Suvremena američka spisateljica Janis Crockett (r. Ukiah, Kalifornija, živi u Texasu) dosadašnjim radovima dijelom je danas u SAD-u izrazito pregnantnog književnog pravca koji gotovo autobiografskim fabularnim linijama traga za istinom, pretvarajući njihova djela u poučne moralističke kompendije diskretne i pitke evangelizacijske pozadine. Dušobrižnički, u priču se uvijek unosi preciznu sposobnost uočavanja onog što zaista tišti u dubini srca svakog pojedinca Zapada – suočavanje s nedostatkom ljubavi za čovjeka, (ne)pristanak na evidentne odsutnosti nepatvorene simpatije i sućuti. Što bi doslovno i bila tema njezine (reprezentativne) knjige “Unanswered Prayers” (2017., prevedena/publicirana na hrvatski naslova “Neuslišane molitve”). U razradi, roman je ispovjedna proza s glavnom junakinjom/protagonisticom etičkih principa te religioznih težnji i osjećaja, koja vjenčanjem i općenito ljudskim konekcijama, suodnosima prolazi kroz razdoblja traženja i protivljenja banalnostima i grubostima kako bi život definirala punom svrhom, zaokruženim značenjem. S potonjom perspektivom – pokrićem zrele otkrivačke osjetljivosti za bezbrojne modele dvojbenih karakternih i duhovnih frivolnosti suvremenog čovjeka – ključne zasade vlastitih tematskih preokupacija Janis Crockett dopadljivo i dojmljivo utkala je u seriju slikovnica za djecu (od kojih je “Suzin poučak o slobodi” prvijenac), čime njezin literarni portfelj ima rejting kontinuiteta, prepoznatljivog rukopisa, premda žanrovski posve nove smjernice.
Prisjećajući se događaja iz vlastitog života (odnosno života bližnjih i najmilijih) “Suzin poučak o slobodi” govori nam o svemu onome što može oplemeniti međuljudske odnose, a obzirom na to da je glavna poluga promatračkog pristupa ovaj put ilustrativna poletnost dječjeg svijeta, prije svega, autorica fabulistički fokusirano ispituje kako pronaći sreću i radost u svijetu mnogih izazova nesrazmjerno stavljenih pred ovovremenu djecu već u najranijoj, krhkoj dobi. Prva u nizu slikovnica otuda, svakako ne slučajno, bira – kao smjerokaz, vodilju zbivanjima – fenomen odgovornosti. Koristi taj životni poučak (pored tipično „dječjih“ poticaja što rese svaku knjigu za taj uzrast: igra, radost, prijateljstvo…) polaznom zadužbinom roditeljskog naukovanja. Izvjesno, u nekim drugim vremenima (i svjetovnim, društvenim prilikama) na mjestu odgovornosti mogla bi biti i neka sporednija edukativna baza i podloga, no u današnjici kakva jest, taj se izbornik čini prvorazrednim. Zašto? Poznato je da djeca imaju radoznalost i spontanu, otvorenu fascinaciju prema svemu što ih okružuje, da im kretalačka putanja nedužnog duha s nezatomljenim čuđenjem i veseljem prilazi svakoj senzaciji i fascinaciji, što ih posljedično čini vedrim plijenom mnogobrojnih zamki doba medijskih spektakala, gustih zabavljačkih i maštalačkih potencijala. Odista, takvo prizorno iščitavanje nudi nam prva zgoda djevojčice Paige, koja cjelini slikovnice centrira doživljajni smisao. Naime, Paige se bez znanja majke ušulja u roditeljsku sobu te isprazni maminu kozmetičku torbicu, isprobavši pritom do krajnje iskoristivosti sav asortiman make-upa, sjajila, sjenila, maskara, rumenila, lakova, nakita… Dakako, tu epizodu razvojnog dječjeg iskustva netko lakoćom može nazvati simpatičnim pothvatom, no u eri neetičnog medijskog marketinga gdje se djeca reklamama od najranijeg uzrasta nastoje formirati u samomislećeg i samoodrživog konzumenta, forsirajući preskakanje djetinjstva u korist „odraslog“ poimanja vlastite pozicije u društvu – iz te vizure, odgojna reakcija majke u smislu „zabrane izlaska“ do daljnjeg i više je nego racionalna. S druge strane, pred nama je dječja slikovnica i potrebito je čitalački razumjeti, adekvatno spisateljski prenijeti složenost dane prilike nauštrb kompleksnih raščlambi preobrazbe subjekta zapadnjačke civilizacije u samoživi estetski objekt, to jest, uvjerljivošću prepustiti se praćenju istančanih i duhovitih skica, ljupkom odgonetavanju kako odgovornošću spriječiti raznolike i nikada posve predvidive životne (ne)prilike. Uvodna zgoda stoga otkriva za radnju (i serijal) ključnog dražesnog protagonista – mačku Suzi. Glede dječje književnosti ikonografski obrazac (kućnog ljubimca) odmah je refleksivno dopadljiv, ali i model za umekšavanje mogućih ozbiljnijih, oštrijih impulsa i poruka. Budući da su svi aktivatori, žarišni pripovijedni indikatori (dva glavna junaka i udes – “zabrana izlazaka” – koji ih nerazdruživo spaja) zauzeli zadana mjesta, poučak može početi.
Sjetna zbog „zabrane izlazaka“ Paige se povjerava svojoj mački Suzi, naglašavajući kako mora prekrasno biti upravo mačka jer su one poznate po samostalnosti i težnji slobodi bez podvrgavanja nametnutim pravilima. Živahnost, nepredvidljivost, slobodoumna tvrdoglavost najčešće su osobine koje pripisujemo mačkama te je Suzi idealna prijateljica Paige za poentiranje naukovanja osnovnih etičkih vrednota u formativnoj dobi. Jer Suzi blagonaklono akceptira dječju udivljenost Paige naspram mačje vragoljaste neukrotivosti, međutim, slijedom niza avantura Suzi objašnjava Paige da nije zaludu poznata izreka mačke imaju devet života, iliti ona druga znatiželja mačku došla glave. Alegoričnost u sadržajnom sloju u potpunosti je zbližena s dječjim nazorima: ispod razigranih pustolovina šarmantnim mačjim ispovijedima (srođavanje s likovima) ponuđene su mudrosti o srazu mogućeg i odgovornog. Drugim riječima, kako tekstom tako i ilustracijama svjedočimo kadrovima koji služe autorici svojevrsnim svjetonazorskim ravnalom u zagovaranju odgovornosti. Ovo je pažljivom postupnošću i dojmljivošću razvijeno u priči posve prijemčivo i komunikativno. Ekonomičnim i spisateljski discipliniranim pristupom redaju se sadržajne nestašnosti kad Suzi podlegne napasti lutanja gradom, pentranja na visoko stablo, kušanju miša… gdje je uvijek vrednota odgovornosti mogla prevenirati opasno iskušenje izazivanja rubnih stanja nerazboritosti odnosno lakomislenosti. U tim duhovitim minijaturama, pothvatima nudi se zabavna ali i opominjujuća priča istovremeno (poetički narativ posebno je naglašen pridodanim slikovnim imaginarijem – ilustracijama – kao bitnim obilježjem fikcionalizacije). Uporno se tumači i plete nit s porukom da sloboda bez odgovornosti može zavesti, usitniti do neprepoznatljivosti čak i dobru, nedužnu namjeru (koliko je samo ta izborna sklonost prisutna danas u svijetu efektne i bezgranične virtualne ponude za sve generacije, za sve ukuse i težnje, štoviše, kad je ljudskom biću zajamčeno biti sve osim krotak i moralan = odgovoran).
Da mladi čitatelj može razumjevalački izvući najkvalitetnije značajke Suzinih poučaka – pobrinuo se zaključak priče. Dirljiv trenutak majčinske posvećenosti i pažnje Suzi prema vlastitim mačićima uvjerljivo ukazuje da ljubav uključuje i iskreno zatomljavanje zovu nezajažljive radoznalosti nasuprot pouzdanog i valjanog zanimanja. Zbilja, u očekivanju njihove đavolaste mačje nepokornosti kako rastu, Suzi zna da im otvoreno dociranje hoće djelovati sputavajuće, no dugoročno takva obzirnost nedvojbeno je dobronamjerna.
Slikovnica Janis Crockett je dinamična, aktualna i jasan uvid da čovjekova kratkoročna htijenja, koliko god zanesenost zavodljiva bila, nepromišljeno i prebrzo izgaraju spoznajne resurse, ostavljajući iznenadno pojedinca u opasnosti bespovratno izgubljenog vremena. “Suzin poučak o slobodi”, mada prvi iskorak u žanr dječje literature, potvrđuje autentični, prepoznatljiv literarni iskaz Janis Crockett: sažeto, sugestivno i konkretno životno pričanje izravne moralne konkluzije. I naposljetku, odlukom da upravo živi kućni ljubimac (mačka) – u epohi zagovaranja i nuđenja sveznajućih i svemogućih digitalnih servilnih surogata – bude privrženi, smisleni i svrhoviti prijatelj djevojčici u nedaći, jamac je poželjnosti uživati u novim nastavcima.
The contemporary American writer (born in Ukiah, California, living in Texas) Janis Crockett is, with her currently published works, part of a (today especially in the U. S.) very substantial literary genre; searching for the truth through a semi-autobiographical story/plot, a way of writing that turns every aspect of a book into a morally instructive summary, full of discrete Evangelical background. Emphatically, in the storyline there is always a clear quality of catching the facts of life, the burden that heavily lies deep down in the heart of every Western world individual – that is to say, disagreement with the lack of love for a human fellow, separation from an evident absence of genuine sympathy and compassion. And that is the core motive of her representative book “Unanswered Prayers” (2017). The confessional prose novel with a main (female) character of high ethical principles and religious feelings that – after her marriage, and generally all the usual human connections – goes through periods of (inner) search and unwillingness for life’s banality, roughness, just to define her living according to a real, fulfilling, decent purpose.
The author’s perspective is obvious – a mature analytic sensibility for the dubious spiritual and character variety, frivolity in the modern world – so now, one owns literal and artistic preoccupations Janis Crockett has attractively and impressively adopted for her children’s book series. With the first in line (“Suzy’s Freedom Lesson”), Janis Crockett’s literary portfolio is, of course, continuous, although it recently embraces a quality span, a brand new genre.
Remembering some events from her own life (the life of her family per se), “Suzy’s Freedom Lesson” talks about everything that could dignify and elevate interpersonal relationships, especially when the primary observable approach to the book is the enthusiastically illustrative world of children. How to find happiness and joy in the contemporary world of unquestionably enormous challenges put in front of every child, even at their most fragile age – is the main literary focus for Janis Crockett. That’s why, no coincidence here, she chose responsibility as a methodology approach for all the events, happenings in “Suzy’s Freedom Lesson”. The usage of that particular lesson (hand in hand with all the other typical children motives like friendship, joy, happiness…) is also a fundamental, universal part of upbringing and parenthood. Undoubtedly, during some other era (some other social circumstances) instead of responsibility, we would have had a different, minor educational base for the topic, but for the present reality this is a first-class selection. Why?
Well, it is common knowledge: kids are curious, spontaneous, open for every fascinating occurrence around them, their innocent spirit full of life and energy will grab any kind of sensation, therefore, they are an ideal prey for so many traps and tricks in the age when media spectacles, entertainment and virtual imagery aggregate such a strong potential. Directly in terms of “Suzy’s Freedom Lesson”, that is the scenery for (and from) the very first story with a little girl Paige, a leitmotiv momentum for all the consequent events in the book. Namely, without an approval, Paige sneaks into her parents’ bedroom just to try every cosmetic product and jewelry item from her mother’s handbag. Of course, her mother’s punishment for her make-up princess is – grounding, “time out”. Surely, at a formative age, someone easily could designate this episode as a pure, charming endeavor, but at the time of unethical media marketing strategies (the agenda is to make children self-defining consumers) forcing them to skip their childhood in favor of a socially grown-up auto-perspective is rather doubtful – well, from that viewpoint, the mother’s educational reaction, “time out”, is quite rational.
Meanwhile, here is – a children’s tale in front of us; every complex aspect of the storyline must have a readable inclination, however important it is to elaborate the transformation of the Western world individual to a barely viable aesthetic object. For every child, what is persuasive and conceivable must be the effort to puzzle out, figure out the meaning of responsibility, how to (with responsiveness) prevent plenty of unpredictable misadventures.
As for that, the prelusive story reveals (overall in the series) an essential (and tricky lovable) protagonist – Suzy the cat. Regarding children’s literature, a well-known iconographic paradigm (pets) instantly and reflexively is appealing, attractive, moreover, catching model for softening the possible, potentially serious impulses and messages.
Since all the plot promoters, story indicators (two characters and the allotment – “time out” – that connects them) are here, the lesson can begin.
Gloomy because she is grounded, Paige, in a confessional mood, points out how happy every cat in the world must be for their independence, unstoppable freedom aspiration in spite of rules.
Lively unpredictability and broad-minded stubbornness is something we often connect with cats, so Suzy is a perfect friend for Paige, considering learning basic ethical values at a formative age. And yes, Suzy benevolently accepts the child’s admiration for the cat’s mischievous intractability, however, through the described adventures, Suzy explains to Paige that popular sayings “curiosity killed the cat” or “cats have nine lives” aren’t to be taken for granted.
The mentioned allegory is according to kids view of life: underneath playful adventures – kitty’s charming confessions – we have a wise confrontation of the possible and the responsible. In other words, through the text and illustrations the reader witnesses the scenes used by the author as a meaningful frame for the advocacy of responsibility.
In terms of creativity, this is organized gradually, therefore impressively, with a lot of sense for the communicative part of story development. With an economical writing style and metaphor discipline all Suzy’s mischievousness is in a line up: ramblings through town alleys, climbing high on the tree, tasting the mouse…, and every time the value of responsibility could prevent temptation, foolishness, lightheadedness.
The amusing miniatures are fun to read, yet nevertheless, with a warning tone at the same time (visual imagery is an important part of fictionalization).
The page-after-page knitting of the message that freedom without responsibility is capable of seducing every good, even innocent intention to become unrecognizable – is dedicated (rightly so, in a world where spectacular virtual offer for every generation is infinitive, where taste and desire are guaranteed, while the gift of solace, morality and responsibility are so absent).
For a young reader, by understanding to extract the best feature of Suzy’s Freedom Lesson – conclusion is high point. Touching details of the cat’s motherhood, devotion and care for little kittens convincingly put love above temptation, above curiosity cry: insatiable merriment is empty without a true, reliable interest. Indeed, expecting devilish behavior as they grow up, Suzy knows how rebuke can cramp desire, but in the long run scrupulosity is undoubtedly an act made in good faith.
Janis Crockett’s book is a dynamic, current and clear insight that short-term volition, howsoever attractive rapture is, burns out many noble resources, finally leaving everyone in danger of irrevocably lost time. Although the first step in the children’s book genre, “Suzy’s Freedom Lesson” confirms Crockett’s authentic, recognized literary signature: concise, suggestive and concrete narration with a direct moral conclusion. Last but not least, the idea that a perky home pet (cat) – in the era of unavoidable omniscient digital surrogate – is a loyal, profound and purposeful friend to a little girl in misfortune, verifies (the readers’) impatient sensations considering their new adventures in the next book.
