would be willing to admit. What seems to be more logical is to set up that which is psychologically sound so far as we know it and create if need be a new literature to help support the structure.

In the presence of art, schools have always taken a modest attitude. For some reason or other they seem to think it out of their province. They regard children as potential scientists, professional men and women, captains of industry, but scarcely potential artists. To what school of design, what academy of music, what school of literary production, do our common schools lead? We are not fitting our children to compose, to create, but at our best to appreciate and reproduce.

Mrs. Mitchell as story teller in this new sense of writing stories, rather than merely telling them, is having an influence in the school which has not been altogether unlooked for. The children look upon themselves as composers in language and language thus becomes not merely a useful medium of expression but also an art medium. They regard their own content, gathered by themselves in a perfectly familiar setting as fit for use as art material. That is, just as the children draw and show power to compose with crayons and paints, they use language to compose what they term stories or occasionally, verse. Often these “stories” are a mere rehearsal of experiences, but in so far as they are vivid and have some sort of fitting ending they pass as a childish art expression just as their compositions in drawing do.

So far as content is concerned the school gives the children varied opportunities to know and express what they find in their environment. Mrs. Mitchell finds this content in the school. It is being used, it is even being expressed in language. What she particularly does is to show the possibility of using this same content as art in language. She does this both by writing stories herself and by helping the children to write. The children are not by any means read to, so much as they are encouraged to tell their own stories. These are taken down verbatim by the teachers of the younger groups. Through skilful handling of several of the older groups what the children call “group stories” are produced as well as individual ones.

We hope this book will bring to parents and teachers what it has to us, a new method of approach to literature for little children, and to children the joy our children have in the stories themselves.

Caroline Pratt

The City and Country School
July, 1921

HERE AND NOW STORY BOOK

HERE AND NOW STORY BOOK

INTRODUCTION

These stories are experiments,—experiments both in content and in form. They were written because of a deep dissatisfaction felt by a group of people working experimentally in a laboratory school, with the available literature for children. I am publishing them not because I feel they have come through to any particularly noteworthy achievement, but because they indicate a method of work which I believe to be sound where children are concerned. They must always be regarded as experiments, but experiments which have been strictly limited to lines suggested to me by the children themselves. Both the stuff of the stories and the mould in which they are cast are based on suggestions gained directly from children. I have tried to put aside my notions of what was “childlike.” I have tried to ignore what I, as an adult, like. I have tried to study children’s interests not historically but through their present observations and inquiries, and their sense of form through their spontaneous expressions in language, and to model my own work strictly on these findings. I have forced myself throughout to be deliberate, conscious, for fear I should slip back to adult habits of thought and expression. I can give here only samples of the many stories and questions I have gathered from the children which form the basis of my own stories. Suffice it that my own stories attempt to follow honestly the leads which here and now the children themselves indicate in content and in form, no matter how difficult or strange the going for adult feet.

First, as to the stuff of which the story is made,—the content. I have assumed that anything to which a child gives his spontaneous attention, anything which he questions as he moves around the world, holds appropriate material about which to talk to him either in speech or in writing. I have assumed that the answers to these his spontaneous inquiries should be given always in terms of a relationship which is natural and intelligible at his age and which will help him to order the familiar facts of his own experiences. Thus the answers will themselves lead him on to new inquiries. For they will give him not so much new facts as a new method of attack. I have further assumed that any of this material which by taking on a pattern form can thereby enhance or deepen its intrinsic quality is susceptible of becoming literature. Material which does not lend itself to some sort of intentional design or form, may be good for informational purposes but not for stories as such.

The task, then, is to examine first the things which get the spontaneous attention of a two-year-old, a three-year-old and so up to a seven-year-old; and then to determine what relationships are natural and intelligible at these ages. Obviously to determine the mere subject of attention is not enough. Children of all ages attend to engines. But the two-year-old attends to certain things and the seven-year-old to quite different ones. The relationships through which the two-year-old interprets his observations may make of the engine a gigantic extension of his own energy and movement; whereas the relationships through which the seven-year-old interprets his observations may make of the engine a scientific example of the expansion of steam or of the desire of men to get rapidly from one place to another. What relationship he is relying on we can get only by watching the child’s own activities. The second part of the task is to discover what is pattern to the untrained but unspoiled ears, eyes, muscles and minds of the little folk who are to consume the stories. Each part of the task has its peculiar difficulties. But fortunately in each, children do point the way if we have the courage to forget our own adult way and follow theirs.

CONTENT

In looking for content for these stories I followed the general lines of the school for which they were written. The school gives the children the opportunity to explore first their own environment and gradually widens this environment for them along lines of their own inquiries. Consequently I did not seek for material outside the ordinary surroundings of the children. On the contrary, I assumed that in stories as in other educational procedure, the place to begin is the point at which the child has arrived,—to begin and lead out from. With small children this point is still within the “here” and the “now,” and so stories must begin with the familiar and the immediate. But also stories must lead children out from the familiar and immediate, for that is the method both of education and of art. Here and now stories mean to me stories which include the children’s first-hand experiences as a starting point, not stories which are literally limited to these experiences. Therefore to get my basis for the stories I went to the environment in which a child of each age naturally finds himself and there I watched him. I tried to see what in his home, in his school, in the streets, he seized upon and how