Category: Readings, Writings

Freedom of Imagination Makes a Book

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A few years ago an exhibition at a Research Centre at the University of Chicago was titled But is it a Book? The exhibition broke down the classic elements of ‘bookness’ like format, shape and binding.

The walk-through exhibition had a number of objects that through history were considered as ‘books’, ranging from a clay tablet made in the 3rd century BCE to a modern audiobook. But are either of these books? It was up to the visitor to decide. The exhibition posed a series of questions: “Does a book need to have pages? Does a book need text?” It was up to the visitors to decide. And each decision led the decider down a different path.

If some adults find the journey of exploring and discovering what makes a book, and furthermore, what makes a good book interesting, this exploration is even more adventurous when we enter the realm of children’s books. It is generally accepted that good children’s books are a blend of engaging storytelling, relatable characters, age-appropriate language, vibrant illustrations, cultural diversity, emotional depth, interactive elements, and timelessness. Each of these elements is deep and has numerous facets. And there is no magic formula; even if all these elements are present, it does not guarantee that the outcome is a ‘great’ children’s book.

Perhaps one element that is not explicitly listed, and which may be the key, is the ability of the author to think like a child; to recall how the world seemed as a child—the sense of mystery and discovery, the sense of wonder and anticipation, the sense of being insignificant and powerless in a world of adults…And to translate these complexities into a story that feels true to its young readers, wherein the spark of their imagination is ignited, to explore their imagination, and develop their creativity.

These are the guiding tenets of the International Board on Books for Young People (IBBY), an organization which represents an international network of people from all over the world who are committed to bringing books and children together. The mission of the IBBY includes the promotion of international understanding through children’s books, giving children everywhere the opportunity to have access to books with high literary and artistic standards, and encouraging the publication and distribution of quality children’s books, especially in developing countries.

The IBBY also promotes the celebration of International Children’s Book Day. This is celebrated every year on 2 April, to mark the birthday of Hans Christian Andersen, whose fairy tales have been an integral part of the childhood of many generations.

International Children’s Book Day (ICBD) emphasizes the significance of high-quality literature for children and the creativity it fosters. It highlights the love of reading that unites children worldwide. In high-quality children’s books, the reader’s imagination is kindled and developed. These books help children to explore their imagination, to develop their creativity and to see the world in a new way.

Each year a different National Section of IBBY has the opportunity to be the international sponsor of ICBD. It decides upon a theme and invites a prominent author from the host country to write a message to the children of the world and a well-known illustrator to design a poster. The host country for this year’s ICBD is the Netherlands. The theme for 2025 is The Freedom of Imagination. This derives from the belief that good books invite readers to interpret the words for themselves, making the story their own.

The poster for the theme is designed by two Dutch creators of children’s books, and the message of the theme is highlighted with the last sentence of the poem The Language of Pictures: Make pictures for my poem, and please feel free: these words belong to you even though they came from me.

Reading about this brought back memories of a wonderful project that I was involved in, many years ago, and which was sparked by the same message.

As environmental educators at the Centre for Environment Education, my team and I had diverse opportunities to develop creative teaching-learning resources for teachers and children. Perhaps the most exciting of these was a project to develop children’s books on four different themes: Pollution, Forests, Waste, and Conservation of Natural Resources. The form, format and presentation was left for us to decide. This presented an exciting blank canvas, as well as the challenge to be creative while still retaining the educational objectives for each theme. The outcome was the decision to develop books in four very different formats: a magazine format for Pollution; a collection of folk tales from the region for Forests; a quirky mystery story for Waste. But when it came to Natural Resources we were stumped! What was a manageable way of covering the wide range and scope of the theme?

Much brainstorming later this took the form of verses through which we could take “poetic liberties” by bringing together different natural resources. To make it more fun, we decided to do this alphabetically. Hence the title ABC…Naturally. And so the R page could have a verse with the words: rivers, rainbows, reptiles, roots, rainforests, resources, recycle, reuse and reduce.    

With such a motley assortment of words in place, there arose the next challenge. How would an artist illustrate these verses? As adults we are so conditioned to ‘labels’ and fixing of labels in ‘appropriate places’; this would need a huge leap of imagination. But Eureka! Children could make these leaps effortlessly. And so, we walked into a school and handed it over to more creative minds! We simply gave different children the verses, and gave them the Freedom of Imagination to interpret the words through their pictures, as they saw fit. The result was an incredibly rich and many-layered tapestry where disparate elements seamlessly fell into place. ABC…Naturally became a shared work, with every child feeling a sense of ownership and pride at being a ‘creator’. It was a true reflection of the freedom of imagination! It was also a validation of the belief that good books invite readers to interpret the words for themselves, making the story their own.

As someone who was deeply engaged in every part of this process, I am excited that the IBBY is celebrating International Children’s Book Day this year by providing a similar opportunity to

children across the world. IBBY Netherlands has launched an International Illustration Competition to encourage children worldwide to use and express their imagination and creativity by creating works of art inspired by the theme The Freedom of Imagination and the associated motto: “Make pictures for my poem, and please feel free: these words belong to you, even though they came from me.”

Details are available on https://www.ibby.org/fileadmin/user_upload/icbd/icbd_2025/ICBD_2025_international_illustration_competition_-_regulations.pdf

https://www.ibby.org/awards-activities/activities/international-childrens-book-day/icbd-2025-sponsored-by-the-netherlands#:~:text=The%20theme%20of%20the%202025,’

–Mamata

Agatha Christie: Archaeologist

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Agatha Mary Clarissa Miller was born on 15 September 1890. 135 years later she continues to be popular around the world as Agatha Christie, the Queen of Murder Mystery. Even as the very English settings of most of her stories and the lifestyle of the characters in her books have seen a century of change, what makes these stories endure is her deft portrayal of human character, with all its foibles, frailties, and hidden depths.

While much has been written about Agatha Christie’s life (including her autobiography), a lot of it describes her life as a writer. From the first short story she wrote (to stave off boredom when she was in bed with the flu) to early days of exploring the ‘murder-mystery’ genre (a detective novel written after a bet with her sister), to creating the memorable detective Hercule Poirot (while she was working as a nurse and hospital dispensary assistant during World War I).

Along the way Agatha became engaged, but then met and married someone else, and became Mrs Agatha Christie. At some point writing became a necessary means of income, rather than an exciting and creative vocation. There were periods when she wished for anonymity, and a yearning to get away from the pressure and spotlight. As her wartime marriage with Archie Christie was falling apart, Agatha began to make brief forays towards breaking free; impulsively travelling alone on the Orient Express to Baghdad 1928. As she wrote in her autobiography …one must do things by oneself, mustn’t one? …I thought ‘it’s now or never. Either I cling to everything that’s safe and that I know, or else I develop more initiative, do things on my own’. And so it was that five days later I started for Baghdad.

Cover of first UK edition, 1946 https://en.wikipedia.org/

From Damascus she travelled overland to Baghdad, and from there on to an archaeological excavation at the ancient site of Ur, where she met eminent archaeologist Leonard Woolley and his wife Katherine who became good friends. At their invitation, she returned to Ur in 1930 where an archaeologist-in-training Max Mallowan escorted her around the historic sites, the two often travelling ‘rough’ over difficult terrains and situations. The bond between Agatha (already a well-known author) and the much-younger Max grew, and ended in marriage in 1930. Agatha Christie Mallowan discovered the world of archaeology.

Agatha began to accompany Max on some of his excavation sites, and spend the digging season from October to March with him and his team. Here she pitched in, helping to clean, catalogue and photograph the finds. Agatha slept in a tent like the other members of the team, but there was a room set aside for her to write, when she was not engaged in archaeological tasks. This was the only time and place where she was not to be disturbed.

An archaeological dig is like a mystery novel. While the slow and painstaking process of carefully uncovering centuries of accumulated earth in the hope of discovering fragments of past history is far from being a ‘page turner’, the actual discovery of even a fragment of shard is when the mystery really begins. It is from these tiny clues that an entire jigsaw begins to be meticulously pieced together. Where did this piece come from? What was it a part of? Who used this and for what purpose? A single object may lead to the remains of a dwelling, which in turn could have been part of a settlement. And thus the ambit widens. The different clues may provide answers to the key questions of a whodunit: What, where, why, how?

So while Agatha spent much of her time helping the team discover and decipher these tiny clues, she spent some of her time also putting together a different set of clues and characters who would make up a murder mystery novel. Some of these novels were set in the region where she herself was based for part of the year.

Simultaneously she was also noting her observations about the people and their culture, the landscape and its wildlife, the architecture and the archaeological discoveries. These remained notes and memories until the Second World War when Max had been posted to Egypt and Agatha Christie was alone in London, where she worked part time as a volunteer in a hospital dispensary (as she had done in World War I).

In the years when she used to accompany Max on his excavations, Agatha had often been asked by her friends what it was like on an archaeological site. She had started writing about this before the War, but had put it aside. Now missing her husband and nostalgic about their days on the ‘digs’ she returned to those notes and began to chronicle her time there. Drawing upon these and her memories and experiences she wrote about life on an archaeological dig, the different personalities that made up the team (a combination of nationalities, temperaments and dispositions), and the everyday doings and happening that resulted from their interactions. These vignettes, recounted with humour and detail, vividly brought to life the human side of the enterprise. She put these in the context of the political situation in the Middle East in the 1930s.

Agatha Christie finished the book in June 1945, soon after she was reunited with her husband. It was published in 1946 under the title Come, Tell Me How You Live.

For the enthusiasts of detective fiction, who eagerly awaited the new exploits of Hercule Poirot and Jane Marple, the new Christie was a bit of a shock. Where was the plot, the suspense, the investigation and the unmasking of the villain? And yet, in their own way, all these elements were indeed present, this time not as fiction but as facts. The subtitle of the book An Archaeological Memoir, was the first clue to the difference.

But the best-selling author did not intend to ‘cheat’ her faithful readers. The book was published under her married name Agatha Christie Mallowan. It was her tribute to a geographical region and field of study that had given her a lot of happiness. As she wrote in the Epilogue to the book: “Writing this simple record has not been a task, but a labour of love. Not an escape to something that was, but bringing into the hard work and sorrow of today of something imperishable that one not only had, but has”.

–Mamata

Wishing you a Green and Happy World Book Day

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Today is World Book Day. Oh Happy Day, Oh Happy Day!

It is a day that UNESCO, in 2001, declared for ‘a celebration to promote the enjoyment of books and reading. Each year, on 23 April, celebrations take place all over the world to recognize the scope of books – a link between the past and the future, a bridge between generations and across cultures.’

Why specifically April 23rd? Well, it seems that it is the date on which prominent authors William Shakespeare, Miguel de Cervantes and Inca Garcilaso de la Vega (Peruvian chronicler and writer) all died. A bit macabre, but well, there has to be some peg!

UNESCO and international organizations representing the three major sectors of the book industry – publishers, booksellers and libraries, select a World Book Capital each year. (New Delhi was the Book Capital in 2003, just two years after the concept came into being—looks like India had a stature and soft power even two decades ago!). The city of Strasbourg is UNESCO’s World Book Capital for 2024.

Book Days are usually marked with reading circles, events where people dress up as their favorite book characters, literary quizzes, book sales, author discussions, and various other innovative events to celebrate this most important of days.

The thought of book day prompted me to dig a little into a question that has been bothering me for a while. Are physical books more eco-friendly or e-books? Some research and calculations have been done, which say that:

‘.. one physical book has a climate impact of about 2.7kg CO2e*.’ 

‘And a Kindle e-reader has a climate impact of about 37.4kg CO2e per year.’ (Incidentally, text files are tiny, and the impact of downloading books is pretty close to negligible. The bulk of the e-book’s footprint is in the production and charging of the e-reader itself.)

‘So if you read 14 different books or more in one year, e-books have a lower footprint than physical books.

But if you only read a handful of books each year, physical books are the better option for you.’

(*CO2e: “Carbon dioxide equivalent” or “CO2e” is a term for describing different greenhouse gases in a common unit.)

As an educator, I want to children to read and read and read.  And I would much prefer that they read physical books. Since 14 is a ridiculously low number of books to read per year, we need to find ways to make physical reading greener. Here are some tips for ‘greener’ reading—for kids and adults:

Use libraries: Not for very young children, but beyond the age of 8 or so, children can get their reading dose from libraries. Thanks to the Delhi Public Mobile Library and my school library (Carmel Convent, New Delhi), supplemented by neighbourhood lending libraries during summer vacations, we got more than enough books. (In fact, we were allowed to purchase only one book a month, so that was the bonus and used as leverage in book exchanges.) Even today, I don’t buy too many books. I receive a lot of books as gifts, and am a faithful subscriber to Just Books!

Used books: Pre-loved books are a great way to go. Shops like Blossoms in Bangalore have some of the greatest selections.  And don’t hesitate to pass on books you have read to others who may find them of interest. Reach out to schools, colleges and educational institutions—they may welcome books you no longer have space for. You could also organize book-swaps.

Support green publishers: Buy books printedon 100% recycled paper, and create awareness about this aspect amonth other readers..

Happy Book Day! Happy Sustainable Reading!

–Meena

PS: The picture was taken ata library in Englands in the 1890s. The image is available at Getty’s Open Access Library.

Timeless Friendship: Pooh and Pals

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The little bear and his small gang of Hundred Acre Wood friends have captivated children’s imagination for nearly a hundred years. Pooh, along with Tigger, Eeyore, Piglet, Rabbit, Kanga, Roo, Owl, and the little boy Christopher Robin were the literary creations of English writer AA Milne.

Alexander Alan Milne was born in London on 18 January 1882. He studied at Henley House School, a small independent school run by his father. One of the teachers at the school was HG Wells. After earning a degree in mathematics from Cambridge University, AA Milne moved back to London where we worked as assistant editor of the humour magazine Punch for eight years. Despite being a staunch pacifist he was drafted in World War 1 and served for the British army. He was injured in the Battle of Somme; and returned to England suffering from post-traumatic stress caused by his experience in the war. He could not take the busy life of London and moved his family to the countryside outside of East Sussex. As he slowly recovered, he spent a lot of time in the woods in the area with his only son Christopher Robin, nicknamed Billy Moon. These woods became the setting for the forthcoming adventures of the Hundred Acre gang of friends. And the woodland walks planted in AA Milne the roots of the tales of the motley group of anthropomorphic animals. 

How did the woods become populated with these characters whose charm has remained undiminished for a hundred years? Christopher Robin himself was introduced by his father in a poem titled Vespers which was published in 1923. Another poem mentions a Mr Edward Bear, which was the name of the toy bear that Milne had given his son on his first birthday. But a visit to London Zoo where Christopher saw a black bear rescued from Winnipeg in Canada, led to the renaming of Edward the toy bear as Winnie. The christening was complete when Christopher told his father about a swan that he fed every morning, and how, if the swan did not come, Christopher would say “pooh” implying ‘I don’t care!’ Thus, on Christmas Eve 1925, AA Milne’s short story The Wrong Sort of Bees formally introduced Winnie the Pooh, the teddy bear often dragged down the stairs by his owner Christopher Robin. In no time, the big-hearted but slightly slow-witted bear won the hearts of all children, and the child-at-heart. In the stories that followed, the little boy and his bear were joined in their woodland adventures by their equally quirky, but loving, furry and feathered friends.

The pencil illustrations by Milne’s friend Ernest E Shepard brought the characters to life. The association between writer and artist (his old friend who had served together with him in the war) continued through all the books. Shepard based his drawings also on some other stuffed toys that Christopher played with in his childhood. However Pooh bear was based on his own son’s teddy bear named Growler. The original stuffed toys that gave form to Tigger, Eeyore, Piglet, and Kanga are still preserved in the New York Public Library, a bit bedraggled over time, but still tugging at heartstrings. The baby kangaroo stuffed animal (named Roo) was lost in an apple orchard during the 1930s. The toys were taken to the United States in 1947, and remained with Milne’s American publisher EP Dutton until 1987 when they were donated to the New York Public Library to add to its renowned collection of children’s literature. Here they remain in the Library’s permanent exhibition, a bit bedraggled over time, but still tugging at heartstrings.

The first collection of stories Winnie the Pooh was published in October 1926. It was a huge success and helped to introduce the characters to audiences beyond England. The stories with their innate innocence, childhood joys, and idyllic countryside provided comfort in times that still echoed with the brutality of World War I. They also touched upon universal sentiments of friendship and bonding.

The unprecedented success of the books however impacted the childhood of the real Christopher Robin. He was thrust into the discomforting limelight, and grew up resenting the fallout of early fame. This led AA Milne to stop writing Pooh stories after his fourth book, The House at Pooh Corner. However the damage had been done and the relations between father and son continued to remain strained till the end.   

Milne wrote four children’s books that made up the Winnie the Pooh anthology, beginning with the poetry series When We Were Young published in 1924, and the final book The House at Pooh Corner, published in 1928. In the nearly hundred years since, the books have sold millions of copies worldwide, and the characters remain evergreen, and ubiquitous, through animated versions and merchandise which have earned billions of dollars. The exclusive media ownership of the brand was with Disney and Warner Brothers until 2022 when the 95-year copyright lapsed. Pooh and friends are now in the public domain. May they continue to charm and endear themselves for the next hundred years.

So they went off together. But wherever they 
go, and whatever happens to them on the way, in
that enchanted place on the top of the Forest a
little boy and his Bear will always be playing.

The House at Pooh Corner

–Mamata

War and Peace

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What can one say about the year that is winding to a close? Sadly, despite many stories of achievements and accomplishments across the world, and even into space, perhaps the images that will haunt us the most will be those of the ravages of war. A frightening reminder of human’s inhumanity to humans. While the voices of the war-mongers are louder and more strident, there are, in every time and generation a few who gently, but passionately, fight the non-violent battles for peace.

One among these was Daisaku Ikeda, the Buddhist philosopher, educator, author, poet, and above all, peace-builder. Ikeda was born in Tokyo, Japan, on January 2, 1928, the fifth of eight children, to a family of seaweed farmers. He grew up in a period when Japan was in an authoritarian and militaristic phase of expansion, and heading towards World War II. As a teenager Ikeda was witness to the devastation and suffering of the war, including the death of his elder brother in action. The young Ikeda was deeply disturbed by the seemingly meaningless human conflict.

At the age of 19, Ikeda met Josei Tado, an educator, pacifist and leader of the Soka Gakka, a Japanese Buddhist religious movement based on the teachings of the 13th-century Japanese priest Nichiren. Toda had been imprisoned during the war together with his mentor Tsunesaburo Makiguchi. Both had held firm to their religious convictions in the face of oppression by the military authorities who had imposed the Shinto ideology as a means of sanctifying their war of aggression. Makiguchi had died in prison, and Toda had resolved to stand up to the militarist regime. This greatly impressed Ikeda who was drawn to the Buddhist philosophy of peace and non-violence. The seeds of Ikeda’s passion for peace were firmly sown.

Toda was engaged in the process of rebuilding the Soka Gakkai which had been all but destroyed as a result of wartime persecution. The young Ikeda shared Toda’s conviction that the philosophy of Nichiren Buddhism, with its focus on the limitless potential of the individual, cultivated through an inner-directed revolution, could help revive society in the devastation of post-war Japan.

Ikeda accepted Toda as his mentor, and the next ten years became as he described, ‘the defining experience of his life and the source of everything he later did and became.’ Toda died in 1958, and in May 1960, Ikeda succeeded him as president of the Soka Gakkai. He was 32 years old. In 1975, Ikeda became the founding president of Soka Gakkai International (SGI), which grew into a global network that brings people of goodwill and conscience together. Under his leadership, the movement began an era of innovation and expansion, becoming actively engaged in initiatives promoting peace, culture, human rights, sustainability and education worldwide. He established the Soka (value-creation) schools system, a non-denominational educational system based on an ideal of fostering each student’s unique creative potential and cultivating an ethos of peace, social contribution and global citizenship.

Ikeda’s philosophy is grounded in Buddhist humanism; the central value being the fundamental dignity of life, which is the key to lasting peace and human happiness. In his view, global peace relies ultimately on a self-directed transformation within the life of the individual, rather than on societal or structural reforms alone.

From a healed, peaceful heart, humility is born; from humility, a willingness to listen to others is born; from a willingness to listen to others, mutual understanding is born; and from mutual understanding, a peaceful society will be born. Nonviolence is the highest form of humility; it is supreme courage.

Ikeda also firmly believed that the foundation of peace lay in dialogue. Dialogue and education for peace can help free our hearts from the impulse toward intolerance and the rejection of others. People need to be made conscious of a very simple reality: we have no choice but to share this planet, this small blue sphere floating in the vast reaches of space, with all of our fellow “passengers.”

Dialogue and the promotion of cultural exchange became the basis of his efforts to build trust and foster friendship in contexts of historical division and conflict. In order to discover common ground and identify ways of tackling the complex problems facing humanity, Ikeda pursued dialogue with individuals from diverse backgrounds—prominent figures from around the world in the humanities, politics, faith traditions, culture, education and various academic fields. Over 80 of these dialogues have been published in book form. Through his writings and actions Ikeda became a pioneering practitioner of the concept of ‘a culture of peace’.

Ikeda also founded a number of independent, non-profit research institutes to promote peace through cross-cultural, interdisciplinary collaboration: the Boston Research Center for the 21st Century (renamed Ikeda Center for Peace, Learning, and Dialogue in 2009), the Toda Institute for Global Peace and Policy Research (renamed Toda Peace Institute in 2017) and the Institute of Oriental Philosophy. The Min-On Concert Association and the Tokyo Fuji Art Museum promote mutual understanding and friendship between different cultures through the arts.

Ikeda was a multi-faceted personality—philosopher, educator, writer and peace-builder. But all his endeavours were rooted in his strong faith in the positive potential inherent in the life of every person. Ikeda was convinced that peace is ultimately inseparable from enabling the flourishing of each person’s individuality. A great inner revolution in just a single individual will help achieve a change in the destiny of a nation and, further, will enable a change in the destiny of all humankind.

For Ikeda, peace was far more than the mere absence of war. He saw this as a set of conditions in which cultural differences are embraced and appreciated and in which dialogue is firmly established as the means of choice for resolving conflict. In the end, peace will not be realized by politicians signing treaties. True and lasting peace will only be realized by forging life-to-life bonds of trust and friendship among the world’s people. Human solidarity is built by opening our hearts to each other. This is the power of dialogue.

Daisaku Ikeda passed away on 18 November 2023, at the age of 95 years. As another war rages on, the world is in dire need of the wisdom of men such as him, to remind us again and again of the futility of violence. Peace is not simply the absence of war; it is a state in which people come together in mutual trust and live with joy, energy and hope. This is the polar opposite of war―where people live plagued by hatred and the fear of death.

With hope and a prayer that the year ahead may lead humanity from war to peace.

Peace is not found somewhere far away. Peace is found where there is caring. Peace is found when you bring joy to your mother instead of suffering. Peace is found when you reach out and make an effort to understand and embrace someone who is different from you. Daisaku Ikeda

–Mamata

Teacher? Teacher!

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In the run up to Teacher’s Day which is celebrated in India on 5 September every year, there will be numerous pieces about outstanding teachers, teachers who have changed the lives of students, and other inspiring stories.

Sadly, even as we felicitate and celebrate teachers such as these, there are also disturbing reports about teachers who, perhaps, could leave life-long scars on the children that they have the opportunity to mould and nurture. These belong to the mass of average teachers who are “teachers” in name but not in deed. What do they make of their job, which is really speaking a means of livelihood, and even that, which is insecure?

Take this piece, titled Confessions of a Teacher.  

I am a teacher. I saw an article entitled ‘Teacher’s Confessions’ and thought, why not pen down my own confessions?

I have been in teaching for years now. As a requirement to becoming a teacher, I had at that time, to study the science and principles of education. I have not learnt much more, since then.

I go to public libraries but rarely touch teaching related journals. A glance at the librarian’s issue book will show several books against my name, but none related to education.

I am certainly in the habit of reading. In the early years I was busy studying the textbooks and related material. But the textbooks don’t change often. I now need only to glance at the books. My reading list now includes dailies and monthlies and some assorted fiction.

After school hours I rarely discuss education-related topics. My discussion includes topics such as someone’s dismissal or promotion, forms and examinations, higher authorities or fellow teachers, booksellers, and so on.

During recess time, my colleagues gather for a cup of tea. We talk of many things. But never do we talk about how to teach, teaching aids, or students.

The school timings are fixed. The curriculum is set. The school bell heralds the passage of time, and students are prepared for the examinations. The systems are in place. I go to school. Teach the lessons for the day. I carry out my tasks and keep the order – partly by force, partly by wit, partly through my image, and largely through the set disciplinary systems of the school.

I don’t get into the depths of any subject. There is no time; just enough to complete what will be part of the exams. Students will take longer, and explanations will have to be made to the authorities.

I know the students by name, or those that know their lessons, and those that do not. I do not know anything about their family, their friends, their own personalities. We are not close. I know their minds, but not their hearts.

I see who comes first, and who is last. I do not know about their physical strengths and weaknesses. Those who finish their work and bring it to me, are clever; those I like. The rest are duds; I do not like them. Between us there is no affection. How can there be trust? They are afraid of me; and I exert my authority over them.

Once I leave the school, I scarcely think of them, save perhaps, one who might have been greatly disrespectful. Each to our own homes. Perhaps, as I lie down the thought may cross my mind that as the exams near, I will have to speed up the revision, for which I’d use the recess.

I haven’t seen the home of the children. Nor have I shown them my home. I do not have such a relationship with them.

I dream that I will be promoted till some day I become headmaster. I will complete my term of service, retire and enjoy my pension. I hope to save a little before I am too old. That is why I have to take tuitions.

I wish that I am well thought of in my community, that I can educate my children so that they get good jobs, and I can marry them off before I enjoy old age.

It is for this that I wish to work. Today the profession of teaching is, for me, an activity, a job. In all this, the ideals of education, the changing principles and practices of teaching, the desire to bring new changes in the field – all this is not in one, where will they come from?

I would like to explain clearly what my position is today. My state is like this; I presume my fellow teachers are in a similar situation.

If we think that this is a familiar scenario, it may come as a surprise that this was written in 1932 (nearly a hundred years ago). The author is Gijubhai Badheka an eminent educator who helped to introduce Montessori education methods to India. Disturbed by the dark educational system of that time, he embarked on his journey into the realms of education, and left behind a rich legacy of work and writing.

More about Gijubhai and his work on www.gijubhaibadheka.in.

Several generations later, the dilemmas about what makes a ‘good teacher’ continue to engage educators.

A hundred years after Gijubhai wrote some of his seminal works on education, Sir Ken Robinson one of the eminent contemporary thinkers on education propounded a critique of the school system. His TED talk Do Schools Kill Creativity? is one of the most watched talks. He urged schools to transform teaching and learning to an experience personalized for every student involved.

His words resonate closely with Gijubhai’s angst about the state of education, and his dream for a transformative educational system

Role of the Teacher    

The problem is that over time, all kinds of things have gotten in the way of it – testing regimes, league tables, unions’ bargaining rights, building codes, professional identities, the concerns of various pressure groups, ideology of various political parties. It’s very easy for people to spend all day discussing education without mentioning the students at all. But all of this is a complete waste of everybody’s time if we forget that our role is to help students to learn. Therefore, the question is: what should they learn and how do we best do that?

All the great education systems and schools know that. It’s why they invest so heavily on the selection of teachers, why they insist on getting people who don’t just have good degrees, or have them at all. They want people who know their material, but they also know that teaching depends upon a whole set of pedagogical skills and a love of the process. It’s more than the transmission of direct content. It’s about having a set of skills focused on facilitating learning. (Sir Ken Robinson)

A teacher’s work is like flowing water. The fulfilment of the work of education is not in teaching one or two subjects… Real education lies in making humans aware about their own unending strengths. (Gijubhai Badheka ‘Note to Teachers’ 1920)

Some food for thought.

–Mamata

Mycologist, Artist, Author: Beatrix Potter

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Several generations of children grew up with The Tale of Peter Rabbit. The author Beatrix Potter is a familiar name in children’s literature, but what is less known is that she was also a notable woman of science, in an age when this was almost unheard of.

Helen Beatrix Potter was born on July 28, 1866 in London in a family that enjoyed culture and the arts. Although Beatrix was educated at home by a governess, she and her brother spent all their free time in the woods around their home, observing the small creatures that lived there, and even bringing some, like hedgehogs and rabbits home. Beatrix was a quiet shy girl who expressed herself through paintings and drawings of wildlife, and in coded notes in a secret diary.

When an uncle who was a chemist gave her permission to use his microscope, a whole new world opened up for Beatrix who could minutely study plants, and insects and make detailed sketches. Her interest in natural history was further spurred when she used to visit the South Kensington Museum. She found herself drawn to the study of plants and fungi as well as insects.  

Beatrix’s interest in drawing and painting mushrooms, or fungi, began as a passion for painting beautiful specimens wherever she found them. As her biography says: She was drawn to fungi first by their ephemeral fairy qualities and then by the variety of their shape and colour and the challenge they posed to watercolour techniques.

Source: https://www.linnean.org/

In October 1892, on a family holiday in Scotland, Beatrix got to know Charles McIntosh, a local postman and self-educated naturalist who was also an expert on British fungi. McIntosh admired her pictures, sent her specimens to paint and advised her on scientific classification and microscope techniques. She sent him copies of her pictures in return. She would go on to produce some 350 highly accurate pictures of fungi, mosses and spores.

Beatrix also started hunting for rare varieties of mushrooms, and growing dozens of different species of fungi at home, in order to study their development. She was intrigued by their life cycle. By 1895, Beatrix Potter’s interest in fungi was becoming even more scientific. Following advice from McIntosh, she began to include cross sections of mushrooms in her illustrations to show their gills and used a microscope to draw their tiny spores. She speculated about whether these spores could germinate and the environments in which they might do so.

In May 1896 her uncle Sir Henry Roscoe, a prominent chemist, introduced her to the mycologist at Kew’s Royal Botanic Gardens. This led to a post at the Royal Botanic Gardens where she produced faithful, detailed renderings, largely of mushrooms and toadstools as seen through a microscope. In addition to her art, the scientist in her also began experimenting with germinating spores of various fungi on glass plates and measuring their growth under a microscope. Her close observations and experiments, as well as her drawings showed in great detail how lichens, a common type of fungi found on rocks and trees, were actually not one but two different organisms that lived together. Her studies showed that this was a union between an alga and a fungus. The two different organisms are able to live together, with each of them benefitting the other in some way. Beatrix thus was one of the earliest to study and hypothesize what would later become the science of symbiosis. However, the botanists she showed her work refused to discuss even discuss the drawings she made.

Beatrix prepared a paper on her findings and submitted her work to The Linnaean Society of British Scientists but was not allowed to read it herself because, at that time, only men were invited to their meetings. The all-male panel rejected her paper and refused to publish it. Potter withdrew the paper, presumably to make amendments. But it was never published; and no copy exists today. Thereafter Beatrix turned her full attention to drawing and writing.

There is today some controversy about how serious Beatrix Potter was as a mycologist. But there is no doubt about the accuracy and detailing of her drawings and paintings of fungi which remain unparalleled, and are referred to mycologists even today. As her biography says: Beatrix Potter never saw art and science as mutually exclusive activities, but recorded what she saw in nature primarily to evoke an aesthetic response.

The name Beatrix Potter endures today as the author of well-loved children’s books. In 1893 she sent a letter with a picture story to a sick child of her old nanny which began with the words “I don’t know what to write to you, so I shall tell you a story about four little rabbits whose names were Flopsy, Mopsy, Cottontail and Peter.”  Beatrix went on to create the loveable characters of Peter Rabbit, Benjamin Bunny and Jemima Puddle Duck, among others that had adventures in the 26 books that she published subsequently. Over 150 million copies of her books have been sold and have been translated into 35 different languages

As her books gained popularity, she channelled all the profits towards a large property called Hill Top which she purchased in 1905. Situated in England’s Lake District, this was her first farm. She enjoyed the quiet and solitude that the thirty-four-acre property brought her and this allowed her to work more efficiently. Aside from being a farmer and landowner, Beatrix also became recognized as a sheep breeder. She never lost her love for nature and became an advocate of traditional farming and the preservation of the wild environment surrounding the area. She continued buying patch after patch of land around her farm. By doing so, Beatrix hoped to further pursue her dream to provide land for the creatures that she had loved since her childhood.

Beatrix Potter died of bronchitis in 1943, aged 77, leaving behind a legacy across different fields of study. The British Natural Trust eventually became recipient to her donation of 4,000 acres of land. The property was named a UNESCO World Heritage Site in 2017, and is now open to the public.  Beatrix Potter’s love for the land and all its creatures continues to provide a haven for all life.

–Mamata

No Regrets

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What is regret? ‘A feeling of sadness, repentance, or disappointment over an occurrence or something that one has done or failed to do’, the dictionary tells us.

All of us have felt/feel/will feel regret. But few of us pause to think about it. Daniel Pink is one person who did. And came out with the book ‘The Power of Regret: How Looking Backward Moves Us Forward’ a New York Times bestseller, like four of his previous books.

Pink did a survey covering over 16,000 people from across more than 100 countries, and created a database of their top-most regrets.

And found a pattern. All regrets fell into one of four categories:

‘1. Foundation Regrets. These regrets stem from failures to be responsible, hard working, or prudent.  They are typically articulated as ‘If only I had done the work’ or ‘If only I had been a little more careful.’ Finance and health related regrets mainly fall in this category.

2. Boldness Regrets. The survey found that most people regret inaction–about double the number of people regret not taking action, rather than taking one. This is about the chances or opportunities that one missed taking. For instance, not taking that admission in a foreign university, not starting a business, not buying that dream house, or marrying a true love. These regrets sound like ‘If only I had taken that chance.’

3. Connection Regrets. These regrets happen when we don’t keep in touch or are on bad terms with people who matter to us, and make up the largest category. If the thought ‘If only I had reached out’ is on your mind, you are suffering this type of regret.

4. Moral Regrets. This category of regrets had the smallest number of responses but were probably the most painful to the person concerned. These regrets are about making the less ethical choice when faced with a decision. This is the type of regret when you agonize: ‘If only I had done the right thing.’’

I did try to think through my regrets, and can’t say I have been able to find one that is out of these four categories!

Pink also suggests some ways we can overcome these regrets, and as importantly, learn and build on them. Some of these suggestions include:

·      Apologize, try to make amends and repair the damage.

·      It is sometimes not too late, so take action now. For instance, if you regret that you did not pursue your passion for music in your youth, maybe it is not too late even now.

·      Find the silver lining, ie., try to think of how the situation may have turned out worse than the current situation.

·      Distance yourself—one has to let go of what is done and over and cannot be undone. No point in agonizing over it forever. We have to find ways to cut off.

·      Self-compassion, ie., not flogging oneself forever for something.

The most important thing however, is to consciously revisit one’s regrets and analyse them and use them as a basis when making significant decisions in the present and future. This can probably improve the quality of our decisions.

The survey of regrets is open, and one can both take the survey and visit the database. If anyone needs convincing on the commonality of the human experience, a browse through the database will do it!

And to end, a poem on regret by Robert Burns, which is profound lesson on how to live so we don’t regret the world we are passing on to the next generation:

To a Mouse, On Turning Her up in Her Nest with the Plough

I’m truly sorry man’s dominion,
Has broken nature’s social union,
An’ justifies that ill opinion,
Which makes thee startle
At me, thy poor, earth-born companion,
An’ fellow-mortal …

November 1785.

–Meena

Say Sorry!

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There is an old rhyme that begins with: For the want of a nail…and ends with (through the domino effect) …a kingdom was lost. In recent days, there has been a situation where: For the want of an apology….a Parliament was adjourned. This was caused by the obdurate demand for an apology by one side in confrontation, with the equally intransigent refusal to apologize by the other. 

Saying “sorry” is probably the simplest and oldest form of an apology. An apology is defined as a regretful acknowledgement of an offence or failure. In an age where increasingly the ‘self’ rules the stage, where a sense of entitlement dominates much of human engagement, and where aggression and intimidation are a part of day-to-day life, this kind of acknowledgement is sometimes perceived as a form of cowardice or a sign of a non-confrontational (passive) person. This avoidance or denial of acknowledgement of wrong may spark off immediate confrontations that may spiral out of control, or a festering of resentment that plants the seed of future ‘revenge’. This holds true for individuals, communities and even countries.

Karina Schumann, an Associate Professor of psychology at the University of Pittsburgh has been researching and writing about factors that help people successfully manage their conflicts and respond to challenging social interactions in pro-social ways. Her work focusses on apologies as a key factor in this area. It looks at different kinds of apologies from inter-personal one-on-one apologies, to institutional apologies, to public apologies, particularly by politicians.

In the case of interpersonal conflicts Dr Schumann’s research indicates that a common response that we have when we’ve done something wrong is, ‘this does not feel good to us, we want to push away blame from ourselves’. And we can do this in a variety of ways. We blame the other person, we blame the situation, we think about all the extenuating circumstances that affect our behaviour, or we minimize the consequences of our actions for that other person.

Often apologies take the approach that “Well if you are offended, I’m sorry.” This implies somewhere that while the offender is expressing remorse or sympathy for the fact that the recipient felt bad, he or she is not really taking responsibility or accountability for the offense. This is a way of justifying our actions while morally disengaging ourselves. This kind of apology, in some ways, tries to shift the blame onto the victim. The apologies on social media during the MeToo movement are examples of this kind of apology. One key factor for this attitude is the lack of empathy with the person one has offended.

A sincere apology does not make justifications for the behaviour the person is apologizing for, and does not blame the victim. The person offering the apology does not excuse their own behaviour. An acceptance of responsibility is core to an apology.

Public apologies happen on the public stage, often delivered in some sort of official way, like a government apologizing on an official stage for a historical injustice. Sometimes corporations might put out a statement of apology to their consumers or clients. Sometimes celebrities apologize, and politicians apologize for their own misdemeanours. These are sometimes issued through an official press conference or via Twitter or YouTube. These apologies are issued in a reactive way. Research indicates that people are generally sceptical about such apologies. It is assumed that they are being offered for strategic reasons as opposed to sincere reasons, or that the public figures were pressured into it, and they have ulterior motives. To come across as meaningful, the quality of public apologies must meet a higher bar than an interpersonal apology.

Whether personal or public, to be genuinely accepted an apology must communicate empathy and concern. It is not enough to say “I am sorry”. The messages that should come across are: “I care about you. I care about our relationship. I want to make this better”. They should send a signal: “We care about this. This matters. We are committed to doing better.”

An apology can be the first step in initiating the process of forgiveness.

A beautiful passage from one of my favourite authors Alexander McCall Smith tells us how:

Forgiveness is at the heart of the way we live our lives–or should be. So when we teach our children about the things they ought to know about the world—about how not to touch fire, about how to wash their hands, or put on their shoes—all these things, we should also remember to teach them about forgiveness. We must teach them that when another person wrongs us—hurts us perhaps—we should not strike back, but should be ready to forgive. We must teach them that if we do not forgive them, then we run the risk of being eaten up with hatred inside, and that hatred is like acid, that it will grow and gnaw away. That is why forgiveness must be taught at the beginning, when we are teaching them about these first things.

Today, more than ever before, the world is in desperate need of empathy and forgiveness. The seeds need to be sown early, and nurtured with compassion.

–Mamata

I am a Book: Read Me

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Many of us (from an earlier “fairy tale” generation) grew up with stories of the Ugly Duckling, The Emperor’s New Clothes, The Princess and the Pea, Thumbelina and many more. These were originally written by the famous Danish writer Hans Christian Anderson. A prolific writer of plays, travelogues, novels, and poems, he is best remembered for his literary fairy tales which have been translated into more than 125 languages.

Hans Christian Anderson was born on 2 April 1805. Two hundred years later, with the new trends in children’s literature, the author and his genre of children’s literature may not be as well known, or widely read. However his lasting contribution to children’s literature is celebrated by marking his birthday as International Children’s Book Day, to inspire a love of reading and to call attention to children’s books.

Celebrated on April 2every year, this is a day that celebrates children literature in all of its forms and acknowledges the writers which create it. It is an event that is sponsored by the International Board on Books for Young People (IBBY), a non-profit agency that was created in 1952. The organization represents an international network of people from all over the world who are committed to bringing books and children together. In 1967, this body created International Children’s Book Day to promote the six key areas deemed important by them:

To promote international understanding through children’s books; to give children everywhere the opportunity to have access to books with high literary and artistic standards; to encourage the publication and distribution of quality children’s books, especially in developing countries; to provide support and training for those involved with children and children’s literature; to stimulate research and scholarly works in the field of children’s literature, and to protect and uphold the Rights of the Child according to the UN Convention on the Rights of the Child.

Each year a different National Section of IBBY has the opportunity to be the international sponsor of ICBD. It decides upon a theme and invites a prominent author from the host country to write a message to the children of the world and a well-known illustrator to design a poster that sends a message to all the children of the world.

This year IBBY Greece is the official sponsor of the International Day of Children’s Books. The chosen theme is ‘I am a book, read me’. The theme celebrates the power of children’s books in promoting values of equality, diversity and inclusion, as well as connecting people through tolerance and understanding. Greek author Vagelis Iliopoulos and illustrator Photini Stephanidi have collaborated to create a poem and poster that remind us of these messages.

I am a book, read me

 I am a book.

You are a book.

We are all books.

My soul is the story I tell.

Every book tells its own story.

We can look quite different –

some big, some small,

some colourful, some black and white,

some with a few pages, some with many.

We may say similar or completely different things,

but that’s our beauty.

It would be boring to be all the same.

Each of us is unique.

And each of us has the right to be respected,

to be read without prejudice,

to be given space in your library.

You may have opinions about me.

You may choose to question or comment on what you read.

You can put me back in the library

or hold me close and travel with me a long way.  

 But never let someone throw me away

or send me to another shelf.       

Never ask for my destruction, nor allow anyone else to do.

And if a book ever comes from another shelf,

because someone or something drove it away,

make room.

It fits next to you.

Try to feel as it feels.

Understand it. Protect it.

You may be in its place tomorrow.

 Because you are a book too.

We all are books.

Come on, say it loud so everyone can hear you.

“I am a book, read me.”   

When a child opens a book for the first time, magic happens. Children’s books are doorways to delight, information, engagement and entertainment. Books open numerous windows to the rich diversity and different perspectives in their own unique way. Stories allow them to see through different eyes, and create empathy. Books help them understand that no matter who we are, or what our experiences may be, we are not alone in the world. They expand the child’s universe beyond time and place. They inspire new ways to think and new ideas; they spark imagination. Books give children an opportunity to experience something in their imaginations before it happens to them in real life.

As author Rebecca Solnit beautifully puts it: In some books you meet one remarkable person; in others a whole group or even a culture. Some books are medicine, bitter but clarifying. Some books are puzzles, mazes, tangles, jungles. Some long books are journeys, and at the end you are not the same person you were at the beginning.

In a time when even very young children are exposed to, and subsequently get hooked on to the seductive allure of digital media, it is all the more urgent and critical to remind ourselves of the unmatched power of physical books and storytelling.  Walt Disney said, “There is more treasure in books than in all the pirate’s loot on Treasure Island”. This Sunday, whether we are a grandparent, parent, sibling, friend or neighbour, we can all start by sharing these treasures with a child.

–Mamata