From fairy tales to divisive themes. A 30-year journey through our children's literature

Jamie, aged nine, lives in hiding with his baby sister. She had survived an act of violence that nearly took her life. Both are fictional characters created by American writer Carolyn Coman. In 1995, the author staged a drama in writing that mimicked palpable social realities. The book What Jamie Saw sensitively addresses issues such as fear, fragility and the instinct for protection that surround childhood in adverse circumstances. The work opened the door to delicate and silenced issues for young readers. Also 30 years ago, in Canada, writer Carol Matas began writing and publishing a courageous young adult novel. The Primrose Path addresses child sexual abuse within an Orthodox religious community. Debbie, 14, the protagonist of this story, is confronted with the trauma of being abused by a respected figure in the community. Matas focuses on the emotional consequences and the fight for justice. The author is known for works that explore complex ethical, historical and social themes.

In 1995, The Primrose Path stood out as one of these groundbreaking titles that challenged taboos in young adult literature. The two books mentioned here were not published in Portugal at the time, nor was a related title from the 1980s, the book Heather has two mommies , by the American writer and feminist Lesléa Newman. This was one of the first works of children's literature to portray a family with same-sex parents, specifically a girl named Heather raised by two lesbian mothers: Mama Jane and Mama Kate. As far as fiction for children and young adults is concerned, our country was sailing in calm waters at the time. However, within a few years, with the dawn of the 21st century, things would become more turbulent. For now, the market was filled with authors who had a permanent place in national bookstores. Enid Blyton (the English writer who created the series “The Famous Famous Five”), the classic Hans Christian Andersen and Theodor Seuss Geisel (known in literature as Dr. Seuss) stood out in the field of translated works. In Portuguese literature, collections such as “Uma Aventura” (by Ana Maria Magalhães and Isabel Alçada); “O Clube das Chaves” (by Maria Teresa Maia Gonzalez and Maria do Rosário Pedreira) and, among other authors, Luísa Ducla Soares, Matilde Rosa Araújo, Alice Vieira and José Jorge Letria stood out. Among the essential names in Portuguese literature for children, it is impossible to omit the contribution of Sophia de Mello Breyner Andresen, holder of a poetic and symbolic writing style, capable of opening up new possibilities for the imagination of children and young people. Works such as The Girl from the Sea (1958) and The Knight from Denmark (1964) not only enchanted generations of readers but also introduced an aesthetic of wonder anchored in ethics, beauty and contemplation. Sophia brought to her books themes such as justice, freedom and the relationship with nature — elements that anticipated many of the concerns of contemporary literature for younger readers.

Together, these authors cooperated to define Portuguese children's literature in the 1990s with works that are still a reference today and have contributed to the growth of the children's literature market in Portugal.

Books moved away from a purely educational and moralistic approach to address issues that children face on a daily basis, such as friendships, bullying and family conflicts. The aforementioned authors introduced complex emotional themes, valuing empathy and reader identification. At the same time, narratives began to emerge that reflected social and family diversity, breaking with the traditional model. Fantasy remained present, but it was often used to discuss social and psychological issues. There was also a growing focus on environmental education and awareness of the need to preserve nature. However, at the time, national publishers did not have a special presence in the children's segment, and the illustrations were often merely decorative.

Portugal had been experimenting for decades, particularly since April 1974, with a path of experimentation in literature for children and young people. This is exactly what Ângela Balsa , a professor at the Department of Pedagogy and Education at the University of Évora and author of the essay “Portuguese Children’s Literature – from Emerging Themes to Consolidated Themes” (2008), reminded us of in her article “Death, War and Bullying in Literature for Young People”: “1974, the year of the April Revolution, was also a milestone in literature for children and young people. Another circumstance that greatly affected literature for children was the abolition of censorship. If we think of authors who are still widely read in Portugal today, such as Luísa Ducla Soares, António Torrado, Matilde Rosa Araújo, Luísa Dacosta and Maria Alberta Menéres, they began publishing before 1974, and some of their works for children were censored. For example, I remember that Luísa Ducla Soares even refused literary prizes because we lived under a dictatorship and her works were censored.”

The researcher adds that “with the end of censorship, there is a publishing movement that is not unrelated to children’s literature, which, until the 1980s, generally lacked literary quality. In the 1980s, there was a huge boom in children’s publishing. The possibility of publishing freely was fundamental. From the year 2000 onwards, a series of smaller, independent publishers emerged, bringing in other authors, other illustrators, and realities. They dare to publish and touch on more divisive themes. We perhaps only have one problem with these smaller publishers: they face difficulty in reaching large bookstores, where they have little representation. You will have to look for these works in the network of independent bookstores in our country”.

Regarding publishing for children and young people in Portugal in the last quarter of the 20th century and the first years of this century, Ana Margarida Ramos, full professor at the Department of Languages ​​and Cultures of the University of Aveiro, writes in her 2015 work “6x6: an assessment of contemporary Portuguese children’s literature”: “[children’s literature] is marked by the consolidation of authors who, for decades, but especially since the 1970s and 1980s, have been publishing regularly for children; by the emergence of new authors who, as a result of awards or coming from other fields, such as journalism and teaching, have begun to publish for children in recent years; by the more or less occasional collaboration of authors who do not usually and regularly write for that age group but who have dedicated very interesting volumes to it, as was the case with the Portuguese José Saramago, Lídia Jorge, Mário Cláudio, or the Mozambican Mia Couto and the Angolans José Eduardo Agualusa and Ondjaki; by the publication of books by the Portuguese authors ... translations of relevant works — classic and contemporary — allowing readers access to international reference production; by the growing development of the illustrative component with the emergence of a considerable number of high-quality illustrators and creators, whose recognition is also made internationally; by the emergence of publishers — Portuguese and foreign (Galician, for example) especially dedicated to the publication and dissemination of literature for children and young people”.

The new breath of the 21st century

The first years of the new millennium marked a decisive turning point in Portuguese children's literature, with the emergence of new publishers that brought narrative impetus and aesthetic renewal. This new panorama paved the way for a generation of Portuguese authors who quickly rose to prominence, such as Carla Maia de Almeida, Inês Castel-Branco, Margarida Fonseca Santos, Margarida Botelho, David Machado, João Pedro Mésseder and Rita Taborda Duarte, among many others.

Founded in 2000, Planeta Tangerina published its first title in 2004 — Um livro para todos os dias , by the duo Isabel Minhós Martins and Bernardo P. Carvalho. The innovative and visually bold editorial project became an international reference, having been distinguished in 2013 as “Best European Publisher” at the Bologna Children’s Book Fair. Orfeu Negro also reinforced its focus on the children’s and young adult segment, with the launch of the Orfeu Mini collection in 2008 and, in 2011, with the publication of O Livro Inclinado , by Peter Newell. In 2010, it was André Letria’s turn to create Pato Lógico, a publisher focused on visual albums with a strong graphic identity. Bruaá, founded in 2008, stood out for its demanding curation and the recovery of classics such as The Giving Tree , by Shel Silverstein.

With the new millennium, Portuguese children's and young people's literature has made its mark on the international scene, winning recognition in literary awards and fairs. Portuguese authors and illustrators, such as Catarina Sobral, Bernardo P. Carvalho, Madalena Matoso and Afonso Cruz, have seen their works distinguished at events such as the Bologna Children's Book Fair, the White Ravens and the Astrid Lindgren Prize.

The new generation of publishers and authors has given children's books the opportunity to be more than just a reading tool. They have also begun to assert themselves as artistic objects. Investment in design , graphics, original illustrations and special formats ( pop-ups , sensory books, laser cutting) has marked the path to a new era.

However, the 2010s would mark a thematic explosion. Children's books began to explore emotions (fear, anxiety, joy), diversity (non-traditional families, inclusion of children with disabilities, racism) and environmental citizenship. These themes materialized in a new awareness: they went beyond escapism to build bridges between childhood and the real world. Children's literature stopped being merely playful and became educational — and the market responded enthusiastically. The aforementioned Planeta Tangerina published visually striking works such as Lá fora – guia para encontrar a natureza (2014) and Plasticus maritimus (2019), encouraging environmental reflection. Orfeu Negro and Pato Lógico offered humor and fantasy books with internationally awarded features — in the case of Orfeu Negro, recognized again in Bologna.

Still on the relevance of divisive themes and their entry into the main door of literature for children and young people, territories traditionally associated with a certain innocence, researcher Ângela Balsa highlighted in the article previously mentioned here: “we usually say that children’s literature texts are not harmless, because under the guise of candor, they end up introducing, either in the text or in the illustrations that accompany it, themes that can be considered either more problematic or more divisive. They may not be, according to the adult audience, as appropriate for children, but they are indeed recipients of that message. If we have an informed mediator, these messages can reach children. Children’s literature has a fundamental aesthetic and playful function, but it also has an educational function”.

In more recent years, Portuguese children's literature has also reflected the impacts of global social and cultural movements. From the emergence of #MeToo in 2017, through Black Lives Matter in 2020, to the current debates on gender identity and racism, editorial production has progressively integrated these themes, resulting in a growth in books that explore diversity, consent, emotions, identity, ecology and citizenship. This moment of thematic openness has also provoked critical reactions, visible, for example, in the coalition against the censorship of children's literature in 2023, which marked a heated debate on the limits and selection of content intended for children. In addition, the introduction of sensitive social themes has also given rise to debates in Portuguese society. Parents' groups, religious movements and some political parties have expressed criticism of what they classify as “ideological books”, especially with regard to LGBTQIA+ themes and gender identity.

“A more empathetic, more careful and attentive literature”

Taking the pulse of the Portuguese publishing world for 30 years, Virgínia Silva, a bookseller at the historic Livraria Lello, located in Porto, looks at the evolution of the sector and observes that “the publishing world has been careful and proud to take precautions in this society in which we live. When it comes to offerings to young readers, there is more empathetic, more careful literature, attentive to the reality that children today experience in our society. For example, 20 years ago, it was very difficult to find a book that talked about different types of family or about emotions. We lived in a much more closed society. Today, the publishing sector is a little more inclusive. Because, by educating these young readers, equipping them with a more open mind, we are educating young citizens and, later on, better adults. We have to understand that reading begins precisely at a young age. Therefore, if we educate readers at a young age, we are creating future readers in adulthood”.

Currently, Livraria Lello’s catalogue includes The Little Collection, “launched during the pandemic, precisely at a time when it was important to have a friend at home. Because a book is, in fact, a friend. It is an object, but it is also something that comforts and is good for your health”, highlights Virgínia Silva.

The Little Collection currently features five classics. “We also have another book that we launched about a year and a half ago, called Eva , which is a dystopia for children. We also have three dystopias that are suitable for young adults, namely 1984 , Tacão de Ferro and Guerra dos Mundos . And we also have The Pop Collection, a world of classic authors from the four corners of the world, which includes Portuguese, French, English and Italian literary names.”

“As a bookseller, when I make a book available, there is something I cannot forget: the reader must feel a connection with the work. They must feel that they will also be a character in the story. They must feel the story within themselves. Also, as parents, we cannot say something like “I used to read this when I was a child”. Each child has their own timing . We have to understand, frame and connect the book with the child. If the reader likes football, then we can do that when it comes to books. Once the young person finds the “bug” for reading, it is much easier to introduce them to new subjects, even classic works”, concludes Virgínia Silva.

In line with the message expressed by Virgínia Silva are the words of Joana Silva from It's a Book, a small bookstore-workshop in Lisbon with its windows full of titles by national authors, but also including special works by iconic publishers such as Corraini, in Italy, and Les Trois Ourses, in France. "The bookstore was founded eight years ago. My partner, António Alves, and I share a love of collecting illustrated books, many of which are the result of our travels. We also have a background in the visual arts and artistic education. We've wanted to have our own project for some time. At a certain point we thought, 'well, maybe there are more people like us who like this type of book'. And so this place was born, which we like to call an illustrated bookstore or an illustrated albums bookstore. We currently have books in Portuguese, Spanish, Italian, French and English.

Joana tells us about the evolution of the children's publishing market: “since we opened the bookstore, we have seen the emergence of publishers, new players in this sector and also the emergence of many young people interested in this area of ​​illustration”.

The mentor of It's a Book adds that “I grew up with a certain type of children's books, very moralistic and, perhaps, very closed in that idea of ​​a story. Today, there is a great attempt to make books more inclusive, to educate children to take care of the planet. Also to educate them emotionally. Children's books have the ability to lead children to learn all the serious topics and all the questions of life through play, as they say now, through playfulness . I believe that a good book has to connect with the world of the child's imagination, because it makes it easier to communicate a theme. In other words, the book does not have to 'impose' adult language. However, I believe that the theme is not more important than the quality of the book”.

Children's books as an open window to new experiences

Regarding the role of children's books in psycho-emotional development, psychologist Maria João Ferro said : “it is, in general, a window that allows children to see more of the world beyond their own world. In other words, through books, children imagine, create a story represented mentally by themselves, wander through the image and become shaped by the message. Children's books have a strong emotional power in children, allowing them to access positive emotions and, in many cases, it is also through books that children learn to manage less positive emotions. Books give children access to a window that brings them new experiences, often different from those they experience in their daily lives. They also influence not only emotional and relational development, but also cognitive development itself. Books facilitate the literacy process, enhance the acquisition of linguistic skills, speed up the process of acquiring reading and writing, promote the acquisition of speech, and become, throughout development, extremely important, for example, in the consolidation of phonological awareness, that is, the relationship between language and language.” existing between the drawn word and the thought sound, the mental representation with phonetic content of the drawing of the letter, the word and the sentence. We also know that through children's books children train their attention and concentration, which does not happen with other playful activities, which today take up most of their free time”.

Along the same lines, Rita Castanheira Alves, a clinical psychologist specializing in children and adolescents and parental counseling, sees books as “an extraordinary and highly effective tool for child development and for understanding, adapting to and exploring the world that surrounds children, adolescents and, later, adults, in their different phases”. The specialist points to “several studies that demonstrate the multiple potentialities and learning that can be achieved through children’s books and the advantages of early contact between children – from infancy – and books in their various forms. These promote different intelligences; stimulation of imagination, creativity and symbolic play; critical thinking; sensory stimulation; curiosity; various learnings; promotion of emotional and social skills and even, from a very young age, as a tool for greatly promoting bonding between caregivers [fathers, mothers and others] and even siblings and the child, when explored together, in an extremely powerful interaction”.