Kathy Kozlowski is the winner of ABIA Pixie O’HarrisAward 2019, which recognizes representatives from all areas of the children’s
literature industry who have worked consistently in this field, have
‘demonstrated commitment beyond the call of duty and who have developed a reputation
for their contribution.’ Kathy is also the recipient of the Leila St John Award
2019. After 52 years in the children’s book industry, she has been the
instrument of progress and innovation in her field. She is currently Readings
Kids Specialist Bookseller.
A little overwhelmed by the awards she’s received
for doing what she loves, she spoke with Anastasia Gonis about her life in
children’s books.
Congratulations Kathy, on your double award!
How
do you feel about winning these awards? Will this acknowledgement have any
specific impact on your life?
Of course I am a bit chuffed to have won them
but also surprised. I have been just a children’s book specialist with all the
interesting things that brings with it! A rich life, but I have not done
anything outstanding. I am just a little worried now that people will expect me
to be better than I am.
Your
first job in books was in 1967 as children’s librarian. What decision brought
you to this point which was the beginning of a glowing career?
Sitting round with friends at university reading
Winnie the Pooh to each other made me
realise that working with children’s books could be desirable and studying
librarianship could be a good way in. I intended to take both the archives unit
and the children’s libraries one and decide between the two, but they were
timetabled to clash, so I chose the latter. It’s a decision I’ve never
regretted.
You
have been a bookseller, a rep and a dedicated volunteer for the CBCA Victoria.
What other areas connected to children’s literature have you ventured into?
I was a manuscript reader for Puffin books for
some years where I was fortunate enough to work for Robert Sessions who was
inspirational and had an uncanny ‘feel’ for a good picture book.
Can
you share with us the story of The Bunyip
of Berkeley’s Creek and how it unfolded for Jenny Wagner and Ron Brooks?
I did not have any input into its creation, but
was at a conference in Sydney where I happened to sit next to someone called
Jenny Wagner. In the course of the conversation she told me of a picture book
she had written illustrated by Ron Brooks. It was about to be published by a
small, mainly photographic publisher, Childerset, with whom she worked. When I
saw it I got in touch with Bob Sessions urgently and told him how brilliant it
was and that he must get in touch with them immediately. Through him it was
published by Longman Young Books (Penguin’s then children’s hardbacks division)
and Childerset. It was, of course, a
huge success. In fact that first edition had a mistake none of us picked up.
The female wallaby, joey clearly visible, 'finished his drink and hopped off'.
What
about your valuable input in Zana Fraillon’s work, No Stars to Wish On? Would
you like to share that with us?
Zana used to come to storytime at Readings with
her young sons and one day told me of this book she was writing about a young
boy in a Central Victorian children’s home. I read it and was hugely impressed
with her talent though I didn’t like everything about the book. So I put her in
touch with Sarah Brenan at Allen and Unwin where I knew she would get good
editorial advice and nurturing. She is a brilliant writer and lovely human
being and has gone from strength to strength.
You’ve
travelled the world on book-buying trips and have been effective in making
available to migrant children in Australia, books in other languages. Can you
expand on how this came about?
I was talking to Ron Thomas from the Education
Department one day (I think he was in Curriculum Development) when he told me
how hard it was for migrant children who could not share stories with their
parents at home, as there were no children’s books available in their family
languages. I had been thinking of going to England to catch up with friends so
I paid my fare there and back and The Little Bookroom sent me to the Bologna
Children’s Book Fair and then through Italy, Greece, Turkey, and the then
Yugoslavia finding children’s publishing houses and buying books.
I relied heavily on any advice I could get in
Bologna and then plunged in with the bravado of youth making contacts wherever
I could, including some invaluable advice from some quietly cultured older
women I met on a beach near Delphi! It was all pretty challenging as I couldn’t
speak any of those languages so had to rely on advice given, which was
occasionally through a mixture of sign language, single words and laughter. But
the outcome was pleasing.
As
judge for the 1995 Human Rights Awards, what did that role entail? How did you
utilise your knowledge in that capacity?
I knew the then Australian Disability
Discrimination Commissioner Elizabeth Hastings who was a fierce human rights
champion, and in a wheelchair herself. So I was able to talk to her about the
awards and I hope bring her human rights insights and my literary assessment to
the process.
Currently
in your term as judge for the CBCA Crichton Award, now known as the CBCA Award
for New Illustrator, what criteria do you look for when judging a debut
illustrator?
Actually I am just completing my third year as
judge. It is normally a two year term but I did three as part of the changeover
process. The panel was made up of three judges, an illustrator, a member of the
CBCA committee and a professional working with picture books, so we all brought
our particular skills to the process. One looks for illustration and text that
work together well, where the illustrator has not just restated the text in
visual form but interpreted it. Layout and use of space is important as is
variation and interest in perspective. Those sort of things. I found it
invaluable having an illustrator there as he or she can judge technique and the
craft of illustrating in different medium with a creator’s eye.
You
have worked at a job you love for a long time. From the opinion of a highly
successful Specialist Bookseller, what makes a good children’s bookseller?
A love for reading children’s books of course
and, particularly with picture books, an ability to see the book and ‘read’ the
pictures from a child’s perspective and not just for one’s own pleasure.
Listening is also very important. A lot of people who come in to a children’s
book section are way out of their own field and need help. Both children and
adults need to be able to talk about what their looking for and know they are
understood. Whether it’s a child trying to explain their favourite type of book,
or an adult wanting you to know their child is so rambunctious he can’t sit still
to listen well or is over sensitive, for example, they need to know they are
heard.
Your
ability to choose the right book for the right child is monumental. What do you
look for in a book to offer to a child? Or is it the child you match to the
book? If so, how?
Oh, thank you but I’m just average. I envy the
lovely breezy warmth of some of my young colleagues.
I think listening is important. Also working out
whether this particular child just needs encouragement in the skill and fun of
reading or whether they are ready to be surprised, mystified, and stretched in
their thinking. Being emotionally engaged is hugely satisfying and sometimes a
child will read well above their normal level being so caught up in the story.
But others really want the safety of something familiar and undemanding. You
have to try and pick who’s who. Sometimes I get it wrong, but I am inclined to
suggest the tried and true rather than the latest thing which can be surer
ground! But it is important to support new exciting books too.
What
changes have you seen in the children’s literature industry in the last five
years and how do you see the future of printed children’s books?
Children’s books are an important part of the
publishing industry now. I hope profit chasing doesn’t detract from the
importance of the young minds that are being fed by them. Books about strong
girls and the achievements of women are dominating at the moment. It probably
has to tip a little too far towards the ‘girls are the best’ message before it
balances out and settles down. As the grandparent of a young boy I want him to
know boys can be wonderful too. Wonderfully kind, wonderfully considerate,
energetic and resilient. Just like girls!
Retirement
is near. What are your plans for the future and how will you, if you can, let
go of a life in children’s books?
Yes, I shall miss my young colleagues at
Readings Kids. They keep me in touch and stop me from ossifying. Apart from a
trip to Indonesia when I first retire I am not sure what next. I do a little
volunteering now and will probably do more. Also lots of coffee with friends!
Thank you Kathy, for sharing your rich life in
children’s books with us.
