Classic books to encourage a love of reading in children before they become lost to the internet
Earlier this month The New Yorker published a feature called Is Reading Dead? examining the impact technology, especially AI, will have on our consumption of books. Negative, in case you were wondering.
In their Strategic Plan for 2024-2028, Children's Books Ireland listed figures from the Growing Up in Ireland longitudinal study which showed that 19pc of 13-year-olds say they never read and this number increases to 53pc by the age of 17.
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Irish Examiner
05-07-2025
- Irish Examiner
Book are my business: Children's Books Ireland publications officer Ruth Concannon
Ruth Concannon is publications officer with Children's Books Ireland (CBI), which aims to help children and young people become readers for life. How did you get into your role? I did a masters in University College Dublin, and my thesis was on children's literature. I knew it was an area I wanted to explore, so I did an internship with Children's Books Ireland. When I finished that, I worked in Charlie Byrne's bookshop in Galway for a few years, and also with Dublin City University (DCU), Dublin City Council Culture Company, and the National Library of Ireland. I always kept books at the heart of it. I returned and did a masters in children's and young adult literature at DCU, then I saw this job come up, and I jumped at the chance. I am in the role just over two years now and it was a real full circle moment, because it was almost 10 years after my internship that I became a full-time staff member. What does your role involve? It's a really varied role. I lead on selecting books for review on our website and across our publications. I edit our magazine, which is our flagship publication, and our other reading guides. I help Elaina, our CEO, to select books that are highlighted on TV, radio, and in the media. I also write round-ups for various media outlets. I represent CBI when we go to the Bologna Book Fair and to YALC, the young adult literature convention, which is in London every November. I work across the team, with our comms team, book gifting and for awards submission. I track Irish-published books, to see what are the best opportunities for them to shine. What do you like most about what you do? There is something really special about finding a book and passing it on to the right reader. I get a real buzz off that, whether it is matching one of our reviewers with the right book, or showing parents, caregivers and teachers a list of books on a topic that can help them through a difficult time. It's also really great to be able to help authors get their books out there. I still work as a book doctor, so seeing the look on a child's face when they get a book, that really means a lot to me. I believe that a book can really spark something that can change the course of your life. The book clinics are great because I get to see what the children themselves are enjoying — they are incredibly honest, which I always appreciate. What do you like least about it? I'm really fortunate in that I read widely because I have to read across age groups and genres. Sometimes it would be nice to have more time to savour the books, like when you finish a book and it's so good and profound that you would like to sit with it for a while before you move on to the next. Three desert island books If I was on a desert island, a comfort read would be key, so I would bring Light a Penny Candle by Maeve Binchy. I love the way she tells stories and knits everything together, and the sense of community that you get from her books. I love listening to her audiobooks as well, because her cousin Kate Binchy reads them and she is spectacular. The next book would be The Illustrated Mum by Jacqueline Wilson, who was a very influential author on me growing up. I absolutely adored her books, and it's a treat now to revisit them, because she has started to write adult sequels, which is such a gift. The last one is likely the most important one, The Secret of the Ruby Ring by Yvonne McGrory, an author from Donegal, which came out in the early '90s. When I was about nine, my aunt got me a box of books from a charity shop for Christmas, and this was in it. It was the book that started my journey to becoming a reader; if I hadn't read it, I probably wouldn't be where I am today.
Irish Independent
04-07-2025
- Irish Independent
Classic books to encourage a love of reading in children before they become lost to the internet
Evergreens deliver for strong stories and memorable figures Earlier this month The New Yorker published a feature called Is Reading Dead? examining the impact technology, especially AI, will have on our consumption of books. Negative, in case you were wondering. In their Strategic Plan for 2024-2028, Children's Books Ireland listed figures from the Growing Up in Ireland longitudinal study which showed that 19pc of 13-year-olds say they never read and this number increases to 53pc by the age of 17.
RTÉ News
03-07-2025
- RTÉ News
Mary Lavin, J.D. Salinger and her path to The New Yorker's pages
We present an extract from Gratefully & Affectionately: Mary Lavin & The New Yorker, the new book by Gráinne Hurley. Between 1958 and 1976, the Irish American writer Mary Lavin had sixteen stories published in The New Yorker, after J. D. Salinger introduced her to the magazine. It was a prolific time for Lavin, helped in no small part by her close working relationship with her chief editor there, Rachel MacKenzie. Gráinne Hurley's debut, draws extensively from Lavin and MacKenzie's letters, offers a fascinating insight into the lives of two brilliant 20th-century literary women. When The New Yorker first made overtures to Mary Lavin in November of 1957, she was a 45-year-old widow tasked with the sole responsibility of raising her three young daughters (the youngest of whom was aged four), caring for her elderly mother and managing the family farm in Bective, County Meath. At this stage, Lavin was an internationally established writer, with six volumes of short stories, two novels and a children's book under her belt, but she had only resumed writing the previous year, following her husband's untimely death in May 1954. Lavin's creative hiatus was not due to writer's block but because, as she later explained to The New Yorker, she 'didn't think life itself worth living'. Her Atlantic editor, Edward 'Ted' Weeks, visited Lavin two weeks before her husband, William Walsh, died and witnessed first-hand the devastating effect his illness had upon her. He was doubtful 'that she would have either the time or the energy to write after her husband's death. Certainly, she did not have either now, but the difficulty ran deeper than that. She had lost faith in her ability to write.' As the family's breadwinner, Lavin relied heavily on writing for her livelihood. There was some income from the farm but the bills were beginning to rack up. In the spring of 1956 she had written to her literary mentor, the Anglo-Irish writer Lord Dunsany, about lecturing opportunities in England but he recommended that Lavin consider reading in the US instead as it was more profitable and would be a better fit for her. Dunsany gave Lavin the address for his lecture agents in New York and let her know that Curtis Brown in London could put her in touch with lecture agents in London. That summer Lavin consulted her friend Eudora Welty, the celebrated American writer from Jackson, Mississippi, about the possibility of giving readings in America. Welty advised Lavin to contact Elizabeth Bowen ('you know how she esteems you') about potential opportunities, given that she had embarked on a series of lucrative literary lectures and readings in universities and colleges across the United States. She also thought that Jean Stafford and the Anglo-Irish writer and critic James Stern would be able to give her good advice and she offered to write to the Poetry Center in New York. Lavin was a great admirer of Bowen's work and Bowen was very pleased to have finally made Lavin's acquaintance and grateful to Welty for opening up the lines of communication between them. Bowen informed Lavin that the National Concert and Artists Corporation in New York managed her readings in the US and she had 'no doubt, knowing how your work is admired "over there", that you would have an enthusiastic reception'. Bowen suggested that Lavin contact the firm directly or get Edward Weeks, Eudora Welty, Jean Stafford or James Stern to do so on her behalf. She sympathised with Lavin on the death of William, having lost her own husband, Alan, four years earlier. Bowen invited Lavin to meet her for lunch upstairs in Jammet's, the famous Dublin restaurant, on 13 September: 'I could then tell you far more about America, besides the pleasure of seeing you and being able to talk.' The two women evidently met on this occasion because on 10 October Welty wrote to see how their meeting went and expressed how much she wished she could have been present also. Lavin also reached out to the American novelist and New Yorker contributor Nancy Wilson Ross, who likewise advised her to get in touch with Stern. She raised the possibility of Lavin reading, à la Dylan Thomas, at the Poetry Center where John Malcolm Brinnin was the director. Welty duly contacted the National Concert and Artists Corporation for Lavin but the agency was non-committal about the prospect of taking on Lavin on as a client because it felt that she was not very well known in the US, having had only one book published there. In fact, the Boston publisher Little, Brown and Company had published two collections of Lavin's short stories: Tales from Bective Bridge in 1942, which won the James Tait Black Memorial Prize in 1943, and At Sallygap and Other Stories in 1947. It also reprinted her first novel, The House in Clewe Street, in 1945, which had been serialised in The Atlantic Monthly under the title 'Gabriel Galloway', and published her second novel, Mary O'Grady, in 1950. In 1957 Lavin began corresponding with the renowned American writer J. D. Salinger, best known for his 1951 literary classic The Catcher in the Rye, about potential American markets and publishing opportunities. Salinger and Lavin had never met but they had mutual friends in Eudora Welty, Jean Stafford and the theatre director and playwright John Beary, who likely initiated their communication. Although Salinger revealed to Lavin that he only faintly knew Welty, he passed word to her through friends they had in common that he and Lavin were now acquainted. Lavin was on much more familiar terms with Welty. The two women greatly admired each other's work over the years and they finally met on Welty's first trip to Ireland in 1950, while she was extending her Guggenheim-funded tour of Europe. Welty visited Lavin at her farm and the pair became lifelong friends, sending each other copies of their latest publications. Stafford was also a fan of Lavin's writing and in a letter expressed a desire to meet her on a planned visit to Dublin 'because I admire your work enormously'. She subsequently stayed with Lavin and William in Meath in 1949. Incidentally, Salinger had also been hoping to visit Ireland, but he explained to Lavin that it was no longer possible due to illness in his wife's family and also because he had returned to work that he had begun a few years earlier. Salinger sympathised with Lavin on the precariousness of a literary career and her financial situation and encouraged her to contact The New Yorker, with which he had strong ties, because it paid well. Welty and Stafford were among the many female authors, including Maeve Brennan, Mavis Gallant, Elizabeth Hardwick and Dorothy Parker, who were contributing fiction to The New Yorker at this time. Holden Caulfield, the protagonist of The Catcher in the Rye, made his debut appearance in Salinger's first New Yorker short story, 'Slight Rebellion off Madison', published on 21 December 1946. However, in 1951 The New Yorker had declined to publish an extract from the novel because 'the precocity of the four Caulfield children was not believable, and that the writing was showoffy – that it seemed designed to display the author's cleverness rather than to present the story'. The rejection did not colour Salinger's opinion of the magazine and he continued to submit stories and encouraged Lavin to do likewise. Lavin subscribed to The New Yorker and Salinger was grateful for her praise of his recent story 'Zooey', which featured in its 4 May 1957 issue.
