Dromkeen: Promoting Children's Literature as a Dynamic Art

Abstract

Dromkeen:Promoting Children's Literature as a Dynamic Art Karen Patricia Smith (bio) Prentice, Jeffrey and Bettina Bird . Dromkeen: A Journey into Children's Literature. New York: Henry Holt, 1987. Accounts of the origins of children's literature collections are few and far between and works discussing the development of Australian children's literature collections are rarer still. Juliana Bayfield's recent article in Phaedrus: An International Annual of Children's Literature Research entitled "The Children's Literature Research Collection of the State Library of South Australia," mentions several collections, but not all of the collections—even in libraries—have, as of yet, been fully identified (56). Given this state of affairs, it is most helpful to have Dromkeen: A Journey Into Children's Literature, a work by Jeffrey Prentice and Bettina Bird, which offers a general history and overview of an important collection. The primary purpose of Prentice and Bird's book is well stated in their Preface: When writing this book we had several purposes in mind: to put forward the philosophy underlying the concept of the Dromkeen Collection of children's literature, originated and put into practice by its founders, Joyce and Court Oldmeadow, to present an overview of the Collection and its associated activities; and to provide some insight into the development of Australian children's literature from colonial times to the present day . . . We have not attempted a critical work, rather we have endeavoured to present an appreciation of the creative works of the many authors and illustrators of children's books who are represented by material in the Collection. (7) What emerges is a fascinating picture of the origins of a collection and some tantalizing insights into the nature of its holdings. Dromkeen traces the conception of the idea for the collection, describes the physical layout of the premises, offers a brief overview of Australian children's literature and an account of the activities taking place at the homestead where the collection is housed. Additionally, the authors discuss the recognition awarded to the founders of the collection for their pioneering work as well as that accorded by the founders to others for excellence in the field of children's literature. Finally, the authors speculate on the future of Dromkeen as a developing project. The first chapter, "Dromkeen—The Realization of a Dream" traces the efforts of Joyce and Court Oldfellow, booksellers, to establish a place where art work could be placed on display for the benefit of children, thus enabling young people to develop a true understanding of the creative process. The steps taken by the couple to realize this dream are outlined, beginning with their business in East Ivanhoe in Melbourne in 1958, through several moves as their business and collections rapidly outgrew available space and culminating in the purchase of Dromkeen Homestead in 1973. This relatively brief chapter is just long enough to give the reader an understanding of the motivations of the founders, the initial difficulties of such a project, and the dedication with which the owners relentlessly pursued their dream. Chapter Two, "The Fascination of Dromkeen—A Home for Children's Literature," discusses the major rooms in which the collection is housed and some of the high points of the collection. It is here that the reader begins to realize that the illustrations are among the book's strong points. Prentice and Bird have endeavored to present clear and often entrancing examples of the current holdings (as of January 1, 1985) of the collection in black and white as well as in color. A wonderful painting by Outhwaite, one of Australia's most well known illustrators, hangs in the Red Room. It shows a delicate fairy in the Victorian style, riding on the back of a bat. (The drawing was also featured in a poster sold in conjunction with the collection's traveling exhibit in Australia during summer 1988). This is a previously unpublished painting which amply illustrates one of the great values of the collection, that is, that it provides unpublished and/or pre-publication materials not available in other places, for viewing by the public. Another illustration also in the Red Room shows a marvelously delicate design done...