“Tiny only barks at you if he doesn’t know you” Illustrator Chelsey Scheffe, 13 for The Shooting Star by Samantha Cecil, 10. Published September/October 2004. A note from William Rubel Print is back! Yes, home delivery is back. We started printing Stone Soup again last January and are now pleased to be able to tell you that we are restarting subscription-based delivery of beautifully printed Stone Soup issues to your mailbox!* What is different between now and before? One difference is that we now publish eleven times per year. As a print subscriber you will receive a copy of Stone Soup in your mailbox every month between September and June. In July, you will receive the summer double issue. What else is different? For those of you who haven’t looked at the PDFs or purchased a print copy, you’ll find that the new Stone Soup is more colorful than before and has a dynamic, updated design. And the content is more varied—we accept a wider range of media in our art submissions (photography included), and we publish more standalone art. There are special thematic issues, such as poetry, food, science writing, historical fiction, and more. The issues also vary in length a little—some of our special issues, such as science writing or food, are a few pages longer than the others. For the new Stone Soup we turned to the highly respected London-based designer Joe Ewart. Joe is known in London museum and art circles as the go-to designer for catalogues and monographs (art books devoted to a single artist). We asked him to give us a look that will graphically put our young contributors’ writing and art on a par with the literary and artistic work of adults—that is what Stone Soup is all about, after all—and he did! Sneak preview! Look at these gorgeous covers and inside pages from issues between January and September. What is the difference between a print subscription and a digital subscription? We publish the best writing (fiction, poetry, and some short nonfiction) and art that is sent to us, around thirty pages per issue. If you buy a print-only subscription, you will receive the physical magazine in your mailbox. In addition, we now publish book reviews every week on our website, and every week we also publish blog posts by Stone Soup writers on the wide range of topics that our contributors and subscribers care about—from sewing to sport, family life to environmental issues. So, when you subscribe to the digital Stone Soup you get the current issues of the magazine in digital form, plus about 20 years’ worth of back issues, plus the book reviews and blog posts already mentioned. You also receive access to activities linked to the writing and art stored online, as well as music, interviews with authors, and more. Our new order page has all the details, with packages that allow you to choose print, digital, or a bundle with both. Stone Soup is the perfect gift for any creative child between the ages of 7 and 13. Please join us for another year of new issues, and help us spread the word that not only are we are still here after 45 years, we are back in print! Until next week *Subscriptions including home delivery of print issues are currently only available in the U.S. and Canada. Individual print issues can be delivered from the Stone Soup online store to other regions of the world. This week’s story and art from the archives Thirteen-year-old Chelsey Scheffe’s bold, colorful illustrations complement 10-year-old Samantha Cecil’s powerful story about the challenges and tribulations of school popularity in “The Shooting Star.” Read on to discover if the school nerd Darren’s wish upon a star, to become popular at school, comes true—and how matters unfold… We hope you enjoy the art and writing we bring to you from our archives every Saturday! You can peruse the illustrations and read the first few paragraphs in the newsletter, and then click through to our site using the ‘more’ link at the bottom of the story section to read the rest. Remember, subscribers have full, unlimited access to the whole archive on the Stone Soup website. Non subscribers can read a limited number of stories, poems and posts. Don’t miss the latest content from our book reviewers and young bloggers at Stonesoup.com! This week, the Stone Soup editors have been busy adding material that might be interesting or inspirational for those of you thinking of entering the Secret Kids Contest that we announced a few weeks ago. The top prize for the contest is a book deal with a publisher, which we think is a great incentive to start polishing up your best long-form work. Be ready to submit before January 1, 2019! The contest is accepting work from kids as young as 5, and up to age 18, in four age groups (meaning there are four prizes to be awarded). This week, we have been looking into juvenilia produced by writers from the past who later became famous adult writers—writers like Jane Austen, Dante Gabriel Rossetti, and the Brontës. We have also put up the text of Daisy Ashford’s The Young Visiters, a classic work of child fiction initially published in the early decades of the twentieth century. Enjoy, be inspired, and don’t miss this opportunity to reach an even wider audience with your own long-form fiction. He closed his eyes and whispered, “I wish I was popular at school” From Stone Soup September/October 2004 The Shooting Star By Samantha Cecil, 10 Illustrated by Chelsey Scheffe, 13 Darren Milar sighed as he walked into the schoolyard. All around him kids were laughing, running, and playing. The sound of tetherball chains as they clinked against their metal poles rang out as Darren passed. When kids started school again, they were sometimes nervous, excited, or a little sad. But that was nothing compared to what Darren felt. Ever since kindergarten, Darren had been the outcast. The nerd, if you had to put it that way. Other kids had had loads of friends, and turned against him. Darren had only one friend, Ian, and Ian was just
Stone Soup Magazine for young readers, writers, and artists
Juvenilia: an introduction via Jane Austen, the Brontës and others
Juvenilia is the name given to creative work produced by recognized authors and artists when they were children and young adults. The late eighteenth and early nineteenth century was a fruitful time for juvenilia, especially that of writers. Jane Austen, the Brontë family, and Dante Gabriel Rossetti, amongst others, among others, wrote extensively when they were young. Many of their manuscripts have survived, and a few are available on the Internet. The childhood and adolescent creative work of authors who became famous provides interesting comparison with the work of children and students we know in our lives. As editors of Stone Soup we have published extraordinary work by young writers, work that compares favorably with the best juvenilia. What makes writers, though, is not what they write as children and teenagers, but that they keep on telling stories throughout their lives. The juvenilia you will find on the Internet, in your local libraries and in the creative work publish in the pages of Stone Soup will provide entertainment for yourself, for your children, and for your students. And remember, after getting lost in the world of Jane Austen and the Brontë family, come back to us for the latest and most wonderful work by young people, being written today! To get you started on your journey through juvenilia, we have pulled together some links for you below. If you are interested in the original manuscripts, many of them tiny, handmade and handwritten books belonging to the authors, the British Library web pages have some excellent images and short articles of and about them. Jane Austen (1775-1817) Love and Freindship [sic], circa 1786, age 11 (see also our post on the 2016 movie by Whit Stillman with the same name, but actually based on a later novel, Lady Susan) Frederick and Elfrida, circa 1788, age 12-14 The Three Sisters, circa 1790, age 15-16 You can read more about Jane Austen’s juvenilia, and see images of some of her original hand-written notebooks, at the British Library website. Charlotte Brontë (1816-1855), Emily Brontë (1818-1848), Ann Brontë (1820-1849), (and Bramwell Brontë, 1817-1848) The young sisters and their brother created entire imaginary worlds–such as Emily’s Gondal and Bramwell’s Angria– which they wrote about prolifically in their youth, and produced tiny handwritten newspapers and magazines for themselves. The Brontë Sisters Web by Mitsuharu Matsuoka More links from Great Britain about the Brontës There are notes about and images of the Brontës’ notebooks, and an interesting video of a discussion about the Brontës’ juvenilia (in which experts handle the tiny original materials), at the British Library website. Dante Gabriel Rossetti (1828-1882) Poems written around 1843, age 14-15
Young Writers of the past: The Young Visiters [sic], or Mr. Salteena’s Plan (1919) by Daisy Ashford, age 8-9
The Young Visiters sold 300,000 copies in 1919! And that was just in Britain! The introduction to The Young Visiters was written by J. M. Barrie, author of Peter Pan. In Britain, The Young Visiters was published by the prestigious house of Chatto and Windus; in the U.S. by George H. Doran. The book was published without corrections for spelling or punctuation. The first third of the twentieth century was a period of great ferment in the arts. This is the time when the arts became more abstract, this including painting, sculpture, music and the literary arts as well. Many of the period’s finest writers, particularly in Europe, began complex literary experiments, including jettisoning standard grammatical forms and typographic conventions: The Death of Vergil by the German author Hermann Broch, Finnegan’s Wake by the Irish author James Joyce, and The Sound and the Fury by the American writer William Faulkner are classic examples of authors stretching the limits of standard grammatical form. Publishing children’s writing without corrections in 1919 spoke, not to indulgence or a lapse in standards, but to a courageous look at the achievements of naïve artists, of artists working without a full complement of technical skills, but with something to say and the will to say it. When we published Crippled Detectives by Lee Tandy Schwartzman in 1978, it was no longer possible, if one wanted the work to be taken seriously, to publish a child’s manuscript virtually as is. Or at least so it seemed to us then, and still does today. We standardize spelling and punctuation in Stone Soup (and did so in Crippled Detectives), although we do leave grammatical innovations, as we did in the work we published by Huong Nguyen. As you read The Young Visiters, you will find yourself immersed in the world of popular romantic fiction of the first decades of this century. Re-reading The Young Visiters makes me feel much more tolerant of student writing that is heavily influenced by mass culture. It reminds me that we learn by copying; that the desire, and then the will to carry through with the desire to tell a story is the true underpinning that makes all great artists great. The rest of us are those who have made a list of great titles for our books, but haven’t been able to make the books to go along with them! We at Stone Soup hope that you enjoy The Young Visiters. It makes a good story to read aloud, as it’s lots of fun for everybody. Contents Preface by J. M. Barrie 1. Quite a Young Girl 2. Starting Gaily 3. The First Evening 4. Mr. Salteenas Plan 5. The Crystal Palace 6. High Life 7. Bernards Idear 8. A Gay Call 9. A Proposale 10. Preparing for the Fray 11. The Wedding 12. How It Ended Preface by J. M. Barrie, author of Peter Pan The “owner of the copyright” guarantees that “The Young Visiters” is the unaided effort in fiction of an authoress of nine years. “Effort,” however, is an absurd word to use, as you may see by studying the triumphant countenance of the child herself, which is here reproduced as frontispiece to her sublime work. This is no portrait of a writer who had to burn the oil at midnight (indeed there is documentary evidence that she was hauled off to bed every evening at six): it has an air of careless power; there is a complacency about it that by the severe might perhaps be called smugness. It needed no effort for that face to knock off a masterpiece. It probably represents precisely how she looked when she finished a chapter. When she was actually at work I think the expression was more solemn, with the tongue firmly clenched between the teeth; an unholy rapture showing as she drew near her love chapter. Fellow-craftsmen will see that she is looking forward to this chapter all the time. The manuscript is in pencil in a stout little note book (twopence), and there it has lain for years, for though the authoress was nine when she wrote it she is now a grown woman. It has lain, in lavender as it were, in the dumpy note book, waiting for a publisher to ride that way and rescue it; and here he is at last, not a bit afraid that to this age it may appear “Victorian.” Indeed if its pictures of High Life are accurate (as we cannot doubt, the authoress seems always so sure of her facts) they had a way of going on in those times which is really surprising. Even the grand historical figures were free and easy, such as King Edward, of whom we have perhaps the most human picture ever penned, as he appears at a levée “rather sumshiously,” in a “small but costly crown,” and afterwards slips away to tuck into ices. It would seem in particular that we are oddly wrong in our idea of the young Victorian lady as a person more shy and shrinking than the girl of to-day. The Ethel of this story is a fascinating creature who would have a good time wherever there were a few males, but no longer could she voyage through life quite so jollily without attracting the attention of the censorious. Chaperon seems to be one of the very few good words of which our authoress had never heard. The lady she had grown into, the “owner of the copyright” already referred to, gives me a few particulars of this child she used to be, and is evidently a little scared by her. We should probably all be a little scared (though proud) if that portrait was dumped down in front of us as ours, and we were asked to explain why we once thought so much of ourselves as that. Except for the smirk on her face, all I can learn of her now is that she was one of a small family
