A major problem in terms of quality is that relatively few children’s books receive
critical attention, and even fewer translations. Perhaps as a result, fundamental
questions—for example, does a particular translation do credit to the author writing in
another language?—largely remain unanswered.
Costs are also important. Translations are expensive; while the cost of scientific
translation is seldom questioned, a lack of perceived need and the size of the market for
translations of children’s literature warns publishers that they may not get a sufficient
return on their money. Some countries, such as Germany, Sweden, and The
Netherlands have agencies which will assist British publishers with translation costs.
However, in recent years the administrative paperwork for the application process has
become so extensive and complicated that it actually acts as a deterrent to increasing
future translations because the cost remains so prohibitive.
The dominant belief amongst publishers is that translations do not sell—which may
be a self-fulfilling prophecy. Why do translations not sell? What marketing strategies
have been undertaken to assure that they will? Generally, English-speaking publishers
do not expend much promotional effort on translations; awards for translations are
either not publicised very extensively or, as in the case of the American Library
Association’s Batchelder Award for the best translation published in the USA, they are
given to a publishing company rather than to the individual responsible. (This award is
not even given with the prestigious Newbery or Caldecott Awards—but the morning after!)
Only on rare occasions when a television series is based on a work in translation, such
as the Moomintroll books is there an extensive promotion.
One side-effect of the dramatic increase in co-production of picture books from other
countries is the fear that writers and illustrators will lower their cultural standards and
create works for children so general in nature that they require little if any editorial
change from one culture edition to another. With writers, this can result in the omission
of specific place references, ordinary character names, careful use of ordinary objects,
and limited specifics to cultural customs. Similarly, there is a concern that artists will
produce works so bland that they not offend any reader—unfortunately neither will they
be enriching or stimulating.
There are two major influences on the translation of children’s books: book fairs, and
the concept of co-production of books. The major purpose of a book fair is to provide an
opportunity for publishers to buy and sell the rights to books. The largest book fair in the
world is the Frankfurt Buchmesse, held each autumn, although there children’s books
are only one small aspect, and thus the impact is relatively minor. For children’s books,
the most important book fair is held in the Italian city of Bologna each spring.
Exclusively for children’s books, the Bologna Book Fair, Fiera del Libro per Ragazzi,
attracts approximately 1,200 publishers from around the world. It is the showcase of
new books as well as hosting one of the leading competitions for illustrators, and the
selling process involves a tight schedule. Because of the limited time factor many galleys
of fiction titles and folded-and-gathered editions of new picture book titles, accompanied
by a rough translation of the text, are frequently sent in advance to facilitate the
decision-making process.
The most successful titles to be sold for co-productions are picture books. The art
sells the book! Without question, editors can make decisions quicker based on a sense
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