"After the first line . . ." Matilda W. Welter It is a truth universally acknowledged that familiarity with poetry will benefit a child, and indeed children themselves, not always inclined to acquiesce in their elders' opinion of what is good for them, show an instinctive readiness for it. Many excellent books are available to children now. What are publishers doing to replenish the supply? An informal count of the children's books published in 1981 (based on list ads in the Spring and Fall Announcement issues of Publishers Weekly, excluding mass market and paperback books) reveals that of the year's total of 1187 books poetry accounts for 21 titles—less than 2%. Eight of these books are collections of original verse by established writers, seven are anthologies, and six are heavily illustrated "traditional" - that is to say, public-domain - material. (All of these last were scheduled for fall publication and seem to have been designed as holiday gift books.) A somewhat more optimistic impression is given by the ABA/CBC list of best sellers of 1981: of 333 titles (backlist as well as current), 17 are poetry. Fourteen of these, however, are "traditional" works; the reamining three are by Dennis Lee, Ogden Nash, and Shel Silverstein. Not an encouraging prospect for new poets. On the other hand . . . .A reporter covering a writers' conference summarizes the remarks of a speaker giving tips on writing children's verse: "It is easy. Just get a book out of the library and learn to count syllables so the verse will scan." The speaker describes how she gets in the mood to "catch a poem": all she has to do is look at a coffee-table book or a photography book, and usually a first line will come to her. "After the first line, the rest of the poem is pretty easy." In fairness, one must add that the next issue of the publication in which this speech was reported contained an indignant letter to the editor from another writer repudicating this approach, but all too often verse submitted for publication has been written in precisely this mode. Not an encouraging prospect for publishers, either. Good poets are rare. A journeyman piece of nonfiction can fill a need; a lightweight novel can provide a few hours of distraction; but a mediocre poem serves no purpose. Should there not then be more anthologies, introducing children to writing of genuine quality? The compiler's craft is a subtle one, not always appreciated. Standards here should be as high as those for original work. Recycling out-of-print material with glorious new illustrations can make for a handsome gift book but it is apt to do more for the artist than for the reader. It took a Helen Plotz to perceive "Imagination's Other Place"; too many compilers have been content to reshuffle old chestnuts. What then of the poetry that children themselves produce? Much has been written on this subject by poets and teachers. Being neither one nor the other, I hesitate to speak. But I will: it seems to me that such books are meant for the classroom, not for the child. It is better for a child to write his own poem than to read the works of his contemporaries - or even to see his own work in print. Walking one day on a city street I found myself following two angry small boys. "You never told me!" "Yes I did!" It was clear that a major issue had arisen between them. Suddenly the accused burst forth: "I did so tell you. I told you once, I told you twice, I told you chicken soup with rice!" Diverted at once from grievance, his friend replied, "That's my favorite book." Their quarrel forgotten, reconciled by a shared rhyme, the two broke up in giggles There is no knowing when or how poetry may impinge on a child's life. Poets and publishers both must be alert to the moment. Click for larger view View full resolution [End Page 47] Matilda W. Welter Houghton Mifflin Company Copyright © 1981 Children's Literature Association