Ai đó dịch hộ với ạ A huge portion of my early childhood memories is rather patchy and fuzzy where I barely recall the names and faces of my kindergarten teachers or classmates. But the only thing that still stayed on with me from that period was the stories by Enid Blyton.
I could proudly say that I grew up with Blyton’s characters who accompanied me from my adolescence years well into my mid-elementary school years because her stories had varying levels of difficulty that catered to a wide group of readers.
For myself, this author opened up my young impressionable mind to different worlds, worlds that were magical and also culturally different. For example, boarding schools are not common options in Singapore because for a tiny island like ours, my elementary school was only a 15-minute walk away from home. Yet through the Malory Towers series, I knew more about how other children lived in other areas of the world.
As compared to watching cartoon, her stories left children much more room for imagination and creative thinking. I conjured images about how Moon-face and Saucepan Man from the Faraway Tree series might look like and what color would an elf’s clothes be. In my mind, elves were never as raggedy as Dobby in Harry Potter or as suave as Legolas in Lord of The Rings. Instead, they were diminutive in stature, slender with sharp ears and friendly almond eyes wearing grey clothes.
After more than a decade of outgrowing Blyton’s books, I am deeply and truely impressed that she was able to articulate thoughts suitable for a child. Being an author or writer, it is imperative to write in a way clearly understood by the readers. As such, children authors need to simplify their thoughts and articulate using grammar and vocabulary appropriate for different age groups. As an adult, one could imagine the difficulties to be a children’s author, much less a successful and timeless one for requires us to stop thinking like a grown-up and adopt the children’s psyche.
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