By Celeste Trimble, St. Martin’s University, Lacey, WA
Photography is part of the everyday world. Children (and adults, of course) are constant consumers of this medium in personal, social, political, economic and artistic realms. Indeed, practically every aspect of our lives is saturated by the photographic image. Not only are we consumers of photography, most of us are also producers of digital photographs. What began as an art form limited to scientists with specialized chemicals and equipment is now as quotidian as breakfast.
Like many artistic practices, photography is often used as a form of activism. The photographic image can help bring hidden or shadowed issues and realities into the public eye, illuminating the world as a way to create change. An excellent way to unlock photographic history and activism for children in accessible and engaging ways is through biographical picturebooks of notable photographers. These stories provide context for how photography became so ubiquitous and essential around the globe, as well as how it has and can be used as a tool for social change, perhaps inspiring young readers to do the same. Although there are a number of excellent examples, for this post I will look closely at picturebook biographies of three artists who used the photographic medium for expression and activism: Anna Atkins of England, Jacob Riis of Denmark and the United States, and Gordon Parks of the United States. Continue reading
The environment has become a critical issue for a majority of people around the world. There are a number of ways to address the issue, and one of those ways is through an eco-cosmopolitan perspective. Eco-cosmopolitanism is “an attempt to envision individuals and groups as part of planetary ‘imagined communities’ of both human and nonhuman kinds” (Heise, 2008, p. 61). In children’s literature, we often get the perspective of an animal or insect. From Peter Rabbit (Potter, 1999) to Watership Down (Adams, 2014) to Charlotte’s Web (White, 2012) to more current texts such as Alice’s Farm (Wood, 2020) and 
“Rompe nuestra burbuja” were the words that Mariposa (self-selected pseudonym), an eight-grade Chilean student, used when giving her opinion about the benefits of reading stories that explore how people from different cultures live. She revealed, “Porque uno aprende nuevas cosas y rompe nuestra burbuja, nos muestra diferentes realidades de la vida diaria [because we learn new things, and it pops our bubbles. It shows us different realities from daily life].”
In recent years, increasing numbers of translated and non-translated Korean children’s literature are available to Japanese readers. Yes, Japanese readers read and consume Hangul (written Korean) directly beyond literature experiences (e.g., language learning). We’ve found several major Japanese publishing companies, JBBY (Japanese Board on Books for Young People), bookstores, and public and school libraries feature books by Korean authors and illustrators through social media and physical spaces. Three beloved Korean authors who also illustrate their work influenced Korean picturebooks’ reputations in Japan positively beyond what Japanese audiences are familiar with over the years (i.e., postcolonial texts). In this post, we share three Korean authors, Heena Baek, Suzy Lee and Heeyoung Ko who are among those gaining great popularity in Japan.