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
creative writing
Writing and art activity: using Ballet as inspiration for creative writing and art
Ballet is an art in which adults partake in a fantasy world that is more often associated with children’s stories. Nobody speaks in a ballet–the classic story ballets are performed silently–although there is a sign language that one starts to recognize after watching several ballets. But no preparation is really required to fall into the magic of the ballet theater–besides, as with the great fairy and fantasy stories, an ability to let the world as we know it fall away as a fantastical world of magic takes its place. In the world of ballet, chickens (La Fille Mal Garde) and swans (Swan Lake) dance, fairies good and bad cast spells (Sleeping Beauty), pirate kings find true love (Le Corsaire), and Roman gods come to life (Sylvia). Watching ballet helps break through barriers between reality and fantasy. It is an art form that can speak to children and inspire young writers to let the dream-world that is in so much ballet enrich their stories. The digital world gives everyone access to some of the great performances of classic ballets. To get you started, we’ve added a few links below to You Tube videos of the UK’s Royal Ballet performing some of the ballets mentioned above. You’ll find many more yourselves. Have fun with the beauty of the movement and the music, and see if a balletic release into a fantasy world can help to get your creative juices flowing! Some simple exercises to try: Story-telling. What story might be conveyed best through dance? Is it an epic tale of fairies and unicorns, or a simple forest walk? Whatever the story is, which styles might you use tell that story? Many of the ballets below are based on full-length novels, or on short stories. Many people identify poetry in the movement of ballet. Once you know your story, and have written your story or poem, perhaps you could write it again in a different way–say, by writing a plot summary for the imaginary program given out in the theater. Art: What might your ballet look like? What is the scenery like, and what to the characters look like? Are they all human, or might they look like something never-before-imagined? Perhaps you can draw the sets, or the characters in their costumes. <iframe width=”560″ height=”315″ src=”https://www.youtube.com/embed/rryxZjqLtNs” frameborder=”0″ allowfullscreen></iframe>
A young author talks about getting published: Tara Prakash, 11
After we featured her self-published book, The Hunting Season, in our Saturday Newsletter, we asked its young author Tara Prakash to write something for us about the process she went though. From here, it’s over to Tara. The Hunting Season by Tara Prakash, age 11 I got inspired to write The Hunting Season when I went to Wyoming and explored Yellowstone and Grand Tetons National Parks. We saw a lot of bears on that trip and I kept wondering what they were thinking about and what was in their heads.That was when The Hunting Season was born. So when I got home, I wrote on Microsoft Word a story about what I thought the bears would be thinking about, what their fears were and what events exploded excitement into them. I wrote whenever I could. Between my soccer practices and basketball games, every open time I got, I would sit at the computer and write. The plot never got boring or the long amount of time it took to write in never got to be too much. I sometimes got frustrated though, when parts of the plot didn’t match up, like a puzzle piece that didn’t fit. My parents’ friend, who is a self published author, told us about Create Space, the self publishing company. Then, my nanny and I uploaded the Word document into Create Space, and Create Space helped us format the book; we scanned my cover artwork so it would show, we wrote a summary of the book on the back, choosing the color, font, size, etc. Then, from Create Space, my dad uploaded the book to Amazon and we chose the price to set it at and I wrote my ‘About The Author’ there. After it was out to the public, my dad emailed my school teachers, my friends, my sports team coaches, and family, and family friends. Once my teacher bought it and left a five star review then lots of my friends bought it, leaving reviews and giving me compliments at school. I started the story at age nine and finished the story right as I turned ten. I turned was almost eleven when we got it onto Amazon. If there’s one thing I learned during this whole process, it’s this: Keep on writing. All writing starts with one great idea. You can find a copy of The Hunting Season on Amazon.
