep. We did not lose much time, I can give you my oath. My right hand is one huge bruise from banging the bolt up and down. I don’t think one could have missed at the distance and just for one short minute or two we poured the ammunition into them in boxfuls. My rifles were red hot at the finish. The firing died down and out of the darkness a great moan came. People with their arms and legs off trying to crawl away; others who could not move gasping out their last moments with the cold night wind biting into their broken bodies and the lurid red glare of a farm house showing up clumps of grey devils killed by the men on my left further down. A weird awful scene; some of them would raise themselves on one arm or crawl a little distance, silhouetted as black as ink against the red glow of the fire. [p. 287-288, Fire & Movement, by Peter Hart]

Some of the Germans had got within 25 yards of Dillon’s line. It had been a close run thing and after they had been relieved by the French later that night the French reported that some 740 German corpses littered the ground in front of his trenches. This was the real war: not a skirmishes like the earlier battles, this was the real thing.

Ypres at the close of World War I. In the center is the cathedral tower. At the right, the Cloth Hall. Collier's New Encyclopedia, v. 10, 1921, between pp. 468 and 469 (3rd plate). Via Wikimedia Commons.
Ypres at the close of World War I. In the center is the cathedral tower. At the right, the Cloth Hall. Source: Collier’s New Encyclopedia, v. 10, 1921, between pp. 468 and 469 (3rd plate). British Official Photo, public domain via Wikimedia Commons.

The German attacks continued, followed as day follows night, by French and British counter-attacks to restore the situation. The Germans nibbled at the Allied line but were unable to achieve anything of importance. Yet for all the sound and fury, over the next few days the front line stayed relatively static. The German troops were flagging in their efforts. After one last effort on 11 November the Germans threw in the towel. They would not break through the Allied lines in 1914. The British and French lines had held. Battered, bruised, but unbroken. The First Battle of Ypres had confirmed the strategic victory gained by the French at the Marne. The German advance in the west had been blocked, if they sought victory in 1915 they would have to look to the east and attack Russia.

The 1914 campaign would prove decisive to the war. The utter failure of the Schlieffen Plan, designed to secure the rapid defeat of France, meant that Germany would be condemned to ruinous hostilities on two fronts. This was the great turning-point of the whole war. The pre-war predictions from the German strategists that they could not prevail in a long-drawn out war against the combined forces of France and Russia proved accurate, especially when the British Empire and United States joined the fight. The German Army fought with a sustained skill and endurance, but after 1914, the odds really were stacked against them.

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3. Manga Review: Kingdom Hearts 2

Name: Kingdom Hearts 2 Genre: Action, adventure Artist: Shiro Amano Publisher: Pika Edition (France),  TokyoPop (US) Original Release Date: October 11th, 2003 (US), January 2nd, 2013 (France) Roxas has been going through a few bizarre experiences lately as his summer vacation is coming to an end. Strange occurrences involving slippery white creatures and hooded strangers ... Read more

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4. 7 Gorgeous Graduation Films from Gobelins

Earlier this month, the class of 2014 graduate films from French animation school Gobelins were published online.

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5. ‘Sticky Ends, Chapter 2 : Like Rabbits’ by Osman Cerfon

The man with the head of fish pursues his melancholic stroll in a carnival, distributing at random his bubbles of misfortune.

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6. The French burqa ban

On 1 July 2014, the Grand Chamber of the European Court of Human Rights (ECHR) announced its latest judgment affirming France’s ban on full-face veil (burqa law) in public (SAS v. France). Almost a decade after the 2005 controversial decision by the Grand Chamber to uphold Turkey’s headscarf ban in Universities (Leyla Sahin v. Turkey), the ECHR made it clear that Muslim women’s individual rights of religious freedom (Article 9) will not be protected. Although the Court’s main arguments were not the same in each case, both judgments are equally questionable from the point of view of protecting religious freedom and of the exclusion of Muslim women from public space.

The recent judgment was brought to the ECHR by an unnamed French woman known only as “SAS” against the law introduced in 2011 that makes it illegal for anyone to cover their face in a public place. Although the legislation includes hoods, face-masks, and helmets, it is understood to be the first legislation against the full-face veil in Europe. A similar ban was also passed in Belgium after the French law. France was also the first country to ban the wearing of “conspicuous religious symbols” – directed at the wearing of the headscarf in public high schools — in 2004. Since then several European countries have established policies restricting Muslim religious dress.

The French law targeted all public places, defined as anywhere not the home. Penalties for violating the law include fines and citizenship lessons designed to remind the offender of the “republican values of tolerance and respect for human dignity, and to raise awareness of her penal and civil responsibility and duties imposed life in society.”

SAS argued the ban on the full-face veil violated several articles of the European Convention and was “inhumane and degrading, against the right of respect for family and private life, freedom of thought, conscience and religion, freedom of speech and discriminatory.” She did not challenge the requirement to remove scarves, veils and turbans for security checks, also upheld by the ECHR. The ECHR rejected her argument and accepted the main argument made by the government: that the state has a legitimate interest in promoting a certain idea of “living together.”

By now, it is clear that Article 9 of the European Convention does not protect freedom of religion when the subject is a woman and the religion is Islam. While this may seem harsh, consider the ECHR’s 2011 judgment in Lautsi v. Italy, which found the display of the crucifix in Italian state schools compatible with secularism.

In Lautsi case, the Court argued that the symbol did not significantly impact the denominational neutrality of Italian schools because the crucifix is part of Italian culture. Human rights scholars have not missed the contrast between the Italian case and the earlier 2005 decision in Leyla Sahin v Turkey where the Court found that the wearing of the headscarf by students was not compatible with the principle of laicité or secularism.

The Court did not make a value judgment in SAS case about Islam, women’ rights in Islamic societies, or gender equality, as it did in earlier cases where they upheld bans on the wearing of the headscarf by teachers and students in France, Turkey and Switzerland. In all cases involving Islamic dress codes, the ECHR emphasized the “margin of appreciation” rule, which permits the court to defer to national laws.

The ECHR acted politically and opportunistically not to challenge France’s strong Republicanism and principles of laicité, sacrificing the rights of the small minority of Muslims who wear the full-face veil. Rather than protecting the individual freedom of the 2000 women, the ECHR protected the majority view of France.

The ECHR is the most powerful supra national human rights court and its decisions have widespread impact. Several countries in Europe, such as Denmark, Norway, Spain, Austria, and even the UK, have already started to discuss whether to create similar laws banning the burqa in public places. This raises concerns that cases related to the cultural behavior and religious practices of minorities could shift public opinion dangerously away from the principles of multiculturalism, democracy, human rights and religious tolerance.

Libyan girl wearing a niqab, by ليبي صح. Public domain via Wikimedia Commons
Libyan girl wearing a niqab, by ليبي صح. Public domain via Wikimedia Commons

The most recent law bans the full-face veil, but tomorrow, the prohibitions may be against halal food, circumcision, the location of a mosque or the visibility of a minaret; even religious education might be banned for reasons of public health, security or cultural integration. Muslims, Roma, and to some extent Jews and Sikhs, are already struggling to be accepted as equal citizens in Europe, where right wing extremism is rising, in a situation of economic crisis.

The ECHR should be extremely careful in its decisions, given the growth of nationalism, xenophobia, and anti-immigrant sentiment in Europe.Considering this context, the EHCR’s main argument in this latest judgment is worrisome, since it accepted France’s view that covering the face in public runs counter to the society’s notion of “living together,” even though this is not one of the principles of the European Convention.

The Court recognized that the concept of “living together” was problematic (Para 122). And, even in using the “wide margin of appreciation” rule, the Court acknowledged that it should “engage in a careful examination” to avoid majority’s subordination of minorities. Considering the Court’s own rules, the main reasoning for the full face veil ban—“living together” seems to be inconsistent with the Court’s own jurisprudence.

Further concerns were raised about Islamophobic remarks during the adoption debate of the French Burqa Law, and evidence that prejudice and intolerance against Muslims in French society influenced the adoption of the law. Such concerns were more strongly raised by the two dissenting opinions. The dissent found the Court’s insensitivity to what’s needed to ensure tolerance between the vast majority and a small minority could increase tensions (Para 14). The dissenting opinion was especially critical of prioritizing “living together,” not even a Convention principle, over “concrete individual rights” guaranteed by the Convention.

While the integration of Muslims and other immigrants across Europe is a legitimate concern, it is vitally important the ECHR’s constructive role. The decision in SAS v France is a dangerous jurisprudential opening for future cases involving the religious and cultural practices of minorities. The French burqa law has created discomfort among Muslims. By upholding the law, the European court deepens the mistrust between the majority of citizens and religious minorities.

Headline image credit: Arabic woman in Muslim religious dress, © Vadmary, via iStock Photo..

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7. Death by Dessert, or How to Watch the World Cup On the Border

IMG_1339

We became pretty solid soccer fans while living in Germany, especially around World Cup time, so on our recent return trip, we were psyched to watch games with our German friends.

For the U.S. v. Germany game, though, we were on our own in France. We planned the whole evening around the game, which aired at 6 p.m. in that time zone.

It was also the only night we could eat at the local Michelin-starred restaurant—and the night they serve a very reasonable prix-fixe menu. So we made a late reservation to fit in both, planning to watch the game at our B & B.

Gourmet Salad

We’d biked 15 miles that day (a lot for us), and I planned to take a shower during half time.

One big problem. After the pre-game commentator chatter, the screen went blank with a message that said something like: “This game is not authorized to be shown in this region.” We flipped around, hoping another station would carry it, but the only game on was the other World Cup match happening at the same time.

Luckily, we were staying right near the German border, so I took a 3 minute shower, hopped into a dress, and we loaded up and drove to the ferry to cross the Rhine. On the other side, my husband knocked on restaurant doors until we found one with public viewing in its little bar area.

The one long table was full of retiree-aged tennis table club members, and the only free seats were at the front with a mustachioed man who’d already had a few too many beers.

He was friendly, though, and when he found out we were American, he told us over and over how much he loved Americans and how the best possible outcome for the game would be a 1-1 tie. He reminded us many times (a few too many) that the German coach and the American team coach (also German) were best friends and how they would both want this.

If you were watching, too, you know the Americans actually lost 0-1. We were disappointed, but after the game, everyone (except the kids) was treated to house-made pear Schnapps while the table tennis team sang the German victory song (is there a name for this?). Everyone was very friendly, and when it was over, we thanked our hosts and dashed back across the river to make our 8:30 reservation.

The restaurant was lovely, with a view to a garden and a stream. The noise level was nearly silent, but our kids were completely awesome and went with the flow.

We opted for the prix-fixe menu and added on the “Festival of Desserts,” which sounded perfect. We envisioned a dessert sampler.

First course (salad above) was great, second course (some kind of meat pie) was amazing. Meanwhile the service was first-rate. Our hostess made sure to graciously inform us when we were missing something, i.e. “You can actually eat those flowers,” and, “Those table decorations are actually pretzels” (in the first photo, the rock-looking things behind the ceramic elves).

Here’s the cheese table, from which we could choose what we liked.

Cheese Course

And then the desserts started. First, a platter of teeny tiny cookies of many kinds. Then, a pastry with gelato. Another pastry with gelato. Another….we were losing count.

French dessert

Surely the cookies had counted as dessert #1. There were supposed to be five desserts in total. Surely the gelato counted for one and the pastry counted for another, right? Wrong. The desserts kept coming, and we slowed down so much that we started getting two at once. The cookies hadn’t even counted as part of the five.

Gourmet dessert

Not only that, but the kids had gotten (included) a dessert of their own, so they couldn’t help us out so much. Still, we were determined to do our duty and eat every bite. On top of the five desserts + cookies + cheese course, there was a tiny truffle course where we could choose our own adventure. How could we say no?

At one point I said, “If they bring another dessert, I’m going to cry,” and we all started laughing, on the verge of breaking the Code of Near-Silence.

Finally we ate our way through the last plate, now having finished enough dessert for about ten people. The last plate was probably my favorite, some kind of cherry cake (pictured above). We rolled out, giggling to ourselves.

My son said the other day, “Let’s never take the circus of desserts next time.” Amen. Maybe just 1/10 of it.

Below is a picture of one of the children’s desserts.

Ice Cream Rabbit

And in case you’re wondering yes, I threw the whole gluten-free eating thing out the window that week. I paid for it the next week, but it was well worth it!

 

 


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8. have you ever had it blue?

Damn, I'm going to miss this place this year. These are drawings of Clermont Ferrand. They're a kind of mixture of realism and imagination, fact and fiction. I like that place in between both. I have an idea for a small series of these drawings. So, if I will not get to physically visit this year, I will travel there through drawing.

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9. My Name is Wendy

My Name is Wendy on grainedit.com

My Name is Wendy is a Paris-based design studio founded in 2006 by Carole Gautier and Eugénie Favre. Uniting their expertise in graphic and plastic art, they create highly expressive work that is bold and dynamic.

 

My Name is Wendy on grainedit.com

My Name is Wendy on grainedit.com

My Name is Wendy on grainedit.com

My Name is Wendy on grainedit.com

My Name is Wendy on grainedit.com

 

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10. Animated Fragments #27

Animated Fragments is our semi-regular feature of animation tests, experiments, micro-shorts, and other bits of cartoon flotsam that don't fit into other categories.

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11. Veils and the choice of society

By Can Yeginsu and Jessica Elliott


On 1 July 2014, the Grand Chamber of the European Court of Human Rights held that France’s ban on wearing full-face veils in public pursued a legitimate aim because it reflected a “choice of society”. Although the Court found that the blanket prohibition amounted to an interference with the religious rights of the minority in France that wore the full-face veil, it was justified because it protected the rights of others to have the option of facial interaction with that minority. The Court accepted that this right of potential facial interaction forms part of the minimum standards of “living together” in French society and outweighs the right of the minority to express their religious beliefs through wearing a full-face veil.

The result of the decision is that ‘SAS’, the applicant Muslim woman in the case, was held not to have suffered a violation of her religious rights under the European Convention on Human Rights. S.A.S. v France is another recent example of the controversies which can arise in the field of law and religion but its significance goes beyond that: the case has given rise to a full and carefully-reasoned judgment from the Strasbourg Court which revisits and, in places, develops its jurisprudence in this difficult area of the law.

The Decision

Article 9 is the principal protection available for religious freedom under the Convention. When examining a potential Article 9 violation, the Strasbourg Court must establish whether the act complained of – in this case, the ban on the veil – interferes with the applicant’s religious rights. If so, the Court will then consider whether or not that interference is: (1) prescribed by law; (2) pursuant to a legitimate aim; and (3) necessary and proportionate in a democratic society.

In S.A.S, the Court found that the ban was prescribed by French law (the Law No. 2010-1192) and constituted an interference with the applicant’s religious beliefs. The critical issues for the Court were whether or not the blanket prohibition was: (i) in pursuit of a legitimate aim; and, if so, (ii) necessary in a democratic society, that is to say, proportionate.

The second paragraph of Article 9 sets out the only legitimate grounds on which religious rights can be interfered with: public safety, public order, health or morals, or for the protection of the rights and freedoms of others. The Court dismissed the French Government’s arguments based on public safety, and considered the other three arguments put forward – that the veil fell short of the minimum requirements of life in society; that it harmed equality between men and women; and that it was a manifestation of disrespect for human dignity – under the heading of the ‘rights and freedoms of others’. The Court rejected the dignity and gender equality arguments, and focused on whether the requirements of “living together” could be a legitimate aim. The Court found that they could. The core of its reasoning is at §122 of the judgment:

“[The Court] can understand the view that individuals who are present in places open to all may not wish to see practices or attitudes developing in those places which would call into question the possibility of open interpersonal relationships, which, by virtue of an established consensus, forms an indispensable element of community life within the society in question. The Court is therefore able to accept that the barrier raised against others by a veil concealing the face is perceived by the respondent State as breaching the right of others to live in a space of socialisation which makes living together easier.”

The Court’s assessment of proportionality ultimately came down to the fact that the sanctions were, in the Court’s view, light (albeit criminal) and reflected a choice of society. France’s margin of appreciation in this area was such that it could, and should, make this choice without interference from an international court.

The Dissent

The joint partly dissenting opinion of Judges Nussberger and Jäderblom voiced a number of criticisms of the majority approach, of which the following are an important few:

  • The concept of ‘living together’ as a right is ‘far-fetched and vague’.
  • It seems unlikely that the veil itself is at the root of the French ban, rather than the philosophy linked to it. French parliamentary reports revealed that the true concerns are linked to the meaning of the veil: as ‘a form of subservience’, because of its ‘dehumanising violence’, and because of the fact that it represents ‘the self-confinement of any individual who cuts himself off from others whilst living among them’.
  • The opinion of the majority is wrong to ignore an individual’s right to express herself, or her beliefs, in a way that shocks others. The Court’s mandate is to protect expressions of rights which ‘offend, shock and disturb’, as well as those that are favourably received.
A Group of Women Wearing Burkas. Afghanistan women wait outside a USAID-supported health care clinic. Photo by Nitin Madhav (USAID). Public domain via Wikimedia Commons.

A Group of Women Wearing Burkas. Afghanistan women wait outside a USAID-supported health care clinic. Photo by Nitin Madhav (USAID). Public domain via Wikimedia Commons.

The Discussion

Some actions, whether religiously motivated or otherwise, could be so objectively offensive to the operation of society that they require limitation in the name of ‘living together’. However, where the action in question is non-violent and generally without external impact, extreme care must be exercised in establishing why society’s right not to be exposed to an act outweighs the individual’s right to perform it. This is all the more so the case where the action in question is an expression of a religion which, as the judgment acknowledges, can too often be subject to social prejudice.

One of the key difficulties with the opinion of the majority in S.A.S is the extent to which the Strasbourg Court allows ‘society’s choice’ to govern state action where distinctly unpopular rights are threatened. The Convention seeks to establish and to enforce European standards of protection for the rights of every individual. The Convention is an instrument which supports ‘democratic societies’.  This is not in the political sense of allowing the dominant collective voice to decide the fate of all; societies are capable of achieving that without assistance. The Convention should ensure that the voices of all groups and individuals in the society – popular or otherwise – are heard, and afforded proportionate weight where state aims threaten individual rights.

As the partly dissenting opinion points out, Western societies are fearful of what the veil connotes. The grounds of argument rejected by the Court were in all likelihood the more honest ones: there was clear social discomfort about a practice which ran counter to ideas of gender equality and human dignity. The Court rightly discounted such arguments where the applicant could show that wearing the veil was a matter of choice. Absent the issue of force, it is simply a question of whether covering the face is so offensive to others that it outweighs the religious importance of the action. Some may well ask whether or not the S.A.S judgment has explained why the alleged social offence caused is more important than the interference with a right which is at the core of international protection.

The majority judgment is significant also for the arguments that the Court rejected. Gender equality was not accepted as a legitimate aim by the Court. This is a shift. In its previous case law on the Islamic headscarf, the Court had stated that “it appears difficult to reconcile the wearing of an Islamic headscarf with the message of tolerance, respect for others and, above all, equality and non-discrimination”: Dahlab v Switzerland; Leyla Sahin v Turkey. The position has changed:

“a State Party cannot invoke gender equality in order to ban a practice that is defended by women […] in the context of the exercise of rights enshrined in those provisions, unless it were to be understood that individuals could be protected on that basis from the exercise of their own fundamental rights and freedoms” (S.A.S., §119).

Similarly, the Court rejected the State’s public safety argument, finding that in the absence of a general threat to public safety, a blanket ban was a disproportionate interference with the applicant’s Article 9 right. That finding is in contrast to the Court’s earlier decision in Mann Singh v France, when the Court accepted France’s restrictions of religious rights on the grounds of public safety without requiring evidence of the necessity of the restriction.

Although this decision accords with the Court’s general approach to the protection of religious dress under Article 9, it significantly shifts the focus onto the choices of individual societies as legitimate restrictions on religious rights. Much attention was given by the Court to the particular consensus of French society as a counterbalance to the identified right of a religious minority; this could represent a considerable enhancement of the scope of the ‘rights and freedoms of others’ limitation under Article 9(2). It remains to be seen how the Strasbourg Court will define the limits of the democratic choice of Member States in future decisions: this is, and will remain, a difficult and developing area of the law.

Can Yeginsu is a barrister at 4 New Square Chambers in London. He is the co-author (with Sir James Dingemans, Tom Cross and Hafsah Masood) of The Protections for Religious Rights: Law and Practice. Jessica Elliott is a barrister at One Crown Office Row Chambers in London.

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12. Teaser for First CGI ‘Astérix’ Feature

The first teaser is out today for the French animated feature "Astérix: Le Domaine des Dieux" ("Asterix: The Land of the Gods") directed by Alexandre Astier and Louis Clichy.

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13. The Art of Writing Fashionable Mysteries

When I wrote the first notes about my sixteen-year-old detective, Axelle Anderson, I was living in Paris, France, doing a short stint as PA to fashion designer John Galliano (then designing for the fashion house Christian Dior), so the fashion world was more on my mind than ever, and the idea of a fashion mystery took hold straight away.

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14. Life in occupied Paris during World War II

By David Ball


If you were a fifty-year-old intellectual, a well-known writer of left-wing articles and literary essays, and your country was occupied by the Nazis and its more-or-less legal government collaborated with them — and now the editor of the leading literary magazine of the time pressed you to contribute an essay to his review, would you do so? Just an essay on Voltaire for the Nouvelle Revue Française, mind you, nothing subversive. Anything at all suspect would be censored anyway.

The answer, for the overwhelming majority of French intellectuals in 1940-44, was “Write the article, of course!” And keep writing, whatever happened to France. Not about the war, of course, or the Occupation—you couldn’t do that—but novels about personal relationships, plays, literary articles and criticism, why not? André Gide kept on publishing his Journal; Sartre finished Being and Nothingness, wrote No Exit and saw it produced on the Paris stage; Simone de Beauvoir published a novel and a philosophical essay; utterly non-fascist writers like Colette, Jean Anouilh, and Marcel Aymé contributed to actively pro-fascist journals. In short, judging from what they wrote at the time, most French writers seem to have lived through four years of Nazi occupation without noticing it. You would think they had never seen the swastika floating from the Eiffel Tower, nor the huge banner hanging over the front of the Chamber of Deputies which housed the French parliament before the war: DEUTSCHLAND SIEGT AN ALLEN FRONTEN (“Germany is winning on all fronts”), nor the booted German soldiers who paraded down the Champs-Ėlysées every day. And apparently never read about the execution of hostages or Résistants reported in the daily papers or on posters in the Paris Metro, and never heard about friends and acquaintances arrested and deported “to the East.”

Germany

Paris, deutsche Parole am Bourbon-Palast. Bundesarchiv, Bild 183-2004-0216-500 / CC-BY-SA via Wikimedia Commons

Jean Guéhenno, whose portrait I have sketched in the first paragraph, was a notable exception. His answer to Drieu La Rochelle, a literary acquaintance of his and the ardently fascistic writer who edited the Nouvelle Revue Française from 1940 to 1943, was silence — and inner rage, which he noted in his diary: “We have no means of telling these gentlemen what we think of their activity. At least they might leave us in peace.” (24 January 1941)

He had resolved to remain silent, not to write a word for a publishing industry under Nazi control, not to “play our jailors’ game,” as he later put it, “to appear as if we were still living and enjoying ourselves as we used to, in the time when we were free.” He remained silent, but he wrote. He kept his diary, where he noted details of ordinary Paris life under occupation (some extraordinary ones, such as the first round-up of Jews in Paris), his thoughts on French literature (especially the great texts he was teaching), and above all his anger at the stupidity, cowardice, and vanity of those of his fellow countrymen who played along with the Nazis, the politicians (Pétain, Laval and company) and “the species of men of letters, [which is] not one of the greatest species in the human race. The man of letters is unable to live out of public view for any length of time; he would sell his soul to see his name ‘appear.’” (30 November 1940) Guéhenno also worked away at his two-volume biography of Rousseau, “the exemplary life of a man who does not surrender,” he notes (17 July 1940) — the very image of Jean Guéhenno himself. He would publish his diary and the Rousseau biography when the war was over and France was free.

Paris, Parade deutscher Soldaten . Bundesarchiv, Bild 101I-751-0067-34 / Kropf / CC-BY-SA via Wikimedia Commons

Paris, Parade deutscher Soldaten . Bundesarchiv, Bild 101I-751-0067-34 / Kropf / CC-BY-SA via Wikimedia Commons

Guéhenno was too well known as an anti-fascist intellectual ever to join one of the Resistance networks which soon sprang up in occupied France. It would have meant his arrest and that of his comrades. He was under surveillance, and he knew it. He taught in some of the elite schools of France, but just being who he was and teaching French literature as he always had was enough to get him “demoted” by the Ministry of Education of the Vichy government. In the last year of the Occupation, he did meet with other writers (his friend François Mauriac, for example) and discuss what they could do, as writers, to keep the spirit of freedom alive in France. They distributed underground literature in Paris. In 1944, Ėditions de Minuit, the remarkable underground publishing house which managed to print so much free-spirited French prose and poetry clandestinely during the last three years of Nazi occupation, put out part of Guéhenno’s diary under the title “In the Prison.” He signed it “Cévennes,” the name of the mountain range in central France where Protestants had hid to resist persecution four centuries earlier. (It also echoed “Vercors,” the name of the mountains where the Resistance had concentrated thousands of armed men, and the pseudonym of Jean Bruller, who founded the house; his novella “The Silence of the Sea” was the first work it published.)

It was a pleasure to live with this honorable, stubborn, cultivated and passionate man for a few years, translating, annotating and presenting his Diary of the Dark Years: 1940-1944 so that today’s English-speaking readers could understand this unique piece of testimony to the inner and outer life of a French intellectual under Nazi Occupation.

David Ball is Professor Emeritus of French and Comparative Literature, Smith College. He is the editor and translator of Diary of the Dark Years, 1940-1944: Collaboration, Resistance, and Daily Life in Occupied Paris.

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15. Artist of the Day: Romain Barriaux

A look at the work of Romain Barriaux, Cartoon Brew’s Artist of the Day.

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16. Artist of the Day: Annette Marnat

A look at the work of Annette Marnat, Cartoon Brew’s Artist of the Day.

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17. Hidden: A Child's Story of the Holocaust by Loïc Dauvillier, illustrated by Marc Lizano

When Elsa, 6, discovers her grandmother, Dounia Cohen, crying one night, the little girl convinces her to talk about what's causing her tears.  And so, her grandma begins telling her about her own life when she was Elsa's age living in Paris.

Her best friend was Catherine and they both had a crush on Isaac, and all three went to the same school.  One day, when Dounia came home from school, her father was already there.  He told Dounia there were to become a family of sheriffs and soon a yellow star was sewn onto her clothes.  The next day, Isaac didn't show up for school and Dounia was told to sit in the back of the room, and learned that her star was meant to mark her as Jewish, not a sheriff.

When the police show up at the door one night, Dounia's parents put her into a hiding place and tell her to quietly wait for someone to come and get her.  When her neighbor comes, Dounia learns that her parents had been taken away, and the apartment ransacked.

The neighbors, Mr. and Mrs. Péricard, take care of Dounia in secret as long as they can, but eventually they learn that the police are planning a surprise visit to find her.  Dounia's name is changed to Simone Pierret, but before they can get away, someone spots Dounia.  She and Mrs. Péricard make it to the prearranged point for Dounia to be picked up and moved, but now Mrs. Péricard is also in danger and has no idea what happened to her husband.  The two are taken to the farm of an older woman named Germaine by Resistance workers.  Dounia had been told she must think of the Péricards as her parents, and now as Simone, she also becomes a young Catholic girl in order to keep her safe and hidden from the Nazis.

Dounia and Mrs. Péricard remain on the farm for the rest of the war, each wondering what became of their loved ones.

Hidden is the powerful story of a young girl who doesn't completely understand what is happening around her, why people suddenly dislike her and all other Jews so much and, most importantly, the sudden disappearance of so many people including her parents,   How does one deal with this?  Clearly, it took Dounia years to do that, since even her own son didn't know about his mother's experiences in Nazi occupation of France.

How does a young reader who is hearing about the Holocaust for possibly the first time deal with such a disturbing subject?  Clearly, a book about the Holocaust for kids, whether it is a graphic or traditional picture book, requires a very fine balance between story, information, and illustrations so that the story gives just the right amount of age appropriate information, but not so much that you frighten kids.  Hidden is a book that is so powerful in its simplicity, to honest in it telling that it definitely achieves this fine balance.

The translation by Alexis Siegel from the original French into English contains no ambiguities, and the dialogue flows comfortably and naturally.  I seem to be reading graphic novels about World War II and the Holocaust more and more lately, and they seem to be getting better and better.  The illustrations by Marc Lizano are reminiscent of a child's drawing, though the background is more sophisticated.  Still, the faces, even in their simplicity, really manage to convey a wide range of emotions - fear, sadness, anger, kindness, hate, love and ultimately even hope.  And the colorist, Greg Salsedo, really gives the illustrations a sense of the time, place and mood using his color palette.

Dounia's story is similar to that of many children in France.  In fact, in the Afterword, Hellen Kaufmann, president of the AJPN (Association Anonymes, Justes et Persecutés pendant la période nazie) writes that 84% of Jewish children living in France before the war survived because of people like Mrs. Péricard and Germaine and the Resistance workers who found safe homes for them were willing to risk their own lives to hide and protect these children from the Nazis and the collaborating French police.

This book is recommended for readers age 6+
This book was purchased for my personal library

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18. Author Interview: Maryann Macdonald, author of Odette's Secrets


The Jewish holiday, Yom HaShoah, Holocaust Remembrance Day, begins on Monday night, April 28.  In honor of the millions who perished, as well as those who survived, I wanted to share with my readers an interview with author Maryann Macdonald of Odette's Secrets (reviewed here at the Fourth Musketeer last month).  This novel tells the story of a young French girl who was hidden during the Nazi occupation, and thus survived the Holocaust.  Thanks so much, Maryann, for visiting my blog today.

Q:  There are so many books, even for young readers, that deal with World War II, particularly the European side of the conflict.  Yet there are still so many stories to tell, with more books coming out every year.  Please tell us how you discovered the true story of Odette, and why you considered it important to tell her story to young readers.  

A:   When I learned that 86% of French Jewish children survived the Holocaust by going into hiding, I was astonished.  How had these children managed to reinvent themselves so successfully, I wondered?  And how had it affected them?  Then, by chance, I found "Doors to Madame Marie," a memoir by Odette Meyers at the American Library in Paris.  I was so touched by Odette's story of her experience as a hidden child in France.  I especially loved her description of the struggles she went through with all the necessary deception that was required to stay successfully hidden, and the affect this had on her developing identity.  I had never seen a book that told this particular story about WWII, and I wanted to create a children's book about it for today's readers.  Although Odette had passed away some years earlier, I learned that her son Daniel was alive and living in Paris.  I called him and we met.  He told me he that his mother had often told her story in schools, churches and synagogues, and he was sure that she would want it to live on.  So I began the process of trying to recreate Odette's story for today's young readers.  

Right above the door is Odette's Paris apartment


Odette and Mama (photographer and family later deported)


Q:   Why did you decide to tell this particular story in free verse, rather than a more conventional prose style?

A:  My first draft of Odette's Secrets was in third person.  I wanted the story to be as accurate as possible, but I felt this version was too dry.  Then I remembered that Odette loved poetry, and even thought its beauty helped her to survive her ordeal.  She grew up to become a professor of literature, and wrote poetry of her own.  So I set about telling Odette's story in first person, in blank verse, to access more accurately Odette's childhood voice.  I wanted the book to seem as though Odette herself was telling her story to children.  This turned the book into fiction, but nearly every single recorded detail is true.
Odette's godmother, Madame Marie

Q:  Many of your many prior books for young people are picture books rather than novels.  Did you ever consider telling Odette's story in a picture book format?


A:  I have written many picture books, but also one other middle grade novel and quite a few chapter books.  My latest effort is a young adult novel.  At first I thought Odette's Secrets might be a picture book, but there was just too much story to tell.  It is now slotted in for 10-14 year-old's, but I have heard from readers as young as 8.  One of my oldest readers was himself a hidden child.  He wrote to me to say he thought I had captured the experience quite accurately.  

Q: In the current publishing climate, with the wild success of the Wimpy Kid series, dystopian novels like Hunger Games, and the continued popularity of fantasy series in the Harry Potter style, do you have any advice on how librarians, parents, and teachers can encourage children to explore historical fiction like Odette's Secrets?

A:  I have developed a teacher's guide for "Odette's Secrets," which is downloadable on my website, www.maryannmacdonald.com.  It offers many ways to draw readers into the book.    Obviously, linking the story with the history curriculum, with Holocaust Remembrance Day, and with National Poetry Month might help.  Not every book suits every reader, but Odette's Secrets has found many appreciative readers.  Fans of this genre can discover other great WWII books I've enjoyed, from picture books on up, on the "Odette's Secrets" FB page.  

Q:  Can you share with us five children's books that made a big impact on you as a young person?

A:  Like so many young girls of my time,  I fell in love with the Little House Books, especially "Little House on the Prairie."  Now that I think of it, that series has some similarities with Odette's Secrets:  adventure, family closeness, life-threatening danger.  I read every book in our local library on pioneer life, too.  But I also loved books about England, especially "The Secret Garden," "Bedknobs and Broomsticks," and "Mary Poppins."  I think my love of English children's literature was partly responsible for the fact that when I grew up, I went to live in England for 23 years.  And again, like so many girls of yesterday and today, I loved Nancy Drew.  My granddaughter loves her, too.

Q:  What books are currently on your nightstand?  (or in your e-reader, if you prefer your books in that format?)

A:  I just read "The Hare with the Amber Eyes" with my book group.  I enjoyed that in paperback, but I LOVE my Kindle, too, and take it everywhere.  Now I live in New York City, so I get a lot of reading done on the subway, so take my Kindle everywhere in my handbag.  I'm reading "The Unlikely Pilgrimmage of Harold Fry" by British writer Rachel Joyce on it right now.   I also listen to books on my I-Pod while walking in Central Park and while cooking.  My latest cooking favorite is "The Hobbit" by Tolkein and my latest walking favorite is "City of Thieves," by David Benioff, about the siege of Leningrad.  Background reading gets fitted in at the library and just before bedtime.


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19. Chevalvert

Chevalvert via grainedit.com

Chevalvert is a visual design studio co-founded by Patrick Paleta and Stéphane Buellet in 2007. Based on an open and multidisciplinary approach to design, the studio conceives work that is smart and succinct.

 

Chevalvert via grainedit.com

Chevalvert via grainedit.com

Chevalvert via grainedit.com

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Ross Gunter
Philographics
Lufthansa + Graphic Design

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20. The Normans and empire

By David Bates


The expansion of the peoples calling themselves the Normans throughout northern and southern Europe and the Middle East has long been one of the most popular and written about topics in medieval history. Hence, although devoted mainly to the history of the cross-Channel empire created by William the Conqueror’s conquest of the English kingdom in 1066 and the so-called loss of Normandy in 1204, I wanted to contribute to these discussions and to the ongoing debates about the impact of this expansion on the histories of the nations and cultures of Europe. That peoples from a region of northern France should become conquerors is one of the apparently inexplicable paradoxes of the subject. The other one is how the conquering Normans apparently faded away, absorbed into the societies they had conquered or within the kingdom of France.

In 1916 Charles Homer Haskins’ made the statement that the Normans represented one of the great civilising influences in European – and indeed world – history. If, a century later, hardly anyone would see it thus, the same imperatives remain, namely to locate the Normans within a context in which it remains popular to write national histories, and, for some, in the midst of debates about the balance of the History curriculum, to see them as being of paramount importance. The history of the Normans cuts across all this, but is an inescapable subject in relation to the histories of the English, French, Irish, Italian, Scottish, and Welsh. Those currently fashionable concepts – and rightly so – ‘The First English Empire’ and ‘European change’ are also at the centre of the debates.

As a concept, empire is nowadays both fashionable and much argued about, a universal phenomenon of human history that has been the subject of several major television programmes. It is a subject that requires a multidisciplinary approach. Over the last two millennia, statements by both contemporaries and subsequent commentators have often set a proclaimed imperial civilising mission as a positive feature against the impact of violence and the social and cultural subjugation of the subjects of an empire. Seen thus, the concept of empire has an obvious relevance to the subject of the Normans. And, in relation to the pan-European expansion of the Normans, and, in particular, to the creation of the kingdom of Sicily, the term diaspora, as it is understood in the social sciences, constitutes a persuasive framework of analysis. Taken together, the two terms empire and diaspora create a world in which individuals and communities had to adapt rapidly to new forms of power and cultures and in which identities are multiple, flexible, and often uncertain. For this reason, the telling of life-histories is of central importance rather than simplified notions of social and cultural identity. One consequence must be the abandonment of the currently popular and unhelpful word Normanitas. The core of this book is a history of power, diversity and multiculturalism in the midst of the complexities of a changing Europe.

The use of terms such as hard power, soft power, hegemony, core and periphery, and cultural transfer can be used to frame interpretations of many national histories, including Welsh, Scottish, and Irish, as well as English. The crucial points in all cases are the mixture of engagement with the dominant imperial power and the perpetuation of difference and diversity through the exercise of agency beyond the core. The framework is one that works especially well in relation to the evolving histories of the Welsh kingdoms/principalities and of the kingdom of Scots. It also means that the so-called ‘anarchy’ of 1135 to 1154, the succession dispute between King Stephen and the Empress Matilda becomes a civil war which needs to be set in a cross-Channel context and through which there were many continuities. And Magna Carta (1215), of which the eight-hundredth anniversary is fast approaching, becomes a consequence of imperial collapse. However, a focus on England and the British Isles just does not work. Normandy’s centrality to the history of the cross-Channel empire created in 1066 is of basic importance. Both morally and militarily the creation of the cross-Channel empire brought problems of a new kind that were for some living, or mainly domiciled, in Normandy a source of anguish. The book’s cover has indeed been chosen with this in mind. It shows troubled individuals who have narrowly escaped disaster at sea, courtesy of St Nicholas. But they successfully made the crossing. And so, of course, did the Tournai marble on which they are carved.

Professor David Bates took his PhD at the University of Exeter, and over a professional career of more than forty years, he has held posts in the Universities of Cardiff, Glasgow, London (where he was Director of the Institute of Historical Research from 2003 to 2008), East Anglia, and Caen Basse-Normandie. He has worked extensively in the archives and libraries of Normandy and northern France and has always sought to emphasise the European dimension to the history of the Normans. ‘He currently holds a Leverhulme Trust Emeritus Fellowship to enable him to complete a new biography of William the Conqueror in the Yale University Press English Monarchs series. His latest book is The Normans and Empire.

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Image credit: Section of the Bayeaux Tapestry, courtesy of the Conservateur of the Bayeux Tapestry. Do not reproduce without permission.

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21. The Good Little Devil and Other Tales by Pierre Gripari plus 7 ways to turn your (child’s) words and pictures into a book

Do you think there is an age at which you’ll stop reading aloud to your children?

Have you already reached that stage?

Why might you keep reading to an older child who can already read themselves?

These are some of the questions I’ve been contemplating as part of a discussion, initiated by Clara Vulliamy, about reading to big kids. I’ve also been thinking about books which I think work especially well as read-alouds to big kids, kids who can read perfectly well themselves.

the-good-little-devil The absurd, magical, funny collection of tales which make up The Good Little Devil and Other Tales by Pierre Gripari, with illustrations by Puig Rosado, translated by Sophie Lewis are curious and intriguing, and make for especially interesting read-alouds to “big” kids.

Adults in these fairy tales are often foolish and fooled, children save the day, taking everything in their stride, there is great humour, wit and cheekiness, as well as the occasional tinge of gruesomeness. Plot twists and turns which might leave my grown-up sensibilities unsatisfied perfectly resemble stories children will tell themselves, with little psychology, minimal internal reason, but plenty of pace. Talking potatoes, giants and shoes in love, witches hiding in cupboards – this book is full of off-beat, silly and enjoyable stories.

But one of the reasons why I think this book works particularly well as a read-aloud, as a shared experience with an adult, is that the book – translated from the French – is full of richness and new horizons that are easier to explore with someone else along for the ride. The book is set in Paris, and has a distinctly Gallic flavour (from the illustration featuring a naked female chest, to a helter skelter ride through French history, via a strong, albeit often tongue-in-cheek Roman Catholic presence), and whilst the wackiness of the tales will be enjoyed by older children reading alone, I think lots that could be missed on a solo reading might be fruitfully explored and doubly enjoyed with a grown-up around.

Each story in this collection has one or two drawings by the Spanish illustrator Puig Rosado

Each story in this collection has one or two drawings by the Spanish illustrator Puig Rosado

Perhaps this all sounds a bit worthy and educational, and that’s not at all what I’m aiming at. Rather, I’m thinking about to what extent books are enjoyed with or without (some) background knowledge. The language and style of writing in this book is perfect for say 9 year olds to read themselves, (and it clearly is enjoyed by lots of children, having been translated into 17 languages, with more than 1.5 million copies sold around the world) but my experience of it was that it was a book which became considerably enriched by sharing it.

Library Mice says: “The Good Little Devil and Other Tales is the one book I’d recommend to any child of any age, from any country.
Julia Eccleshare says: “Delightful trickery abounds in this collection of magical tales all of which are spiced with a sophisticated sense of humour and sharp wit.
The Independent says: “[For] Readers of all ages who appreciate a good story and a kooky sense of humour“.

A view down rue Broca. No. 69 is on the left, just after Les Delices des Broca. Image taken from Google street view.

A view down rue Broca. No. 69 is on the left, just after Les Delices de Broca. Image taken from Google street view.

One aspect that my kids and I particularly enjoyed about The Good Little Devil and Other Tales was the discovery Gripari wrote these stories with children: Gripari created them along with kids who would sit with him outside his favourite cafe in Rue Broca, Paris in the 1960s. As Gripari writes in his afterword:

The stories in the collection were. thus, not written by Monsieur Pierre alone. They were improvised by him in collaboration with his listeners – and whoever has not worked in this way may struggle to imagine all that the children could contribute, from solid ideas to poetic discoveries and even dramatic situations, often surprisingly bold ones.

My kids were so excited by the idea that kids just liked them had helped a “real author” write a “real book”. It was an inspirational moment for them, and with a glint in their eyes they were soon asking how they could turn their stories into books.

And so it was I started to investigate ways to turn M and J’s own words and pictures, stories and illustrations into books of their own. I soon realised that I was not only finding ways to support my kids desire to write, I was also discovering ways to store all those creations of theirs I can’t bear to part with, as well as objects that could be turned into unique Christmas or birthday presents for family members.

Here are 7 ways to turn your child’s words and pictures into a book. Some of these approaches could also be used by classes or creative writing/art groups, to create publications that could be used for fundraising projects.

1. The slip-in book

displaybookStationers and chemists sell a variety of display books that can be adapted for self publication. Choose the size you want and simply slip in your pictures and text! Photo albums often offer greater variety of binding, and come in many more sizes, so these are useful if you want to include documents which aren’t a standard size. Display books typically have either 20 or 40 pockets, giving you 40 or 80 pages in total. Depending on whether there is a separate pocket for a title page, you can use stickers to give your book a title.

Advantages: Very easy to produce, and cheap. Minimal printing required, and no typesetting needed! Older children can make these books themselves as all it requires is for them to slip the original into the binding.
Disadvantages: Only one copy of each book can be made this way (unless you photocopy the originals).
Cost: £ (Display books in my local stationers started at £2.50, and photo albums at £5 for larger ones)
Ideal for: Storage solutions, one-off books.

2. Comb bound

Comb_bind_examplesMany local stationers offer a cheap and quick option using comb binding. For this option you’ll need to prepare your images and texts so that they can be printed (normally at A4/letter size, not at smaller or nonstandard sizes), and this may involved scanning images and a certain amount of typesetting. Once you’ve prepared your document, binding can be very quick (a matter of minutes), and because you’ve prepared an electronic copy you can bind as many copies as you’d like. It’s possible to buy coil binders (£100-£300) and this might be an effective option for schools.

Advantages: Cheap and quick, good for multiple copies.
Disadvantages: Can look a bit “cheap” (I think slip in books look more appealing; they can look like real hard back books), can be a little flimsy.
Cost: £ (comb binding at my local stationers – Rymans, for UK folk – started at £3.49 for 25 sheets, going up to £7.49 for 450 sheets). Don’t forget you’ll have to include printing costs too.
Ideal for: short runs of books at a low price

3. Glue bound

Image Source:  University of Birmingham Bindery

Image Source: University of Birmingham Bindery

Is there a university near you? If so, they will often have a binding service, aimed at students with dissertations, but open to the public too. If you’re looking for something which looks a little more like a paperback than a comb bound book, a glue bound book might be for you. Again, you’ll need to prepare your text and images so they can be printed, but once you’ve done that, you can print and bind as many copies as you like.

Glue binding (sometimes known as Thermo binding) is quick (often a while-you-wait) service, and you can often get your pages printed and bound at A5 size rather than A4 (making the finished product look more like a “real” book).

Advantages: Finished book can look quite a lot like a “real” book, which is very satisfying!
Disadvantages: Glue binding is considered “temporary” and so isn’t ideal for books which are going to be read very many times. Glue binding won’t work if you’ve very few pages in your book; most binders I’ve spoken to recommend an absolute minimum of 24 sides (12 pages).
Cost: ££ (glue binding at my local university was £7.50 per book). Don’t forget you’ll have to include printing costs too.
Ideal for: When you want a cheapish option which looks like a real book. University binderies are also often able to give some advice on typesetting and layout, so if you’re not confident about your skills in those areas.

4. Self published via Amazon’s CreateSpace

createsapceCreateSpace is a fairly easy tool to use to create paperback books. It has an extremely clear step by step process you can follow. There’s quite a variety of formats, both in terms of size, black and white printing or full colour, or cream paper instead of white (the former being better if you want to be dyslexia friendly, though this option is only available for black and white printing). To make your life much easier, you can download templates with much of the formatting done for you (for example margins set up correctly) – I’d definitely recommend doing this, though it isn’t a requirement. Once you’ve downloaded the template you’ll fill it in with your child’s writing and images, just like you would in a word processing document.

Both my kids have used the template and typed straight into it (rather than writing by hand and then me typing up their words). Adding images works just like it does in a word document, the only thing I’ve found you need to be careful of is making sure your images are of a high enough resolution. When you/your child has finished their document (perhaps with multiple stories and images) you need to upload your work as a print-ready .pdf, .doc, .docx, or .rt. CreateSpace then checks everything is ok before you go on to design your book cover.

You can order M's first book by clicking on this photo!

You can order M’s first book by clicking on this photo!

Advantages: The CreateSpace step-by-step guide is thorough and pretty easy to use. The resulting books have definitely had the “wow” factor with my kids.
Disadvantages: For a whole variety of ethical reasons you might not want to deal with Amazon. Everything is done online so you may want to think about personal details. M has used a pen name, so her real name doesn’t appear online, and if you were publishing work by children in a school you might want to consider only using children’s first names, especially if the name of the school also appears on the book you create (this is less of a concern if you don’t make the book available for the public to buy).
Cost: ££ The cost to create the book is nil. The final purchase price depends partly on page number and the use of colour (the more pages, and the use of colour make books more expensive), and whether you want to sell book at cost or to make a profit. M’s book (64 pages, 6″x9″, full colour) has a public cost price of £6.24 (although price is actually set in $). although as the author M can order copies at about half that price (though there are then postage costs to pay).
Ideal for: Producing books which really look like paperback books. Great if you want family and friends to be able to buy their own copy. You can also choose to publish your book in Kindle format.

insidequeneldasfirstbook

5. Self published via Lulu

lulu-logoI’ve yet to use Lulu, but Juliet Clare Bell has a really useful post on using Lulu in school over on Picture Book Den. Having taken a quick look at Lulu it looks quite similar to CreateSpace, although you can do hard covers, and A5 and A4 sized books (CreateSpace mostly does standard US Trade sizes, and doesn’t offer hardbacks.)

6. Using the Scholastic We Are Writers scheme

we-are-writersThe Scholastic We Are Writers scheme is specifically designed with schools in mind. It costs nothing for the school to set up and publish, thought each final book costs £5.99 (though you can sell it for more if you wish to make a profit) subject to a minimum order quantity of 50 books. A nice feature is that the books come with an introduction written by a leading children’s author (although this isn’t personalised to your school)

Advantages: You can run We Are Writers as part of your Scholastic Book Fair to earn Scholastic Rewards for your school.
Disadvantages: Not ideal if you just want a few copies of the book you create. Although the cover is full colour, the interior of the book is black and white only, so not ideal if you wish to include artwork. Books must contain a minimum of 50 pages.
Cost: ££
Ideal for: Schools wanting to create books which are text based.

7. Book Creator for iPad

bookcreator200pxThe Book Creator App makes ‘fixed layout’ e-books and is apparently very easy for kids to use to create books with lots of images. I’ve not used it, but here’s a series of case studies where it has been used in the classroom, and it would seem families at home could also easily use this app (free for your 1st book, then up to $4.99 for unlimited use).

My thanks to @candyliongirl and @sue_cowley for helpful suggestions when exploring options for creating books.

Disclaimer: I received a free review copy of The Good Little Devil from the publishers.

3 Comments on The Good Little Devil and Other Tales by Pierre Gripari plus 7 ways to turn your (child’s) words and pictures into a book, last added: 3/24/2014
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22. Illustrator Interview – Christine Davenier

Christine Davenier is an illustrator whom I have admired from afar for a while and only recently plucked up the courage to invite to our Illustrator Wednesdays. I was first wowed by her illustrations in the book, SAMANTHA ON A … Continue reading

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23. Book Review: Odette's Secrets, by Maryann Macdonald (Bloomsbury, 2013)

Recommended for ages 9-14.

World War II seems to supply authors, whether those for children or adults, with an inexhaustible supply of true stories for inspiration.  Author Maryann Macdonald turns to historical fiction in her new novel, Odette's Secrets, about a young Jewish girl in Paris during the Nazi Occupation.  Odette's story is told in spare free verse; we meet her Polish-Jewish parents who have immigrated to Paris with their only daughter Odette.  Odette is beloved by her gentile godmother, the concierge at her building, and has a comfortable existence until her father joins the French military, is taken prisoner by the Germans, and conditions began to worsen considerably for the Jewish population of Paris.  Soon the round-ups of foreign-born Jews begin, destined to be shipped off to the East.  Odette's mother, realizing the danger, makes a plan for her daughter and the daughters of other friends to go stay with family friends in the Vendee, outside of Nazi-occupied France, where she will be in safely in the countryside with plenty to eat.

There's one wrinkle--Odette must forget that she's a Jew.  She must blend in perfectly with the village children, learn how to cross herself, say Catholic prayers, attend mass, eat pork, in other words, do nothing that could distinguish her from other children in the village.  She becomes very good at keeping secrets--even from her closest friends.  But when her mother flees Paris to join her, suspicion follows them just the same.  Can they stay safe?  And what will happen after the war ends?  Will her father and other relatives find them back in Paris?

This is a moving, small novel that can be read quickly but delves into real issues of prejudice, bravery, and how ordinary children can survive in dangerous and extraordinary times  This novel is inspired by the life of the real Odette Myers, a story the author discovered while doing research in a Paris library; she was helped in this project by Odette's son, Daniel, who shared family photos and experiences.  Highly recommended.  

0 Comments on Book Review: Odette's Secrets, by Maryann Macdonald (Bloomsbury, 2013) as of 3/26/2014 9:49:00 AM
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24. Artist of the Day: Alix Fizet

Alix Fizet studies animation at La Poudrière in Valence, France. Here is a thirty-second color pencil animated short with creative sound design and effects matched with humorous rapid-fire imagery.

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25. ‘Sumo’ by Laurene Braibant

Two bodies, giants almost naked, advance slowly to a circle of clay. This graphic experience features the expressiveness of their bodies which are to repeat a sumo ritual. The two wrestlers are fighting in a lightning way through each of their deeds, which are the direct expression of their most exposed being.

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