Here and Now Story Book / Two- to seven-year-olds

by Lucy Sprague Mitchell

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 he made this his own. I tried to determine what were the relationships he used to order his experiences. Fortunately for the purposes of writing stories I did not have to get behind the baffling eyes and the inscrutable sounds of a small baby. Yet I learned much for understanding the twos by watching even through the first months. What “the great, big, blooming, buzzing confusion” (as James describes it) means to an infant, I fancy we grown-ups will really never know. But I suppose we may be sure that existence is to him largely a stream of sense impressions. Also I suppose we are reasonably safe in saying that whatever the impression that reaches him he tends to translate it into action. At what age a child accomplishes what can be called a “thought” or what these first thoughts are, is surely beyond our present powers to describe. But that his early thoughts have a discernible muscular expression, I fancy we may say. It may well be that thought is merely associative memory as Loeb maintains. It may well be that behaviorists are right and that thought is just “the rhythmic mimetic rehearsal of the first hand experience in motor terms.” If the act of thinking is itself motor, its expression is somewhat attenuated in adults. Be that as it may, a small child’s expressions are still in unmistakable motor terms. It is obviously through the large muscles that a baby makes his responses. And even a three-year-old can scarcely think “engine” without showing the pull of his muscles and the puff-puffing of exertion. Nor can he observe an object without making some movement towards it. He takes in through his senses; and he interprets through his muscles.

For our present purposes this characteristic has an important bearing. The world pictured for the child must be a world of sounds and smells and tastes and sights and feeling and contacts. Above all his early stories must be of activities and they must be told in motor terms. Often we are tempted to give him reasons in response to his incessant “why?” but when he asks “why?” he really is not searching for reasons at all. A large part of the time he is not even asking a question. He merely enjoys this reciperative form of speech and is indignant if your answer is not what he expects. One of my children enjoyed this antiphonal method of following his own thoughts to such an extent that for a time he told his stories in the form of questions telling me each time what to answer! His questions had a social but no scientific bearing. And even when a three-year-old asks a real question he wants to be answered in terms of action or of sense impressions and not in terms of reasons why. How could it be otherwise since he still thinks with his senses and his muscles and not with that generalizing mechanism which conceives of cause and effect? The next time a three-year-old asks you “why you put on shoes?” see if he likes to be told “Mother wears shoes when she goes out because it is cold and the sidewalks are hard,” or if he prefers, “Mother’s going to go outdoors and take a big bus to go and buy something:” or “You listen and in a minute you’ll hear mother’s shoes going pat, pat, pat downstairs and then you’ll hear the front door close bang! and mother won’t be here any more!” “Why?” really means, “please talk to me!” and naturally he likes to be talked to in terms he can understand which are essentially sensory and motor.

Now what activities are appropriate for the first stories? I think the answer is clear. His, the child’s, own! The first activities which a child knows are of course those of his own body movements whether spontaneous or imposed upon him by another. Everything is in terms of himself. Again I think none of us would like to hazard a guess as to when the child comes through to a sharp distinction between himself and other things or other persons. But we are sure, I think, that this distinction is a matter of growth which extends over many years and that at two, three, and even four, it is imperfectly apprehended. We all know how long a child is in acquiring a correct use of the pronouns “me” and “you.” And we know that long after he has this language distinction, he still calls everything he likes “mine.” “This is my cow, this is my tree!” The only way to persuade him that it is not his is to call it some one else’s. Possessed it must be. He knows the world only in personal terms. That is, his early sense of relationship is that of himself to his concrete environment. This later evolves into a sense of relationship between other people and their concrete environment.

At first, then, a child can not transcend himself or his experiences. Nor should he be asked to. A two-year-old’s stories must be completely his stories with his own familiar little person moving in his own familiar background. They should vivify and deepen the sense of the one relationship he does feel keenly,—that of himself to something well-known. Now a two-year-old’s range of experiences is not large. At least the experiences in which he takes a real part are not many. So his stories must be of his daily routine,—his eating, his dressing, his activities with his toys and his home. These are the things to which he attends: they make up his world. And they must be his very own eating and dressing and home, and not eating and dressing and homes in general. Stories which are not intimately his own, I believe either pass by or strain a two-year-old; and I doubt whether many three-year-olds can participate with pleasure and without strain in any experience which has not been lived through in person. He may of course get pleasure from the sound of the story apart from its meaning much earlier. Just now we are thinking solely of the content. I well remember the struggles of my three-year-old boy to get outside himself and view a baby chicken’s career objectively. He checked up each step in my story by this orienting remark, “That the baby chicken in the shell, not me! The baby chicken go scritch-scratch, not me!” Was not this an evident effort to comprehend an extra-personal relationship?

Again just as at first a small child can not get outside himself, so he can not get outside the immediate. At first he can not by himself recall even a simple chronological sequence. He is still in the narrowest, most limiting sense, too entangled in the “here” and the “now.” The plot sense emerges slowly. Indeed there is slight plot value in most children’s stories up to eight years. Plot is present in embryonic form in the omnipresent personal drama: “Where’s baby? Peek-a-boo! There she is!” It can be faintly detected in the pleasure a child has in an actual walk. But the pleasure he derives from the sense of completeness, the sense that a walk or a story has a beginning and a middle and an end, the real plot pleasure, is negligible compared with the pleasure he gets in the action itself. Small children’s experiences are and should be pretty much continuous flows of more or less equally important episodes. Their stories should follow their experiences. They should have no climaxes, no sense of completion. The episodes should be put together more like a string of beads than like an organic whole. Almost any section of a child’s experience related in simple chronological sequence makes a satisfactory story.

This can be pressed even further. There is another kind of relationship by which little children interpret their environment. It is the early manifestation of the associational process which in our adult life so largely crowds out the sensory and motor appreciation of the world. It runs way back to the baby’s pleasure in recognizing things, certainly long before the period of articulate questions. We all retain vestiges of this childlike pleasure in our joyful greeting of a foreign word that is understood or in any new application of an old thought or design. As a child acquires a few words he adds the pleasure of naming,—an extension of the pleasure of recognition. This again develops into the joy of enumerating objects which are grouped together in some close association, usually physical juxtaposition. For instance a two-or three-year-old likes to have every article he ate for breakfast rehearsed or to have every member of the family named at each episode in a story which concerns the group! Earlier he likes to have his five little toes checked off as pigs or merely numbered. This is closely tied up with the child’s pattern sense which we shall discuss at length under “Form.” Now the pleasure of enumeration, like that of a refrain, is in part at least a pleasure in muscle pattern. My two-year-old daughter composed a song which well illustrates the fascination of enumeration. The refrain “Tick-tock” was borrowed from a song which had been sung to her.

“Tick-tock
Marni’s nose,
Tick-tock
Marni’s eyes,
Tick-tock
Marni’s mouth,
Tick-tock
Marni’s teeth,
Tick-tock
Marni’s chin,
Tick-tock
Marni’s romper,
Tick-tock
Marni’s stockings,
Tick-tock
Marni’s shoes,” etc., etc.