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Although the Illustrators Exhibition at the Bologna Children’s Book Fair was launched in 1967, Taiwan didn’t have its first featured illustrator until 1989. The timing closely followed the lifting of martial law in 1987 when after decades of political and educational repression, Taiwan gradually began to open up and make progress towards reform. As politics opened up, all kinds of creative spheres now had freedom of thought and expression which let them flourish and become more diverse. Then as education opened up, there was a shift in the Taiwanese perspective on childhood and what it meant to produce books for young readers, so the publishing industry began experimenting with other possibilities beyond moral storytelling.

2019 marked the peak of Taiwan’s participation in the Illustrators Exhibition when Taiwanese illustrators accounted for 9 of the 76 featured artists from around the world. As of 2022, the exhibition has featured 89 Taiwanese illustrators since Hsu Su Hsia’s (徐素霞) work was first chosen in 1989. These illustrators include Page Tsou (鄒駿昇) and Cho Pei-Hsin (卓霈欣) who won the International Award for Illustration (awarded by Fundación SM, part of Spanish publisher Grupo SM) in 2011 and 2021 respectively.

If an artist’s work is featured in the exhibition and they’re able to go on and publish a full-length picture book, it usually has a substantial impact on their domestic reputation, and the relevant invitations start to pour in, such as those from government bodies involved in making picture books that relate to policy or cultural conservation. For example, the Taoyuan Government’s Cultural Affairs Department invited Ballboss and Lin Lian-En (林廉恩) to each create their own work on the topic of “Remembering Military Dependents’ Villages”. These works portrayed the communities which gradually formed in settlements that were purpose built for Nationalist soldiers and their dependents when they retreated from mainland China in 1949. In 2022, Ballboss was featured in the Illustrators Exhibition for a second time with his book Flight from Crow Cave (從烏鴉洞起飛), and Page Tsou was featured a fifth time with his work Hide and Seek (捉迷藏) which was published by the National Taiwan Museum.

There are two illustrators from the last few years whose works we particularly wanted to recommend to international readers. Both artists have been featured twice in the Illustrators Exhibition:

Liu Hsu-Kung 劉旭恭 (2015, 2018)

After creating children’s picture books for the last 20 years, Liu had already amassed a large number of loyal readers by the time his work was selected for the Illustrators Exhibition. His books were often philosophical without being pretentious and while the style was very childlike, a lot of adults also found themselves falling in love with the stories after reading them aloud. His first book I Want to Eat Durians! (好想吃榴槤) still transcends age boundaries and is widely beloved by readers. Similarly, his other books such as The Orange Horse (橘色的馬), Off to Tortoiseland (到烏龜國去), The Little Paper Boat (小紙船) and Little Mouse’s Dream (小老鼠的夢想) are all worth recommending to international readers.

Who’s Stop Is This? (誰的家到了) (featured in the 2015 Illustrators Exhibition) is a board book, which is a format that remains relatively rare among Taiwanese children’s books. Although the plot and image composition are both quite simple, there are still details that are worth exploring such as the protagonist which is a bus designed to look like an animal so that it feels kinder and a little less mechanical. The passengers get off the bus one after the other and head home, creating a steady rhythm with the kind of added variations that children enjoy. It’s a book that ultimately caters to the emotional needs of toddlers and there’s a comforting ending which leaves them feeling satisfied.

In Where Did the Ticket Go? (車票去哪裡了) (featured in 2018) the story immediately begins with a series of narrative climaxes that combine with powerful colour contrasts to make the story feel fast-paced, but the book’s ending and the way the story develops in the middle section both leave the reader with a feeling of tranquillity. Again and again, the characters are full of determination as they embark on challenging expeditions together. However, what truly stays with the reader isn’t the characters’ drive but rather the thoughtful way their determination transforms as they approach their difficult goals.  

Chang Hsiaochi  張筱琦 (2020, 2021)

Before her work was selected for the Bologna Illustration Exhibition, Chang Hsiaochi had mostly collaborated with other writers and her characters often felt like they were doing little leaps. While there was a slight cautiousness to these leaps, it was clear from her illustrations that she longed to be less constrained and have more narrative scope. After her five drawings from Waiting for Mama (等媽媽來的時候) were selected for the exhibition in 2020, then another five from Which Side is Which? (哪邊是哪邊) were selected in 2021, she developed the original illustrations into picture books where she could act as both author and illustrator. These two books and her two other titles that were published at around the same time (The Moon Today (今天的月亮) and We’ll Get There Anyway! (反正都可以到嘛)) showed just how agile her illustrations could be and how in the process she could make readers’ childlike hearts leap too.

While all four texts are extremely short, there is a joyful rhythm in reading them aloud. Moreover, with the exception of Waiting for Mama’s relatively clear-cut subject matter, all of Chang’s picture books are almost impossible for the reader to easily define. It can seem like there isn’t an underlying purpose to these books and yet they always leave the reader feeling good. And after all, what could be more important for a picture book creator than writing and illustrating works that make her happy and make her readers feel good?

Both Liu and Chang’s illustration styles tend to be unpolished in a way that feels effortless and their simplicity holds up well over repeat readings. The Illustration Exhibition has also featured Taiwanese artists whose picture books confront heavier issues. For example, Sometimes (有時候) by Ali Ginger (阿力金吉兒) (featured in 2012) poetically depicts the strength of human resilience in the face of natural disasters; Good Things (好東西) by Huang Yu-Chin (黃郁欽) (featured in 2016) creates an unusual character to get readers to contemplate nuclear energy; and Once Upon a Time, A Train Came to the Island (從前從前，火車來到小島) by Yi Wen (黃一文) (featured in 2021) confronts historical scars from a perspective of transformative justice. All of these books feature spectacular words and illustrations that make each of them significant and far-reaching in their own way.

Previous Part: https://booksfromtaiwan.tw/latest_info.php?id=127

Immigration, Interaction, Integration: Taiwan’s Newest Residents in Picture Books

The most recently arrived residents of Taiwan mostly hail from Vietnam, Thailand, Indonesia, Malaysia, and other Southeast Asian countries. While Taiwan has an Immigrant Worker’s Literature Prize to encourage native-language writing by immigrants, for practical reasons very few non-Chinese books are commercially published in Taiwan. Thus we find that picture books on the cultures of immigrant groups often adopt a third-person perspective, looking from the outside in.

Sun Hsin-Yu’s Emma, Mother adopts a child’s point-of-view to observe the life of Emma, a foreign domestic worker who juggles roles from housekeeper to nanny, even as she dearly misses her homeland. Chen Yingfan’s The Sweetness of Apples is written from the perspective of the daughter of a foreign bride from Vietnam who recounts her mother’s story. The daughter’s experiences growing non-native plants from seeds reflect her mother’s life in Taiwan, where she learns to adapt and eventually thrive on foreign soil.

Malaysian author/illustrator Maniniwei, on the other hand, speaks directly from her own immigrant experience. Her retelling of a Malaysian folk tale, Mat Jenin, published bilingually in Mandarin and Malay, gives readers an authentic taste of Malaysian culture.

While most of the above books were written and published in Mandarin, in keeping with the societal movement towards local language use, publishers are also beginning to experiment with Taiwanese Hokkien, Hakka, and aboriginal language children’s books. Animo Chen’s Love Letter is one such book, written and published in Hokkien, while the first Taiwanese Hokkien translation of The Little Prince made a splash upon publication in 2020. Current indications are that we can continue to look forward to children’s books representing a wide variety of languages and cultural backgrounds, granting young readers a larger window on Taiwan’s cultural diversity.

Animo Chen

In recent years, Taiwan’s picture book market — long dominated by translated titles from overseas — has seen a new wave of creative output by local authors and illustrators. Drawing source material from daily life, these books are an important contribution to the preservation of traditional culture, and, owing to the diverse backgrounds of their creators, they successfully highlight Taiwan’s cultural diversity.

Han Chinese authors, representing Taiwan’s dominant cultural stream, have no shortage of works that revolve around traditional culture, most often focusing on iconic subjects like local legends, festivals, and crafts. Sisters Wang Jiazhen and Wang Jiazhu collaborated on Auntie Tiger, a retelling of three ancient legends whose exquisitely evocative illustrations were accepted into the Illustrator’s Exhibition at the 2007 Bologna Children’s Book Fair. Chang You-Ran’s My Little Blue Dress, constructed around the premise of a little girl who suffers from skin allergies, introduces readers to the traditional indigo dyeing techniques of Taiwan’s mountainous Sanxia region, while also highlighting faith in regional deities such as Tudigong, the earth god, and Zushiye, the deified spirit of a famous Buddhist monk. In Beyond Dajia’s Gate, author/illustrator Ballboss, whose work has also been shown at the Illustrator’s Exhibition at the Bologna Children’s Book Fair, explores the Mazu procession, one of Taiwan’s most famous religious events, while telling a touchingly personal tale set within a rich atmosphere of village life.

MY LITTLE BLUE DRESS

Preserving and Promoting Native Traditions: Aboriginal-Themed Works

When it comes to multiculturalism, we cannot ignore the 16 legally-recognized native groups whose ancestors were the earliest inhabitants of Taiwan. The majority of the current batch of aboriginal-themed picture books answer the need for increased recognition of native culture by narrating native myths and legends, depicting the traditional way of life of various tribal groups, and exploring their relationship to the natural environment.

Lai Ma’s Gold Sun, Silver Sun blends a number of native legends into an origin myth about an archer who must shoot down the sun to save his people. Aboriginal author Neqou Sokluman’s My Grandfather the Hunter delves into the Bunun people’s affective connections to the Formosan Black Bear, using cultural transmission as a lens to understand the ecological wisdom of the Bunun ancestors. Taiwan also has non-fiction picture books on native themes, such as The Fish that Flew Across the Sky, in which flying fish serve as an entry point for exploring the culture of the Tao people.

Some aboriginal-themed picture books attempt to break out of the “cultural tour” mode of presentation. Although Phenol Boy is set against the backdrop of Pastaay, an important festival of the Saisiyat people, the moral of the story relates to the universal value of forgiveness. Constructing the narrative in this way allows the book to meet the needs of a broad range of readers, while also clarifying the intimate connection between the festival and the concept of remorse in Saisiyat culture.

Read On: https://booksfromtaiwan.tw/latest_info.php?id=128