In the editorial, Tuula Korolainen notes that, although more Finnish children’s and young adult books are published than ever before, series sell better than works by individual authors. Of translated literature, book club books – especially Disney products – top the sales charts. 

According to a recent survey, awards boost the sales of books, whereas nominations have no effect at all. Päivi Heikkilä-Halttunen has interviewed the winners of the 2006 Finlandia Junior award, Timo Parvela and Virpi Talvitie, who have had similar experiences. There are too few awards, they claim, especially for illustrators. There ought to be more profiled prizes and more funding for the production of children’s culture and for the social security of authors and illustrators. Tuula Korolainen, who describes her own Finlandia Junior award year, also comments on how seldom the longer state artist grants go to those who produce children’s literature.

Terhi Rannela has interviewed Kirsti Kuronen, who is the author of the popular and humorous Vili Voipio series about a teenage boy. Kuronen says that she regards Vili as an individual rather than as a boy, since his problems are not specifically gender related. Kuronen has been inspired by her own son’s life. In addition to this, she gathers what she hears, sees and reads in scrap- and notebooks. Her unfulfilled dream is to some day earn credit also as a poet. 

Terhi Rannela has interviewed three authors of girls’ novels: Rauha S. Virtanen, Tuija Lehtinen and Kirsti Ellilä. All writers agree that the present-day girls’ book has to depict current issues, yet problems must not be introduced by way of force. The story should be good, many-layered and offer girl readers a window into the future. Humour is also very important.

In her article, Heli Katajamäki takes a look at cleaning in picturebooks for children. At home one may disagree about these matters, but ideals of and disputes around cleaning are also part of children’s books. Katajamäki claims that picturebooks give an idealised image of cleaning, which does not always correspond with everyday reality. Cleaning is depicted as a fun activity in which children gladly partake. In this way, the books communicate what is socially and culturally acceptable behaviour. Still, there are books that upset these ideals. Some books even feature yelling and whining, thereby initiating discussions on norms and conflicts.

Antti Immonen takes a closer look at Aisopos. He expands upon the nature of the fable and concludes, for example, that, since they blur gender boundaries, Aisopos’s fables and animal stories are excellent children’s literature material. The creators of fables have therefore, perhaps by chance, contributed to furthering equality. In most of Aisopos’s stories animals communicate naturally with each other. Yet, the popularity of fables, which has lasted for thousands of years, results from the animals not being humanized in too serious a manner. Humour is still part of the fables’ attraction.

The Savonia-award has been given to Marja-Leena Tiainen for her young adult novel on refugee matters: Alex ja pelon aika (Tammi). Anna-Liisa Haakana has received the living classic Kirjapöllö-award for her young adult novel Ykä yksinäinen (WSOY). Camilla Pentti was given the Rudolf Koivu–award for her illustrations to Tomi Kontio’s book Lehmä, jonka kyljessä oli luukku (Teos).

Translation: Maria Lassén-Seger