{"id":13209,"date":"2016-06-03T00:01:59","date_gmt":"2016-06-03T04:01:59","guid":{"rendered":"https:\/\/www.alsc.ala.org\/blog\/?p=13209"},"modified":"2016-06-03T23:05:27","modified_gmt":"2016-06-04T03:05:27","slug":"bologna-childrens-book-fair","status":"publish","type":"post","link":"https:\/\/www.alsc.ala.org\/blog\/2016\/06\/bologna-childrens-book-fair\/","title":{"rendered":"ALSC Awards Overseas: A View from the Bologna Children’s Book Fair"},"content":{"rendered":"
ALSC Around the World<\/figcaption><\/figure>\n

This spring I had the opportunity to attend the Bologna Children’s Book Fair<\/a> along with 12 graduate students and their instructor, ALSC Past President and former Butler Children’s Literature Center<\/a> Curator Thom Barthelmess. As the current Curator, I was eager to not only travel with such fun, smart, and like-minded colleagues, but to learn what children’s literature looks like around the world, and how the world sees us these days. The upshot? They like our books. Our politics, not so much.<\/p>\n

\"Welcome
Welcome to the Bologna Children’s Book Fair!<\/figcaption><\/figure>\n

While I was traveling on Dominican’s dime with support from the Butler Family Foundation, this trip also posed an opportunity for me, as ALSC Fiscal Officer, to learn firsthand about the impact, if any, of ALSC’s book and media awards internationally.<\/p>\n

\"Buying
Buying and selling rights to publish children’s books in other countries and other languages is the primary business of the Fair.<\/figcaption><\/figure>\n

The first thing I learned should have been obvious: In addition to the vast market at Bologna for buying and selling rights to translate books to and from various languages and to publish them in other countries, there is a vibrant market and interest in original illustration. I saw three exhibits: the annual juried Bologna Illustrators Exhibition (featuring only one American illustrator this time, YooHee Joon); “Artists and Masterpieces of Illustration: 50 Illustrators Exhibit 1967-2016,” a special exhibit commemorating the 50th anniversary of the annual one; and one featuring art from wordless picture books (the accepted term overseas is “silent books”). Beyond these exhibits, illustrators also promote their work directly to publishers here: the market for text is a translation one, so it’s not a place for authors to pitch manuscripts, it’s a more open opportunity for art.<\/p>\n

\"High
High energy in the international bookstore booth itself<\/figcaption><\/figure>\n

A fascinating debate broke out on a panel discussion about the 50th anniversary exhibit. Panelist Leonard Marcus noted the positive development of an “international visual vocabulary” that has made it increasingly difficult to pigeonhole a book’s country of origin; Etienne Delessert countered that it’s still quite easy to identify an American picture book, at least (not necessarily a compliment). This reminded me of the ALSC Board’s decision a few years ago to maintain ALSC award eligibility for books originally published in the United States and by a U.S. citizen or resident, that “reaffirmed the importance of identifying and rewarding authentic and unique American children’s literature, in keeping with award founder Frederic Melcher’s original intent for these awards.” (Foote, The Newbery and Caldecott Awards: A Guide to the Medal and Honor Books<\/em>, 2010 edition).<\/p>\n

\"Leonard
Leonard Marcus speaking on a panel discussion about the “50 Illustrators Exhibit 1967-2016”<\/figcaption><\/figure>\n
\"Note
Note the array of awards listed on the sign outside the international bookstore booth: Only one ALA\/ALSC award seems to have any play here.<\/figcaption><\/figure>\n

These storied ALSC awards that have been around for decades are sacred in our association and well-known in the United States, but what do people overseas know, or think, about them?<\/p>\n

While our awards don’t have nearly the impact on the business of publishing outside the United States as they do stateside, high international interest in illustration seems paralleled by interest in the Caldecott Medal, if not the others. This observation is supported by the ALSC office, which reports infrequent queries about seal use from international publishers, almost all about the Caldecott. U.S. publishers with whom I spoke indicated they’re never asked about awards or seals. However, I noticed many books that were published in other countries and languages were in fact ALSC award winners, even though they did not bear the award seal. This could mean overseas publishers recognize our awards as arbiters of quality and are therefore more likely to buy books that win, seal or no seal; or that they might want seals for book promotion purposes but don’t know how to procure them.<\/p>\n