Actual problems of modern prose for children. The problem of the creative fate of a novice children's writer. List of used literature

Content

Introduction…………………….……………………..……… …………………………………………….….........3

periodicals and critics

The crisis of children's literature in the 80s ………………………………………… .. …… .3
The specifics of modern children's reading ………………………………………… ..… 5
The problem of the creative fate of a novice children's writer ……… .. …… 6
The appeal of children's poets to prose ………………………………………………… .. ……. 6
Commercialization of the book market ……………………………………………… .. ……… 7
Lack of children's books by modern authors …………………………. …… .. ……… ..8
Poor quality translations of foreign children's literature …………. …… .9
The problem of the lack of children's books for teenagers ……………………. ………. …… .9
Poor design of children's books ………………………………………………. ……….… 10

Output………………………………………………………………… .………………………………………..……..20
References ………………………………… ………………………………… .. ……………. …… ..22

Introduction

Going into any bookstore to buy a children's book for a child, we sometimes get lost from the variety of choices, from the diversity of covers. And at first it seems to us that buying a children's book here will not be a problem. However, looking closely at what is on the shelves, a thoughtful person with a reading experience is often disappointed. Among this variety of books with bright covers, choosing good children's literature is not so easy. And as a result, we opt for the good old classics, well known to us from childhood and not fraught with unpleasant surprises.
And there are plenty of such "surprises". Let's name just a few of them: first, the almost complete absence of good children's books by modern authors; secondly, the bright covers raise deep doubts on closer examination. And also frightening is the incredible number of second-rate books, which clearly intend (perhaps to increase the number of sales) imitate children's hit books like "Harry Potter", "The Chronicles of Narnia" and others, while being something like legalized plagiarism, and this concerns both the cover and the content. There is also such a problem as the lack of children's books for any age category. According to statistics, adolescents are the most deprived of good children's literature in our country. Some of these "diseases" of modern book publishing should be examined in a little more detail.

Chapter 1. Actual problems of modern children's literature,
periodicals and critics

1.1. The crisis of children's literature in the 80s

In Soviet society, reading of children took place in conditions of a general deficit, including for children's literature (the demand for it in the 1980s was satisfied by an average of 30-35%). This speaks of the process of "social deprivation" of children in the 1960s and 1980s when they mastered literary culture. By the period of "stagnation" (70-80s), many problems had accumulated in the field of publishing children's literature. There was a general trend towards a decrease in the number of titles, while maintaining an annual increase in the average volume of books and a relatively constant circulation. So, in the mid-1980s, the indicator of the diversity of children's books in the USSR was 3 times lower than in Germany, 6 times lower than in France, and about 10 times lower than in Spain. Whole types and genres were in a chronic deficit: scientific and educational literature, action-packed (especially science fiction and adventure), encyclopedias and reference books, manuals and guides for leisure activities. 1
The lack of scientific, educational, reference and encyclopedic literature is fraught with the fact that from childhood the child does not form a need to work with a book as one of the main sources of information in various fields of knowledge. Insufficient publication of the best modern foreign children's literature, a shortage of children's periodicals, etc. can be added to the list of problems.
In the eighties, children's literature went through a serious crisis, the consequences of which were reflected in the work of children's writers in subsequent years.
Children's literature, swollen from the modern "wandering" conditions of life, inexorably pushes out of itself those who create this literature. Galina Shcherbakova, whose stories for adolescents and about adolescents ("Desperate Autumn", "You Never Dreamed of ...", "A Door to Another's Life", etc.) a film of the same name was shot), came out with a circulation of one hundred thousand under the auspices of the "Young Guard" publishing house, in the nineties and at the beginning of the two thousandth switched to "adult" literature. Her new, ironic - sarcastic, far from childish works have firmly entered the printing conveyor of the Vagrius publishing house. 2
Tatyana Ponomareva began to write less often for children, Boris Minaev is the author of the book for adolescents "Lev's Childhood" with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, to Germany - the author of children's books about art Vladimir Porudominsky, critic and translator Pavel Frenkel.
A former children's poet who wrote in the tradition of the "Oberiuts", Vladimir Druk organized a computer magazine for adults in New York. Sergei Georgiev published a non-childish book "The Smells of Almonds", Alan Milne - "Table at the Orchestra." The well-known Moscow poet Roman Sef, the leader of the seminar "Literature for Children" for students of the Literary Institute. A.M. Gorky, also switched to "adult" poetry, I mean his book "Tours on Wheels". Children's writer Igor Tsesarsky publishes the newspapers Continent of the USA, Obzor, and Russian Accent in the United States.
Died critic Vladimir Alexandrov, writers Yuri Koval, Valentin Berestov, Sergei Ivanov, poet and translator Vladimir Prikhodko.

The specifics of modern children's reading

The problem of the creative fate of a novice children's writer

The appeal of children's poets to prose

Book market commercialization

Lack of children's books by contemporary authors

Poor translations of foreign children's literature

The problem of a shortage of children's books for teens

1.9. Poor design of children's books

In general, this is not as difficult a problem as the lack of quality texts. Today there are a lot of really well, colorfully and competently illustrated books, and the possibilities of modern printing houses allow us to make the design of children's books better and better. Of course, illustrations in children's books should be appropriate for the age of the children, arouse their interest, and not look like they are indulging in children. The work of an artist in children's books is so important that before, for example, the artist's surname was written on the cover in large letters next to the author's surname. When adults read a book to a kid, show pictures and tell them that “This is an angry wolf,” “And this is a bear,” “And this is a cowardly hare,” the content of the book is much better remembered. Good drawings develop both the memory and the imagination of the child. However, these simple design rules are not always followed. Therefore, parents should carefully look at the drawings in the purchased children's literature. One mother complained that the child was afraid to look at the illustrations of a luxurious and "thick" children's book of fairy tales. Having carefully examined the drawings herself, she saw a strangely alarming expression on the faces of all the fairytale heroes. Perhaps this is the artist's special manner of depicting faces. Let's admit. But not in a children's book! Very strange pictures come across when, in a book for two or three year old kids, her heroines - the same little girls - were depicted as looking like Barbie dolls in mini-skirts, and with breasts. eleven

It also happens that the covers of children's books sometimes do not correspond to the content at all, or the book contains such a "surprise": a dense, bright cover, but inside there are gray-yellow, rough pages without a single picture! The teachers of children with severe visual impairments also complained about the design of children's books. There was such a publicized campaign everywhere: "Books for little blind children." The action itself is, of course, a very good thing, but it is a pity that the book designers had little advice with the teachers and parents of such children. Otherwise, they would know that in the design of such children's literature it is impossible to make drawings with "unreal" colors and sizes of objects, that is, the birds in it should not be pink, and the hare is larger than a house: it is difficult for such children to see a real sparrow, therefore the book should give the most reliable idea of ​​the world around you. Even in these books, pictures of the "golden" color were used, which dazzles and interferes with the perception of an already visually impaired baby. 12 These are, of course, really sad stories. It would be nice for publishers to be more attentive to the design of children's literature, respecting their work and trying to please little readers.

Chapter 2. The state of modern children's literature in Russia

2.1. Contemporary talents of children's literature - myth or reality?
Another important question regarding children's literature is, are there really few talented children's writers right now? Or is the problem not a lack of talent, but the commercialization of the book market?
It can hardly be categorically asserted that there are few talented children's writers now, but it is another matter that it is difficult for a modern children's writer to break through the barriers of the book market. But there are also talented children's authors published, take, for example, Artur Givargizov. He, as a writer, developed already in post-Soviet times and now has a very decent circulation, various publishing houses collaborate with him - both commercial and elite. Other names are also called. This is Sergei Georgiev, this is Mikhail Yessenovsky, this is Stanislav Vostokov, this is Valentina Degteva, this is Aya en, this is Sergei Sedov, this is Boris Khan. They are published not only by elite publishers like Samokat, but also by commercial ones - Egmont, EKSMO, Drofa. That is, the circle of modern children's literature is not at all as narrow as it might seem to a person from the outside. 13
So there are certainly talented authors; it is another matter that the general public may not even know about them. Since if the author does not have a big name, his books are published in small editions. Publishers don't like to take risks. If a small print run is not sold out (and it may not be sold out for a variety of reasons that have nothing to do with the literary quality of the book), then they will not print more of this author. So sometimes very talented people are ousted from the book market.
Another thing is that many parents buy their children only what they themselves loved in childhood, and new authors are viewed with suspicion. And they have quite sensible arguments for this, for example, quite often a good text is accompanied by monstrous illustrations. And sometimes people think that no new children's literature is needed at all, since all children's literature has already been written. There are great names - Chukovsky, Marshak, Lindgren ... what else do you need? And this approach is close to the majority. Of course, among the classical children's literature there are masterpieces designed for any age, but old masterpieces are not enough. It is always more interesting for children to read about their peers, about their time. Therefore, modern children's literature is also needed.
There are two opposite points of view on the current state of children's literature in Russia. First, we have many talented authors who are capable of writing an equally talented book for children. Second, the children's book is going through a deep crisis. Since the younger generation of the country is being brought up either on old fairy tales or on translated books that are far from the Russian mentality. fourteen
Finding books by talented authors on the shelves of bookstores is not easy. Indeed, for a long time, Russian book publishing houses that publish children's literature have been publishing popular children's fairy tales in huge print runs from year to year. And, probably, they did the right thing: "Fly-Tsokotukha" and "Little Humpbacked Horse" were and are in constant demand.
Meanwhile, there are many talented authors in Russia: Andrey Usachev, Mikhail Yasnov, Marina Moskvina, Marina Boroditskaya, Sergey Sedov, illustrators Igor Oleinikov, Mikola Vorontsov, Leonid Tishkov, as well as, of course, classics of the genre Viktor Pivovarov, Lev Tokmakov, Genrikh Sapgir and a lot others. However, having visited several bookstores, it is easy to see that it is not so easy to find books by these authors. And in general, the list of children's books presented on the bookshelves cannot be called long. 15
“A children's book is more difficult to create. And children need different books. They develop very quickly, what they read at the age of two or three is very different from literature written for four or seven year olds. it should have vivid illustrations. And there are very few books for teenagers. What should they read? Arkady Gaidar, Kaverin or Krapivin? But their books were written in Soviet times and are too ideologized. And when teenagers say that no other book answers their questions like Harry Potter, you need to think about it. Writers, bookstores, and above all the state. We need to support children's publishing houses and children's authors. If, of course, we want literate and developed children to grow up in our country. " - says Nadezhda Mikhailova, general director of the Moscow House of Books. 16
The Russian Book Union, together with the Federal Agency for Press and Mass Communications, have developed a program to support publishing houses engaged in the production of children's books. But this program was never adopted. Is there a need for a state program at all? Or can you do it yourself?
As it turns out, you can. Moreover, most of the publishing houses have long been private. For example, the publishing house "Ripol Classic" decided to move away from the usual clichés and released a series "New Tales of the New Time". The first to appear in print were the works of authors who had never before tried their hand at writing books for the smallest readers. So, the director Mark Rozovsky recorded fairy tales that he once told his daughter Sasha. "Internationalist" Yuri Vyazemsky composed "The Tale of the Girl Nastya and the Evil Invisible Woman", and the writer and journalist Andrei Maksimov became the author of "Fairy Tales for You". 17
There are other interesting series as well. So, in the past few years, the Smeshariki project has become very popular. .
etc.................

Introduction

Chapter 1. Actual problems of modern children's literature, periodicals, criticism

1. The crisis of children's literature in the 80s
2. The specifics of modern children's reading
3. The problem of the creative fate of a novice children's writer

1.4. The appeal of children's poets to prose

1.5. Low quality level of modern books and periodicals for children

1.6. Book market commercialization

1.7. The Problem of Acquiring Libraries with Children's Literature

Chapter 2. Prospects for the development of children's literature and periodicals

Conclusion

Literature.

Introduction

Today in Russia there are about 40 million children under the age of 18, which is almost 27% of the total population. To some extent, they are hostages of the ongoing socio-economic reforms and especially suffer in the transition period, since they belong to the most socially vulnerable segments of the population.

The UN Convention on the Rights of the Child (1989) refers to the right of children to cultural development, education and information.

The moral, intellectual, aesthetic development of children and adolescents is directly related to the spiritual food they receive. The mass media and the book play a huge role in the socialization of a person. A child's entry into the book universe occurs primarily with the help of literature specially created for children. It is children's literature that feeds the mind and imagination of the child, opening up new worlds, images and models of behavior for him, being a powerful means of spiritual development of the personality.

Literature for children is a relatively late phenomenon in our domestic culture and the culture of mankind as a whole. It is known that phenomena of a later order are relatively mature in nature, since they are created as a result of organic assimilation of the previous tradition. In the case of children's literature, things are much more complicated. It separated for a long time and difficult from the "big" ("general") literature, as well as from educational literature. The very fact of its isolation into a certain independent area caused and causes negative assessments, and, as a result, there are still discussions in connection with the problem of the so-called “specificity”. There are discrepancies even in how to call it: "children's literature" or "literature for children." For example, Polozova T.D., who has been fruitfully engaged in the problems of children's literature and children's reading for many years, divorces the concepts of "children's literature" and "literature for children": by "children's literature" it means the creativity of children, and by "literature for children" everything that is addressed to children.

Over the past fifteen years, there has been a significant movement related to the adjustment of the circle of children's reading: works oriented towards Soviet ideology have been excluded, undeservedly “forgotten” Nikolai Wagner, Dmitry Minaev, Sasha Cherny, Osip Mandelstam, “Oberiuts” have been returned; attempts are being made to modernize the works of children's writers of the Soviet period, which are very contradictory and not at all indisputable; some aspects of the history of Russian children's literature of the 19th and 20th centuries are specified.

But, unfortunately, the main thing has not changed: children's literature has remained a peripheral phenomenon, there is no attention to its problems, there are no attempts at a modern interpretation of its phenomenon. The question of the specifics of literature for children still boils down to the repetition of truths about a dynamic plot, accessibility, clarity.

In this work, the actual problems of modern children's literature, periodicals and criticism; the prospects for the development of literature for children are considered through the study and analysis of special literature, critical articles by literary critics A. Ananichev, E. Datnova, L. Zvonareva; the results of the research of the Russian State Children's Library "Children and periodicals at the beginning of the XXI century"; analytical article by V. Chudinova, presented at the exhibition "PRESS-2006" based on the results of the round table "Children's press: state policy, realities, prospects".

Chapter 1. Actual problems of modern children's literature, periodicals and criticism

1. The crisis of children's literature in the 80s

In Soviet society, reading of children took place in conditions of a general deficit, including for children's literature (the demand for it in the 1980s was satisfied by an average of 30-35%). This speaks of the process of "social deprivation" of children in the 1960s and 1980s when they mastered literary culture. By the period of "stagnation" (70-80s), many problems had accumulated in the field of publishing children's literature. There was a general trend towards a decrease in the number of titles, while maintaining an annual increase in the average volume of books and a relatively constant circulation. So, in the mid-1980s, the indicator of the diversity of children's books in the USSR was 3 times lower than in Germany, 6 times lower than in France, and about 10 times lower than in Spain. Whole types and genres were in a chronic deficit: scientific and educational literature, action-packed (especially science fiction and adventure), encyclopedias and reference books, manuals and guides for leisure activities.

The lack of scientific, educational, reference and encyclopedic literature is fraught with the fact that from childhood the child does not form a need to work with a book as one of the main sources of information in various fields of knowledge. Insufficient publication of the best modern foreign children's literature, a shortage of children's periodicals, etc. can be added to the list of problems.

In the eighties, children's literature went through a serious crisis, the consequences of which were reflected in the work of children's writers in subsequent years.

Children's literature, swollen from the modern "wandering" conditions of life, inexorably pushes out of itself those who create this literature. Galina Shcherbakova, whose stories for adolescents and about adolescents ("Desperate Autumn", "You Never Dreamed of ...", "A Door to Another's Life", etc.) a film of the same name was shot), came out with a circulation of one hundred thousand under the auspices of the "Young Guard" publishing house, in the nineties and at the beginning of the two thousandth switched to "adult" literature. Her new, ironic - sarcastic, far from childish works have firmly entered the printing conveyor of the Vagrius publishing house.

Tatyana Ponomareva began to write less often for children, Boris Minaev, the author of the book for teenagers "Leo's Childhood" with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, the author of children's books on art, Vladimir Porudominsky, and the critic and translator Pavel Frenkel, emigrated to Germany. A former children's poet who wrote in the tradition of the Oberiuts, Vladimir Druk organized a computer magazine for adults in New York. Sergei Georgiev published a non-childish book "The Smells of Almonds", Alan Milne "Table at the Orchestra". The well-known Moscow poet Roman Sef, the leader of the seminar "Literature for Children" for students of the Literary Institute. A.M. Gorky, also switched to "adult" poetry, I mean his book "Tours on Wheels". Children's writer Igor Tsesarsky publishes the newspapers Continent of the USA, Obzor, and Russian Accent in the United States. Died critic Vladimir Alexandrov, writers Yuri Koval, Valentin Berestov, Sergei Ivanov, poet and translator Vladimir Prikhodko.

1.2. The specifics of modern children's reading

For a number of years, the specialists of the Russian State Children's Library have been conducting research on children's reading. Thus, the study "Children and periodicals at the beginning of the XXI century" analyzed a wide range of problems associated with the reading of periodicals by children.

Here are some data from this study.

The reading of children and adolescents today is undergoing significant changes. Today, among the reading public, there is an increase in the number of groups of children, adolescents, youth, among whom magazines are becoming more and more popular. However, with the seeming variety of book and magazine products aimed at this audience, far from everything is all right here.

“Disney” magazines and comics are popular among children 910 years old, and they are more popular with boys than with girls, as well as various magazines for children. Since the age of 1011, girls have been interested in various publications aimed at a female audience. Moreover, by the seventh grade, girls are three times more likely than boys to read youth, women's, and various entertainment publications, while for boys these are, first of all, publications related to sports, auto business, technical, educational and computer magazines. Thus, boys' reading of magazines is much broader and more varied than that of girls.

1. The problem of the creative fate of a novice children's writer

The article by E. Datnova "Return to the Kitchen" is devoted to this problem. Vladimir Venkin, General Director of Kolobok and Two Giraffes Publishing House, at the Second Forum of Young Writers of Russia organized by the Foundation for Socio-Economic and Intellectual Programs of Sergei Filatov, at the Literature for Children seminar, noted: “Previously, good writers from the regions had to move to Moscow for career. Now there is no such pronounced centripetal, but it is even more difficult for regional writers than before. "

The problem is that it is difficult for a peripheral author to become famous and famous. At its best

Contemporary Russian literature represents works written or first published in Russia from the mid-1990s of the 20th century to the beginning of the second decade of the 21st century. The nineties of the twentieth century went down in the history of Russian literature as a period of aesthetic, ideological, moral paradigms change, “there has been a total change in literature itself, the role of the writer, the type of reader.” (N. Ivanov) Modern Russian writers realize themselves in a variety of creative directions and genres. Contemporary prose is widely represented in the literature. Features of the development of modern prose : 1.Absolute freedom of the writer (uncensored space) 2.Transition, roll-over with the literature of the “Silver Age; 3.Genrotism (memoirs, documentary chronicles, historical novels, autobiography); 4. Dialogue of cultures; 5.Volume - the absence of a single method, style, leader; 6. Modern literature is representatives of different generations: -writers of the sixties(V. Aksenov, V. Voinevich, A. Solzhenitsyn); - authors of the 70s(S. Dovlatov, A. Bitov, V. Makanin, A. Petrushevskaya and others); -generation "restructuring"(V. Pelevin, T. Tolstaya, L. Ulitskaya, V. Sorokin, A. Slapovsky);

-young modern writers(A. Utkin, A. Gosteva, I. Stogoff, E. Radov, I. Denezhkina, etc.);

7. The key problem of modern prose is the search for a new hero. 8. Language - the key symbol of modern society - generates discursiveness, dialogicity, understatement, semantic layering. The main directions of modern prose:

1.Neoclassical (realistic) direction - an appeal to social and ethical problems of life; continues the traditions of Russian classical literature)

2. Conventional-metaphorical direction - the construction of the artistic world on the basis of various types of conventions (fabulous, fantastic, mythological); strong game start.

3. Postmodernism is a trend not only in literature, but also in all humanities - devaluation of reality, destruction of hierarchy, mixing of styles, intertextuality, game moment. Outstanding representatives: V. Erofeev, Sasha Sokolov, V. Pelevin, L. Petrushevskaya, A. Bitov and others. Contemporary poetry topics:

1.A turn to myth and its transformation (V. Orlov, A. Kim, V. Sorokin, L. Ulitskaya, T. Tolstaya)

2. Village prose (E. Nosov, V. Belov, V. Rasputin) 3. Military theme (V. Astafiev, O. Ermakov, A. Prokhanov) 4. Historical theme (B. Akulin, Y. Davydov, A. Ivanov ) 5.Fantasy theme
(M. Semenova, S. Lukyanenko, V. Rybakov) 6. "Forbidden topic" - social bottom, eroticism, mysticism

7.Political topics (A. Prokhanov "Mr. Gekson", I. Stogoff "Kamikaze", 8. Detective topics (A. Marinina, B. Akunin, P. Dashkova, M. Yudenich) 9. Female topics

A prominent representative of modern Russian prose is Lyudmila Ulitskaya , author of short stories, novellas, novels, laureate of the Russian Booker Prize for the novel "Casus Kukotsky". The genre of the story dominates in the work of L. Ulitskaya: the cycles “ Poor relatives", "Childhood forty-nine", "Girls". Features of stories: 1. the absence of a hero-narrator; written in the form of an impersonal narrative; 2. the lack of an external plot; 3. the use of the same characters (Anna Markovna, Berta, Matias) 4. in the center - female images; 5. return of heroes to the past; 6. The main interest is a private person in private life. In the center of the story "Poor Relatives"- the life of two women: Asya and Anna Markovna. They are relatives, studied in the same class, but there is a line between them. Anna Markovna is a well-to-do woman, and Asya is a poor relative, feeble-minded. Every month on the twenty-first day Asya came to Anna Markovna to ask for money. The women chatted about something, Asya listened to Anna Markovna's stories about what was happening in their house. The conversation between the heroines is tense, something is missing. Here comes the culminating moment: Anna Markovna takes out her worn-out things and hands each one separately into Asya's hands; then, as usual, Asya receives an envelope with a hundred ruble note, says goodbye and leaves. She gives money and things to a half-paralyzed old woman and shines with joy. Asya always did it secretly and took pleasure in being needed by someone. Thus, modern Russian prose is an integral system characterized by multi-genre, thematic diversity, built at the junction of realism and postmodernism.

Problems of children's literature in the XXI century.

At the present time, with the development of society and the country as a whole, we practically do not notice any shortcomings in books. Entering any bookstore, we see hundreds of counters teeming with different genres of literature. The authors of these books are also diverse, and we see many for the first time.
We do not immediately notice that despite all the abundance presented for our choice, almost a small amount is occupied by children's literature. Some may attribute fiction to children's literature, but this will not be entirely true, since fiction often adversely affects the inner world of the child, contributing to the loosening of his psyche.
Children's literature, first of all, should be aimed at the moral, intellectual, aesthetic development of children. Namely, the bookplays here is a huge role. It is children's literature that feeds the mind and imagination of the child, opening up new worlds, images and models of behavior for him, being a powerful means of spiritual development of the personality. A child's entry into the book universe occurs primarily with the help of literature specially created for children.
What can book editions offer to such a young reader today? This question is very difficult to answer, despite the ease of the task.
Of course, there are books for children, but what kind. What is hidden behind such a beautiful cover? What is the content of these tales? There are many controversies and scandals about this, because, despite the beautiful appearance, there is a lot of violence and cruelty inside the book.
Here are lines from a French book: “You must cut off my head and throw it into the sea. Make a hole in the sand and collect all the blood that will drain from my body into it. Here's a knife for you: cut calmly, let your hand not tremble. " Charles took the knife that Quantic had given him and, without flinching, cut the wizard's daughter's neck. He threw his head into the sea, and collected the blood from the wound into a hole dug in the sand. " Undoubtedly, such lines will not leave indifferent more than one parent. After all, why should a child aged 3 - 5 read bedtime stories about blood and a severed head?
Tales should be wise and kind, teach children kindness and love. Cruelty is not the best parenting tool. Most fairy tales are built on the comparison of good and evil, we can say that this is a classic scheme. The question is, how is good presented, and how exactly is the notorious evil shown? It is on this question that children's writers should ponder when starting to recreate their work.
This applies not only to children's literature, but also to children's cinema. Children of any age always do not mind watching some cartoons on television, but what is shown there now leaves much to be desired.
In recent years, cartoons from other countries have become more and more popular in Russia, displacing the Soviet "Cheburashka and the Crocodile
Gena "," Baby and Carson "," Prostokvashino "and many other good cartoons. They are replaced by "Catopes" "Arnold" "SpongeBob" - all of them not only have many drawing defects, but also do not carry any moral and educational meaning.
As for books coming from other countries, they require a fairly good translation. But sometimes, for our traditional culture, the flow of translated children's literature turns out to be controversial. This is exactly what the book "The kindest in the world" is, where the author is too free to deal with the tragic theme of death.
Books requiring literary translation should also occupy a separate place in children's literature. Translation requires no less work than writing the book itself. After all, the integrity of the plot and the transmission of the idea that the author of the book wanted to convey to himself depends on the translation.
In Russia, over the past ten years, not a single hero has appeared whose adventures it would be interesting to follow, not a single book that would touch upon the real problems of a modern child, and not a single film whose popularity could be compared with the popular love for AdventuresElectronics "Or" Guest from the future. "
It is possible to argue a lot and it is pointless that we do not have children's literature because this literature is still obliged to assert values, teach good, and there are no concepts of good today even in adult literature, which is why it is busy affirming not values, but brands. All this is true, but children's literature should not just assert values ​​head-on. Raising a child through a book is completely useless if it is well written, goodness and courage are established in it automatically. And I don't think that in Russia it was ever good with values, at all times they thought one thing, said another aloud, wrote the third, and taught the children the fourth.
Writing for children is not easy. A child will never read a predictable book: he is equally hated by the "project", "product", the programmed result. He is interested in mystery, and there is no greater mystery than the unpredictable behavior of a well-made hero.
Along with the insufficient number of books for young readers, there is always a hunger for modern stories, novels for teenagers in which they would recognize themselves, today's world. And these books would not be superficial reading, but were written so that readers “shed tears over fiction”, so that together with the characters they make moral discoveries, suffer and learn the happiness of life.
An even greater deficit in poetry books for teenagers. If we have enough poetry for kids, then there is almost no poetry that excites the soul of a twelve-fourteen-year-old person.
Let's try to imagine an adventure book based on modern materials. Just try this experiment on yourself, as if you were to submit an application to the publisher tomorrow. What will be there? Does the child catch the killer? Is the child looking for a treasure? Does a child hunt ghosts? All this has happened a thousand times, you yourself do not notice how one after another reproduce the long-played cliches. The problem is that the main occupation of a child is to rediscover the world, as if no one had visited this planet before. Therefore, it is pointless to retell the stories that have already been played out to him: Stevenson had treasures, Twain had the hunt for villains, Verne had mysterious travels, and everyone had ghosts. Today, creating a good children's book means writing brightly and recklessly about something that has not yet been written about: about the moral problems of a participant in a reality show, about an emergency window dressing, about life in a self-proclaimed mafia republic, whose independence half the world has recognized, and half the world is afraid of ... But for this you need to be keenly interested in the topic yourself.
The trouble is not that we have nothing to teach our children. The trouble is that we have nothing to explain to ourselves: the very process of creativity, always associated with the search for the mysterious and unpredictable, has been compromised and forced out of our consciousness.
Children love only what is written with enthusiasm, with the highest degree of creative freedom, but how much in our prose meets this criterion? Today, I think, the joy of creativity is known only to those very few authors who can afford to be themselves, and many others lack the vitamin of happiness - the one that a child is looking for in literature, first of all. We have forgotten how to do what we want and write what we think, but what happiness is without it?
Therefore, for writers who decide to devote their creativity to serving children, they must also learn to immerse themselves in the world that they open to children on the pages of their books. Learn to be storytellers not only for readers, but also for yourself.
A special topic among the problems of children's literature is occupied by the invasion of the adult world into the space of children's books. There were times when poetry for children was like a cozy lawn, where among the bunnies and Christmas treeswere playing children, and they had cheeks, pens, eyes, lips. The hum of the adult world did not reach this cozy lawn. Then another era came when the adult world, like a tank, drove into the children's room. As in everything, harmony is also necessary here. On the one hand, the children's world should, as a communicating vessel, feel the phenomena of adult life, on the other, in no case should it be flooded with a stream of purely adult interests.
The introduction of children to the adult world should happen gradually, and it should. Because, no matter how parents want to prolong the childhood of their child, protecting him from the cruelty of life, sooner or later the child will still have to plunge into this environment, and it is better to do this gradually, rather than by the method of a sharp leap.
Even here the book exerts its influence on this problem. Through it, you can begin to prepare the ground for the further education of the child.
So, starting from the origins of the problem, let's try to penetrate into its depth. Why is the lack of children's literature so acutely felt now? Why are books superseded by films and how to deal with it? What is the mission of children's literature and its creators today? Let's try to find answers to these questions.
Having considered preschool children, let's try to deal with older children. What kind of literature do adolescent children need?
To begin with, it is worth paying attention to what marked the beginning of the XXI century in literature.
The end of the twentieth century was driven by great upheavals. The collapse of the Soviet Union and the formation of new states could not but affect the life of society. Under the influence of these processes, there is a shift in social consciousness, which has a certain impact on the development of children's literature and literature in general.
The lack of scientific, educational, reference and encyclopedic literature is fraught with the fact that from childhood the child does not form a need to work with a book as one of the main sources of information in various fields of knowledge. Insufficient publication of the best modern foreign children's literature, a shortage of children's periodicals, etc. can be added to the list of problems.
In the eighties, children's literature experienced a seriousa crisis , the consequences of which were reflected in the work of children's writers in subsequent years.
Tatyana Ponomareva began to write less often for children, Boris Minaev is the author of the book for adolescents "Lev's Childhood" with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, to Germany - the author of children's books about art Vladimir Porudominsky, critic and translator Pavel Frenkel.
Modern writers in their works try to show new realities, which requires non-standard approaches. The heroes of the works are characters who, yesterday, were considered unworthy of being in society.
Despite this turn, contemporary children's literature has not changed its course. Its development trends throughout the twentieth century have been preserved even now. The child, as an independent person, thinking, feeling, able to evaluate the world around him, is the hero of many modern authors. Modern children's poems, stories and fairy tales are mostly easy to read and understand for the smallest readers. The basis of such works, as before, is folklore.
The heroes created by the people continue to live in contemporary works. Also in modern children's literature, the relationship between peers and adults is very widely described. This is especially welcome in modern conditions, when the frantic pace of life does not always provide an opportunity for adults to communicate with children. And such genres as children's science fiction, fantasy and children's detective stories in modern children's literature have become the most read among adolescents and answered the critics' question of what to read.
The early twenty-first century was also driven by the return of children's magazines and newspapers. "Murzilka", "Funny Pictures" are becoming favorites of the new generation. Therefore, the question of what to read to a child now is not as relevant as in the nineties of the twentieth century.
However, not everything is so cloudless. Book reviews are simply full of expressions such as plagiarism, low-quality literature, and so on. Nostalgia for Barto, Marshak, Chukovsky haunts critics. Returning to the past, you just need to think about the new and promising. Another problem of the present time is the problem that children read less and less every year. Therefore, the question is not what to read, but how and where to read it comes to the fore. Computers, 24/7 children's cable channels have become real rivals of children's books.
The recently resumed literary meetings and competitions are called upon to solve such a problem. In which the author community is offered not only book reviews, but also how to attract the attention of readers. Children's libraries support the initiatives of contemporary authors. Days of the book, celebrations of anniversaries of children's authors, exhibitions of new books and this is just a small list of those events that are held by libraries.
Literature for children is a rather specific phenomenon. It separated for a long time and difficult from the "big" ("general") literature, as well as from educational literature. The very fact of its isolation into a certain independent area caused and causes negative assessments, and, as a result, there are still discussions in connection with the problem of the so-called “specificity”. There are discrepancies even in how to call it: "children's literature" or "literature for children."
Over the past fifteen years, there has been a significant movement related to the correction of children's reading: works oriented towards Soviet ideology have been excluded, undeservedly "forgotten" Nikolai Wagner, Dmitry Minaev, Sasha Cherny, Osip Mandelstam have been returned; attempts are being made to modernize the works of children's writers of the Soviet period, which are very contradictory and not at all indisputable; some aspects of the history of Russian children's literature of the 19th and 20th centuries are specified.
But, unfortunately, the main thing has not changed: children's literature has remained a peripheral phenomenon, there is no attention to its problems, there are no attempts at a modern interpretation of its phenomenon. The question of the specifics of literature for children still boils down to the repetition of truths about a dynamic plot, accessibility, clarity.
But are the people who so sharply separate children's literature from the general stream of literature true and what can be attributed to it? As stated earlier, children's literature is separated from adult literature so that all those adult aspects that are portrayed in the books of the older generation do not invade the child's world. But it would also not be correct to believe that children's literature should be reduced only to fairy tales, science fiction and color magazines. However, this is what today's children are often passionate about.
The reading of children and adolescents today is undergoing significant changes. Today, among the reading public, there is an increase in the number of groups of children, adolescents, youth, among whom magazines are becoming more and more popular.
Despite the great popularity of magazines among children, one cannot note their practical use, because they do not carry any kind of intellectual development. Of course, there are a lot of types of magazines, but such magazines as about animals or plants are in rather less demand than magazines about princesses and typewriters, full of bright pictures and coloring.
Along with these circumstances, another no less important problem arises related to the fate of a novice children's writer. The problem is that it is difficult for a peripheral author to become famous and famous, especially since at the moment, as we found out, children's literature is not in proper demand. At best, he will gain recognition, but his books will not saturate even a small segment of the population hungry for good reading. In addition, regional publishers publish books in small editions, which, in principle, cannot cover the whole of Russia. Moscow still remains the all-Russian publishing center.
Also, a children's writer must not only find a way to publish his book, but also attract readers to it, and this is very difficult to do, because unlike magazines that attract children with drawings and pictures, the inner part of the book cannot be immediately comprehended. This is another reason for the lesser millet of books compared to magazines.
Another trend in modern children's literature is that children's poets are increasingly turning to prose: Tim Sobakin, Lev Yakovlev, Elena Grigorieva, Marina Bogoroditskaya switched to prose. Perhaps the point here is in the commercial and publishing side of the matter.
“At the very end of the 90s. the most progressive publishers finally turned a favorable look at modern children's poets - the long-awaited two-volume edition of Valentin Berestov, which became posthumous, was published, selected poems by Viktor Lunin, numerous books by Andrei Usachev in the Samovar publishing house, republished children's poems by Roman Sefa in the Murzilka magazine, the Kaliningrad publishing house "Yantarny Skaz" published two collections of poems by the Moscow poet Lev Yakovlev.
But if the masters of children's poetry are republished with difficulty, but all the same, then the newcomers here simply cannot break through. It's no secret that the commercial success of a book directly depends on the reader's demand. The question immediately arises: why is poetry not in honor today? Not only authors writing for children are now thinking about this. The time is largely to blame here, it has become too unpoetic. And what the time is, so are the customs. Or vice versa. If we recall the words of Zinaida Gippius, written in the diary back in 1904, it becomes clear that the human, reading and writing factor is no less significant than the temporal one. They are interconnected and flow into each other. Zinaida Gippius wrote: “... modern poetry collections of both talented poets and mediocre poets were equally unnecessary to anyone. The reason, therefore, lies not only with the authors, but also with the readers. The reason is the time to which both those and others belong - all our contemporaries in general ... "
The quality of modern children's literature, literature of the XXI century, for the most part, leaves much to be desired. It is not surprising that modern publishers prefer to republish works of "past years". Everything that is more or less acceptable and known for a long time has been put into the printing house and on the bookshelves - from Russian folk tales and fairy tales of Pushkin, Perrault, the Grimm brothers to what was written in Soviet times. This return to the classics reveals another problem with today's children's literature: the problem of writing a modern children's book worth reading for a child.
There are undoubtedly many advantages in the reprint of the classics: the best works of the past, the names of talented writers who for one reason or another have been forgotten, whose works have not been republished for a long time or at all, must be returned to people: the literary taste of the modern reader requires this, moreover, this is required Justice.
However, many texts are factually outdated: the names of cities, streets, nature, technology, prices have changed, the ideology itself has changed.
Today children and adolescents are guided by far from the best, but "fashionable" products in their environment; the orientation of children and adolescents to magazines with a large number of pictures, carrying information that is easy to perceive: not so much cognitive as entertaining, is increasing. Magazines aimed at psychological, pedagogical, literary development are published in fairly small circulations.
The commercialization of the book market has had a different impact on the production of children's literature and the picture of children's reading. The beginning of the development of market relations led to a number of crisis processes, in particular to a sharp decline in the indicators of the publication of children's literature.
In recent years, its production has noticeably increased, the quality of children's books has improved. Their subject matter is expanding, the design becomes attractive. The market is being saturated with children's literature, the demand for which is gradually being satisfied. At the same time, the publication of a children's book requires large expenditures in comparison with many other types of literature, and children's books become more expensive and are inaccessible to the population.
Economic hardships and a sharp decline in the standard of living of most of the population have led to a reduction in the ability to fulfill consumer needs for books. Many people, due to insufficient material resources, are forced to limit themselves in purchasing children's literature.
Today the library remains the only free source of children’s reading so far. But in the context of a constant decline in funding for book supply, the acquisition of libraries for children has worsened. More and more often on the shelves we see books that have been known to us for a long time, magazines of old editions. Children have practically no choice in the library, and the proposed copies of the long-standing period are boring and insipid. Thus, there is still a situation of "book hunger" for many children who are deprived of the opportunity to exercise their right to read.
Literature develops many abilities of children: it teaches to seek, understand, love - all those qualities that a person should have. It is the books that form the inner world of the child. Largely thanks to them, children dream, fantasize and invent. It is impossible to imagine a real childhood without interesting and fascinating books. However, today the problems of children's reading, publishing books and magazines for children and adolescents have become even more acute.
Summing up what has been said, it should be said that despite the first insignificance of the topic I raised, it has problems, and, moreover, very tangible. These problems require careful consideration and immediate solution, because the future of our children, their introduction to books and the formation of the spiritual, psychological, moral and ethical sides of life depend on this.
To close our eyes to the current state of children's literature means to take away an important part of their lives from children, to indulge in bad taste, the development of indifference and lack of spirituality among young people.
Thus, we can make a bold conclusion that there are serious problems in children's literature, the solution of which depends only on you and me. We must try to create the best conditions for future generations, because it is in children that our future, which we must take care of for now.

Actual problems of modern children's literature, periodicals, criticism

Introduction

Today in Russia there are about 40 million children under the age of 18, which is almost 27% of the total population. To some extent, they are hostages of the ongoing socio-economic reforms and especially suffer in the transition period, since they belong to the most socially vulnerable segments of the population.

The UN Convention on the Rights of the Child (1989) refers to the right of children to cultural development, education and information.

The moral, intellectual, aesthetic development of children and adolescents is directly related to the spiritual food they receive. The mass media and the book play a huge role in the socialization of a person. A child's entry into the book universe occurs primarily with the help of literature specially created for children. It is children's literature that feeds the mind and imagination of the child, opening up new worlds, images and models of behavior for him, being a powerful means of spiritual development of the personality.

Literature for children is a relatively late phenomenon in our domestic culture and the culture of mankind as a whole. It is known that phenomena of a later order are relatively mature in nature, since they are created as a result of organic assimilation of the previous tradition. In the case of children's literature, things are much more complicated. It separated for a long time and difficult from the "big" ("general") literature, as well as from educational literature. The very fact of its isolation into a certain independent area caused and causes negative assessments, and, as a result, there are still discussions in connection with the problem of the so-called “specificity”. There are discrepancies even in how to call it: "children's literature" or "literature for children." For example, Polozova T. D., who has been fruitfully engaged in the problems of children's literature and children's reading for many years, divorces the concepts of "children's literature" and "literature for children" - everything that is addressed to children.

Nikolay Wagner, Dmitry Minaev, Sasha Cherny, Osip Mandelstam, “Oberiuts”; attempts are being made to modernize the works of children's writers of the Soviet period, which are very contradictory and not at all indisputable; some aspects of the history of Russian children's literature of the 19th and 20th centuries are specified.

But, unfortunately, the main thing has not changed: children's literature has remained a peripheral phenomenon, there is no attention to its problems, there are no attempts at a modern interpretation of its phenomenon. The question of the specifics of literature for children still boils down to the repetition of truths about a dynamic plot, accessibility, clarity.

In this work, the actual problems of modern children's literature, periodicals and criticism; the prospects for the development of literature for children are considered through the study and analysis of special literature, critical articles by literary critics A. Ananichev, E. Datnova, L. Zvonareva; the results of the research of the Russian State Children's Library "Children and periodicals at the beginning of the XXI century"; analytical article by V. Chudinova, presented at the exhibition "PRESS-2006" based on the results of the round table "Children's press: state policy, realities, prospects".

Chapter 1. Actual problems of modern children's literature, periodicals and criticism

In Soviet society, reading of children took place in conditions of a general deficit, including for children's literature (the demand for it in the 1980s was satisfied by an average of 30-35%). This speaks of the process of "social deprivation" of children in the 1960s and 1980s when they mastered literary culture. By the period of "stagnation" (70-80s), many problems had accumulated in the field of publishing children's literature. There was a general trend towards a decrease in the number of titles, while maintaining an annual increase in the average volume of books and a relatively constant circulation. So, in the mid-1980s, the indicator of the diversity of children's books in the USSR was 3 times lower than in Germany, 6 times lower than in France, and about 10 times lower than in Spain. Whole types and genres were in a chronic deficit: scientific and educational literature, action-packed (especially science fiction and adventure), encyclopedias and reference books, manuals and guides for leisure activities.

The lack of scientific, educational, reference and encyclopedic literature is fraught with the fact that from childhood the child does not form a need to work with a book as one of the main sources of information in various fields of knowledge. Insufficient publication of the best modern foreign children's literature, a shortage of children's periodicals, etc. can be added to the list of problems.

In the eighties, children's literature went through a serious crisis, the consequences of which were reflected in the work of children's writers in subsequent years.

Children's literature, swollen from the modern "wandering" conditions of life, inexorably pushes out of itself those who create this literature. Galina Shcherbakova, whose stories for adolescents and about adolescents ("Desperate Autumn", "You Never Dreamed of ...", "A Door to Another's Life", etc.) a film of the same name was shot), came out with a circulation of one hundred thousand under the auspices of the "Young Guard" publishing house, in the nineties and at the beginning of the two thousandth switched to "adult" literature. Her new, ironic - sarcastic, far from childish works have firmly entered the printing conveyor of the Vagrius publishing house.

Tatyana Ponomareva began to write less often for children, Boris Minaev is the author of the book for adolescents "Lev's Childhood" with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, to Germany - the author of children's books about art Vladimir Porudominsky, critic and translator Pavel Frenkel. A former children's poet who wrote in the tradition of the Oberiuts, Vladimir Druk organized a computer magazine for adults in New York. Sergei Georgiev published a non-childish book "The Smells of Almonds", Alan Milne - "Table at the Orchestra." The well-known Moscow poet Roman Sef, the leader of the seminar "Literature for Children" for students of the Literary Institute. AM Gorky, also switched to "adult" poetry, I mean his book "Tours on Wheels". Children's writer Igor Tsesarsky publishes the newspapers Continent of the USA, Obzor, and Russian Accent in the United States. Died critic Vladimir Alexandrov, writers Yuri Koval, Valentin Berestov, Sergei Ivanov, poet and translator Vladimir Prikhodko.

1. 2. Specificity of modern children's reading

problems associated with reading periodicals by children.

The reading of children and adolescents today is undergoing significant changes. Today, among the reading public, there is an increase in the number of groups of children, adolescents, youth, among whom magazines are becoming more and more popular. However, with the seeming variety of book and magazine products aimed at this audience, far from everything is all right here.

“Disney” magazines and comics are popular among children 9-10 years old, and they are more popular with boys than with girls, as well as various magazines for children. From the age of 10-11, girls have been interested in various publications aimed at a female audience. Moreover, by the seventh grade, girls are three times more likely than boys to read youth, women's, and various entertainment publications, while for boys these are, first of all, publications related to sports, auto business, technical, educational and computer magazines. Thus, boys' reading of magazines is much broader and more varied than that of girls.

1. 3. The problem of the creative fate of a novice children's writer

The article by E. Datnova "Return to the Kitchen" is devoted to this problem. Vladimir Venkin, General Director of Kolobok and Two Giraffes Publishing House, at the Second Forum of Young Writers of Russia organized by the Foundation for Socio-Economic and Intellectual Programs of Sergei Filatov, at the Literature for Children seminar, noted: “Previously, good writers from the regions had to move to Moscow for career. Now there is no such pronounced centripetal, but it is even more difficult for regional writers than before. "

The problem is that it is difficult for a peripheral author to become famous and famous. At best, he will gain recognition, but his books will not saturate even a small segment of the population hungry for good reading. In addition, regional publishers publish books in small editions, which, in principle, cannot cover the whole of Russia. Moscow still remains the all-Russian publishing center.

1. 4. The appeal of children's poets to prose

Another trend in modern children's literature is that children's poets are increasingly turning to prose: Tim Sobakin, Lev Yakovlev, Elena Grigorieva, Marina Bogoroditskaya switched to prose. Perhaps the point here is in the commercial and publishing side of the matter. “At the very end of the 90s. the most progressive publishers finally turned a favorable look at modern children's poets - the long-awaited two-volume edition of Valentin Berestov, which became posthumous, was published, selected poems by Viktor Lunin, numerous books by Andrei Usachev in the Samovar publishing house, republished children's poems by Roman Sefa in the Murzilka magazine, the Kaliningrad publishing house "Yantarny Skaz" published two collections of poems by the Moscow poet Lev Yakovlev. For a short time, the Moscow publishing house "Bely Gorod" headed by the poet Lev Yakovlev managed to publish poems by Oleg Grigoriev from Leningrad, Muscovites Georgy Yudin, Valentin Berestov, Igor Irteniev, ”notes L. Zvonareva in her article“ Feel the Nerve of Time ”. But if the masters of children's poetry are republished with difficulty, but all the same, then the newcomers here simply cannot break through. Ekaterina Matyushkina, a young children's writer from St. Petersburg, one of the authors of the popular today book "Paws up!" (St. Petersburg, "Azbuka", 2004) (the second author - Ekaterina Okovitaya) also began as a poet. But, having received a refusal from publishing houses, she switched to children's detective prose. The book with illustrations made by the author attracted an interest in the "Azbuka" and published it with a circulation of seven thousand copies. And after the commercial success, an additional circulation was offered - an illustrative example of how it became more materially profitable to write prose.

It's no secret that the commercial success of a book directly depends on the reader's demand. The question immediately arises: why is poetry not in honor today? Not only authors writing for children are now thinking about this. The time is largely to blame here, it has become too unpoetic. And what the time is, so are the customs. Or vice versa. If we recall the words of Zinaida Gippius, written in the diary back in 1904, it becomes clear that the human, reading and writing factor is no less significant than the temporal one. They are interconnected and flow into each other. Zinaida Gippius wrote: “... modern poetry collections of both talented poets and mediocre poets were equally unnecessary to anyone. The reason, therefore, lies not only with the authors, but also with the readers. The reason is the time to which both those and others belong - all our contemporaries in general ... "

years". Everything that is more or less acceptable and known for a long time has been put into the printing house and on the bookshelves - from Russian folk tales and fairy tales of Pushkin, Perrault, the Grimm brothers to what was written in Soviet times. This return to the classics reveals another problem with today's children's literature: the problem of writing a modern children's book worth reading for a child. The one that is "much more difficult" to write and not "sinful" (A. Toroptsev). There are undoubtedly many advantages in the reprint of the classics: the best works of the past, the names of talented writers who for one reason or another have been forgotten, whose works have not been republished for a long time or at all, must be returned to people: the literary taste of the modern reader requires this, moreover, this is required Justice. Many grew up on this literature, according to the poems of Tokmakova, Barto, Blaginina, Moritz, the stories of Dragunsky, we learned to live, think, fantasize. And the reserves for further reprinting the classics are far from exhausted: there is, for example, the national literature of the USSR (Nodar Dumbadze, Fazil Iskander, Anver Bikchentaev, Nelly Matkhanova, etc.) and literature from abroad (Baum, Dickens, Lewis, etc.).

However, many texts are factually outdated: the names of cities, streets, nature, technology, prices have changed, the ideology itself has changed.

In children's periodicals, there are now a lot of magazines that disappear as quickly as they appear. This is primarily due to the commercial aspect of publishing. It is dangerous and unprofitable for authors to contact such one-day magazines, of which there are now many, - there is a risk of seeing their creations under the names of completely unknown people.

At the end of the 90s, quite worthy periodicals ceased to exist: "Tram", "Together", "Ochag", "Strigunok" and others. The quality of what is left to the lot of a modern child is often in doubt. Research results show that today children and adolescents are guided by far from the best, but "fashionable" products in their environment; the orientation of children and adolescents to periodicals with a large number of pictures, carrying information that is easy to perceive: not so much cognitive as entertaining, is increasing.

“Once upon a time”, etc.) are published in insignificant for such a huge country as Russia, with a circulation of one or two thousand copies. For example, the circulation of Children's Literature has dropped from eighty thousand to three thousand over the past 10-15 years. Some publications have gone through a major transformation, succumbing to modern trends. For example, the magazine "Rural Youth", which was once created as a rural version of the urban "Youth", has now radically changed its direction and theme, publishes interviews with pop stars, notes about youth get-togethers, posters, simple advice in personal life. Only the name of the magazine, once widely known in Russia, has survived.

1. 6. The commercialization of the book market has had a different impact on the production of children's literature and the picture of children's reading. The beginning of the development of market relations led to a number of crisis processes, in particular to a sharp decline in the indicators of the publication of children's literature. In recent years, its production has noticeably increased, the quality of children's books has improved. Their subject matter is expanding, the design becomes attractive. The market is being saturated with children's literature, the demand for which is gradually being satisfied. At the same time, the publication of a children's book requires large expenditures in comparison with many other types of literature, and children's books become more expensive and are inaccessible to the population. Economic hardships and a sharp decline in the standard of living of most of the population have led to a reduction in the ability to fulfill consumer needs for books. According to polls, part of the population refrains from buying books, including children's books.

1. 7. The problem of library acquisition with children's literature

Today the library remains the only free source of children’s reading so far. With the rise in the cost of books and periodicals, with changes in school curricula caused by the education reform, as well as with the growing needs of children in a variety of children's literature and school textbooks, the number of young readers in libraries is growing every year. In the context of a constant decrease in funding and the destruction of the old system of book supply (and the absence of a number of links in the new system that is being built), the acquisition of libraries for children has worsened. Thus, there is still a situation of "book hunger" for many children who are deprived of the opportunity to exercise their right to read.

At the round table meeting "Children's press: state policy, realities, prospects", organized by the Executive Committee of the exhibition "PRESS-2006", the goal was set to work out concrete effective steps to attract the attention of the state and society to the problems of children's publications that bring up a child's love for reading and forming the moral foundations of the individual.

Specific proposals were made to support children's literature promoting high ethical and moral principles:

· Ensuring legal protection of domestic children's publications;

· Entrance of children's literature to kiosk networks free of charge;

· Holding the All-Russian Festival of School Libraries;

· Holding conferences and seminars on the problems of children's reading in the regions;

· Resumption of the annual All-Russian week of children's and youth books;

· Establishment of insignia for socially significant publications, which will be awarded at the PRESS exhibition based on the results of the work of independent public expert councils. This idea was developed in a number of proposals for holding creative competitions within the framework of the PRESS-2006 exhibition. The participants of the round table were offered the concept of the competition with various nominations in the field of children's literature - the competition “Little Prince” - within the framework of “PRESS-2006” by the director of development of the publishing house “Veselye kartinki” Oleg Zhdanov;

· A significant addition to the list of children's publications;

· Revival of the state order for the production of children's literature and raising the status of competitions among children's writers for the selection of the best works.

· To make the publication of books for children a priority in book publishing.

Literature develops many abilities of children: it teaches to seek, understand, love - all those qualities that a person should have. It is the books that form the inner world of the child. Largely thanks to them, children dream, fantasize and invent.

It is impossible to imagine a real childhood without interesting and fascinating books. However, today the problems of children's reading, publishing books and periodicals for children and adolescents have become even more acute.

Summing up what has been said, let us formulate conclusions, which are in many respects as disappointing and serious as the problems of modern literature for children:

· Newbie writers complain about the inability to publish because publishers are not interested in them. As a result, a gap of almost fifteen years has formed in the literature for children.

· Circulations of children's periodicals are falling with incredible acceleration. And in order to avoid this, editors often resort to the help of information “routine”, succumbing to the “spite of the day” in the worst sense of this expression.

· The commercialization of the book market had a negative impact on the production of children's literature and the picture of children's reading: there was a sharp decline in the publication of children's literature; with the expansion of the subject matter of children's books, the improvement of their quality, the prices for children's books, which are inaccessible to the population, have significantly increased.

a children's book worthy of being read by a child.

· School and children's libraries contain mainly literature published in Soviet times. What was acquired after the 90s is kept in libraries in small editions and is given out for reading only in reading rooms.

To close our eyes to the current state of children's literature means to take away an important part of their lives from children, to indulge in bad taste, the development of indifference and lack of spirituality among young people.

Bibliography

1. Ananichev A., Zvonareva L. ... And we have a master class. And you? .. // Children's literature. 2003, No. 3, P. 28

3. Gippius Z. Diaries. Book. 1, M., 1999 .-- P. 239

4. Datnova E. Return to the kitchen ... // Prologue. - M .: "Vagrius", 2002, 432 p. - P. 336

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