Editorial

Dear Bookbird Readers,

When I was in my early teens I ran a publication together with my sister and some other kids. We called it Det Sämsta (literally “the worst”), a reference to Det Bästa (“the best”), the Swedish imprint of Reader’s Digest. My sister contributed ghost stories, a boy next door came up with tall tales and crazy jokes. We also had a section where the boarder students and resident teachers at Kjesäter Folk High School (Sweden), where we lived, would advertise things to sell or buy. The printing was done on a Xerox-machine, and we sold 30-40 copies of it to the students at 1.50 kronor per copy. Det Sämsta was issued “erratically” as it said on the cover, but usually we would manage to do three to four issues per year. My role in all of this was to be the editor, a task I took very seriously. In my editorial I regularly complained about the cost of printing, and introduced and reviewed the rest of the contents of the journal.

Almost forty years later and many publications later (both as writer and editor) I am experiencing the same kind of thrill with my first Bookbird that I had when writing, drawing and assembling that first issue of Det Sämsta. On one level that first juvenile publication also points to concerns that are essential to Bookbird: how do we make children into readers and writers, creators and critics? Admittedly, instead of a children’s publication created in a very specific and localized school setting, Bookbird flies all over the world, and its flock of contributors and readers nest in every country. And rather than deciding things because I am the oldest of the gang as with Det Sämsta, I am managing an international network of professionals (writers, academics, publishers, administrators etc). But the excitement is the same. How will the different texts and illustrations work together? What will be the effect of the journal as a whole? How will it be received?

Bookbird is a unique publication in its blend of different text types, ranging from weighty academic essays to brief, inspiring “postcards”. It is also a journal with a long history. To get to know all aspects of Bookbird you need support and advice from people who have been involved with the journal for a long time and care for it. Previous editor, Roxanne Harde have tirelessly answered my many emails and helped me in more ways than I can account for. I am deeply indebted to her, as well as to her long time designer, Bill Benson. The President of Bookbird Inc, Valerie Coghlan, has also assisted me throughout the whole transition process and given me invaluable advice on things to do with the publication. Liz Page and Luzmaria Stauffenegger at the International Office have backed me up too on many occasions, and given me feedback whenever needed. Finally, the Bookbird board has provided necessary input on a number of occasions as well, not least in connection with the IBBY Congress in Mexico City 2014. On that occasion I also benefitted from meeting the Bookbird correspondents as well as the IBBY executive committee, and numerous individual members. I am looking forward to fruitful collaboration with you all over the next couple of years!

As for this first issue I am happy to introduce Mats Hedman, the new graphic designer, and Jasmin Salih, the new copyeditor. Zoe Jaques is my co-editor for the themed articles of this issue. I refer to her introduction to “Machines, Monsters, and Animals: Posthuman Children’s Literature.”

Björn Sundmark