看得见的童年奇迹
评大卫·少年幽默小说系列
Visible childhood miracles
Comment on the David Young Humorous Novel Series

    提及“大卫·少年幽默小说系列”，就不能不谈何为“幽默”。
    When it comes to the 'David Young Humorous Novel Series', we cannot ignore what' humor 'is.
    说到幽默，当代法国幽默理论家··保尔曾将之比喻为“一只尾巴向上，朝天飞去，却又一直俯视着地面的小鸟”。这个比喻形象地道出了“幽默”的发生机制：一种现实比照下意外、新奇的行为方式或情境创造。换句话说，幽默就其本质而言，是一种心理期待与现实存在错位比照而产生的感知效应。
    When it comes to humor, contemporary French humor theorist Paul once compared it to "a little bird with its tail pointing upwards, flying towards the sky, but still looking down at the ground. This metaphor vividly illustrates the mechanism of "humor": a way of creating unexpected and novel behaviors or situations by comparing reality. In other words, humor is essentially a perceptual effect that arises from the mismatch between psychological expectations and reality.
    文学审美中，幽默的发生通常要经过从“生活”到“文本”的过程。“幽默”首先是一种自然、率真、乐观、自信、智慧、果敢的人生态度；其次，才是基于生活中多种喜剧因素的发掘、提炼、强化、创制而呈现出来的叙事风格和阅读效应。在“大卫·少年小说幽默系列”中，作家大卫·威廉姆斯和画家托尼·罗斯通过多姿多彩、妙趣横生的14个故事，集中展示英国少年小说幽默风采的同时，也适时彰显了儿童文学童年表达的多重意义与无限可能。
    In literary aesthetics, the occurrence of humor usually goes through a process from "life" to "text". Humor is first and foremost a natural, sincere, optimistic, confident, wise, and resolute attitude towards life; Secondly, it is the narrative style and reading effect presented based on the exploration, refinement, reinforcement, and creation of various comedic factors in life. In the "David's Children's Novel Humor Series", writer David Williams and painter Tony Ross showcase the humor of British children's novels through 14 colorful and humorous stories, while also timely highlighting the multiple meanings and infinite possibilities of childhood expression in children's literature.
    整体看，作为一套可读性极强的小说，“大卫·少年幽默小说系列”叙事类型丰富，内容元素多变，举凡寻亲、历险、惩凶、探案、写实、幻想、游戏、成长等题材内容无一不涉，且大多由悲剧开场，借正剧（包括传奇剧、社会问题剧、英雄剧等）展开，以喜剧收尾，体现出异曲同工、一脉相承的幽默创造。不仅如此，该系列图书的插画夸张又生动、变形却真实，与文字故事珠联璧合、相得益彰，极大程度地扩展、强化了文本的幽默效应。
    Overall, as a highly readable set of novels, the "David Young Humorous Novel Series" has a rich variety of narrative types and diverse content elements, covering themes such as family search, adventure, punishment, investigation, realism, fantasy, gaming, and growth. Most of them start with tragedy and unfold through drama (including legendary dramas, social issues dramas, hero dramas, etc.), ending with comedy, reflecting a humorous creation that is similar in style and continuous in tradition. Not only that, the illustrations in this series of books are exaggerated and vivid, distorted and realistic, perfectly complementing the written stories, greatly expanding and strengthening the humorous effect of the text.
    当然，形式之外，最值得言说的还是该系列小说的内容。首先，时间跨度深长，空间绵延广阔，多层面涉及英国一百多年间方方面面的社会现实和家庭问题。如，生活贫困、父母失业、隔代养育、单亲或失亲、亲子疏离、老人走失、街头流浪汉管理、校园霸凌、儿童犯罪、养老诈骗等等；其次，多维度刻画了现当代英国孩子的童年境遇、精神面相。如，单亲男孩丹尼斯女扮男装的独特体验（《穿裙子的小男子汉》）；小女孩佐伊和舞蹈天才小耗子阿米蒂奇之间的生死之交（《少女驯兽师和她的霹雳鼠》）；富翁男孩乔在金钱困扰下的苦闷、挣扎(《钱堆里的男孩》；11岁男孩本恩与80多岁奶奶千奇百怪的冒险想象（《了不起的大盗奶奶》）；男孩弗兰克联袂赛车手爸爸和劫匪的斗智斗勇（《赛车手爸爸的极速使命》）；小勇士埃里克智救大猩猩的传奇经历（《和大猩猩一起拯救世界》）；少女克洛伊与流浪汉臭臭先生之间的诚挚友情（《臭臭先生》），等等；再次，集中塑造了诸多形形色色的孩子与成人形象。这其中既有单亲孩子、孤儿、恶童、小偷、小英雄、流浪儿、富家子弟、病弱儿童、小天使、小幽灵；也有赛车手、煤炭工、飞行员、看门人、动物饲养员、扫地工、牧师、警察、图书管理员、超市收银员、退伍军人、残疾老兵、英国首相、英国女王等等。上述儿童和成人形象涵盖了百年英国社会上至王公贵族，下至贩夫走卒的芸芸众生。基于此，就作品容量而言，该系列图书在某种程度上称得上是儿童版“英国社会百科全书”。
    Of course, beyond form, the most noteworthy aspect is the content of this series of novels. Firstly, the time span is long and the space is vast, involving various aspects of social reality and family issues in the UK over a hundred years. For example, living in poverty, parental unemployment, intergenerational parenting, single or lost parents, parent-child alienation, elderly loss, street homeless management, campus bullying, child crime, elderly fraud, and so on; Secondly, it depicts the childhood experiences and spiritual aspects of contemporary British children from multiple dimensions. For example, the unique experience of single parent boy Dennis dressing up as a man ("The Little Man in a Skirt"); The life and death friendship between the little girl Zoe and the dance genius mouse Armitage (from "The Girl Trainer and Her Thunderbolt Mouse"); The distress and struggle of wealthy boy Joe in the face of financial troubles ("The Boy in the Money Bank"; the adventurous imagination of 11 year old boy Ben En and his 80 something grandmother ("The Great Thief Grandma"); The battle of wits and courage between boy Frank, racing driver father, and robber ("Racing Driver Father's Extreme Mission"); The legendary experience of Little Warrior Eric saving a gorilla (Saving the World with a Gorilla); The sincere friendship between the young girl Chloe and the homeless man Mr. Stinky ("Mr. Stinky"), and so on; Again, it has focused on shaping various images of children and adults. Among them are single parent children, orphans, delinquents, thieves, little heroes, homeless children, wealthy children, sick and weak children, little angels, and little ghosts; There are also racers, coal miners, pilots, gatekeepers, animal keepers, sweepers, priests, police officers, librarians, supermarket cashiers, veterans, disabled veterans, British Prime Minister, Queen of England, and so on. The above images of children and adults cover a hundred years of British society, from nobles to commoners. Based on this, in terms of work capacity, this series of books can be considered to some extent as the children's version of the "British Social Encyclopedia".
    尽管如此，也不难发现，“大卫·少年幽默小说系列”面对纷繁、芜杂、斑驳、迷离的英国社会现实，其所采取的并不是狄更斯或巴尔扎克式的“镜像化”“实证性”现实主义摹写，而是基于童年本质、生活真实和艺术逻辑的“事实求似”的喜剧创造。也就是说，大卫·威廉姆斯作为“罗尔德·达尔的文学继承人”，其童年表达既接续了《玛蒂尔达》《查理和巧克力工厂》《了不起的狐狸爸爸》等达尔作品“节制夸张，适度变形”的轻喜剧叙事风格，又“定点聚焦，无限放大”，显示出较前辈作家更宽广的审美视野、更深切的社会关怀。
    However, it is not difficult to find that the "David Young Humorous Novel Series" does not adopt the Dickens or Balzac style "mirrored" and "empirical" realism imitation in the face of the complex, chaotic, mottled, and hazy social reality of Britain, but rather creates comedy based on the essence of childhood, the reality of life, and artistic logic of "factual similarity". That is to say, as the literary successor of Roald Dahl, David Williams' childhood expression not only continues Dahl's light comedy narrative style of "restrained exaggeration and moderate deformation" in works such as Matilda, Charlie and the Chocolate Factory, and The Amazing Fox Dad, but also "fixed-point focus and infinite amplification", showing a broader aesthetic perspective and deeper social concern than previous writers.
    具体到系列作品中，就是作家无意于在家庭和社会问题层面描摹、复制生活真实，而是致力于用语言和想象建构更能体现生命本质、生活趋向的童年形态、童年精神。这种想象建构在该系列小说内容结构和情节走向上多体现为作品中小主人公面对家庭贫困、父母失业、单亲或失亲、亲子疏离等一系列家庭问题时颇具“个人英雄主义”色彩的应对策略、现实行动；而在作品的题旨内涵、价值取向上，则直接指向童年生命形态和精神内核的“虚拟性”“理想化”表达。
    Specifically in the series of works, the author has no intention of depicting or replicating the reality of life at the level of family and social issues, but is committed to using language and imagination to construct childhood forms and spirits that better reflect the essence and trends of life. This imaginative construction is often reflected in the content structure and plot direction of the series of novels, as the protagonist's coping strategies and real-life actions with a strong sense of "personal heroism" when facing a series of family problems such as family poverty, parental unemployment, single parent or loss of family, and parent-child alienation; In terms of the theme and value orientation of the work, it directly points to the "virtuality" and "idealization" expression of childhood life forms and spiritual cores.
    也就是说，作家所要营造、构建的是童年生命应该葆有的、可能的形态，而不是其“现实的”“生活中”既有的样子。正如米兰·昆德拉所说：小说审视的不是现实，而是存在。现实通常是已经发生的实象、实物、实情、实景。而“存在”则并非已经发生，而是人类社会群体或个体生活、生命所隐含并显示出来的某种未来图景和可能性。因此，米兰·昆德拉认为，小说家要善于“绘出存在地图”。
    That is to say, what the writer wants to create and construct is the possible form that childhood life should maintain, rather than its existing "reality" and "life". As Milan Kundera said, novels examine not reality, but existence. Reality usually refers to the actual events, objects, facts, and real-life situations that have already occurred. And 'existence' is not something that has already happened, but rather a certain future vision and possibility implied and manifested by the lives of human social groups or individuals. Therefore, Milan Kundera believed that novelists should be good at "drawing maps of existence".
    而对于“大卫·少年幽默小说系列”而言，所谓“存在地图”，实际上就是发掘儿童生命形态的某种潜质，构建并落实童年发展的未来趋向和可能性。
    For the "David Young Humorous Novel Series", the so-called "existence map" is actually to explore the potential of children's life forms, construct and implement the future trends and possibilities of childhood development.
    大卫·威廉姆斯实际上也是这么做的。该系列作品塑造了很多遭遇各种各样生活困境的孩子。他们在家庭不幸和生活困苦面前，没有自怨自艾、哭哭啼啼，而是富有正义感、是非心、行动力、创造意识和乐观精神。他们懂得珍惜亲情，善于抓住机会，总是借助善良、乐观、果敢、智慧，在身边大人的帮助下，经受住了各种考验，最终赢得命运转机，获得幸福。从这个层面上说，系列作品的情节、主题对小读者具有显而易见的情感补偿、心灵疗愈和成长指引的作用。这其实也正是该系列作品被定义为家庭教育读物之原因所在。
    David Williams actually did the same thing. This series of works has shaped many children who have encountered various life difficulties. They do not harbor self pity or cry in the face of family misfortune and difficult living conditions, but rather possess a sense of justice, a sense of right and wrong, initiative, creativity, and optimism. They know how to cherish family ties, are good at seizing opportunities, and always rely on kindness, optimism, courage, and wisdom. With the help of adults around them, they have withstood various tests and ultimately won a turning point in their destiny and happiness. From this perspective, the plot and theme of the series have an obvious emotional compensation, spiritual healing, and growth guidance effect on young readers. This is actually the reason why this series of works is defined as family education reading materials.
    理解了这一点，我们就不能把“大卫·少年幽默小说系列”简单归属为类型小说或通俗儿童文学，而是应该从一种小说叙事范式的角度来看待其在童年表达和家庭教育上的多重意义，以及其之于中国原创儿童小说的参照与启发。
    Once we understand this, we cannot simply classify the "David Young Humorous Novel Series" as genre novels or popular children's literature. Instead, we should view its multiple meanings in childhood expression and family education from the perspective of a novel narrative paradigm, as well as its reference and inspiration for Chinese original children's novels.
    在我看来，该系列小说主要表达了以下四个层面的童年主题。
    In my opinion, this series of novels mainly expresses four levels of childhood themes.
    其一，通过小主人公生活困境中的表现出的勇气、智慧和坚守的信念以及付诸的行动，充分体现了儿童对生活的参与和创造。
    Firstly, the courage, wisdom, steadfast beliefs, and actions demonstrated by the young protagonist in their difficult life situations fully reflect the child's participation and creativity in life.
    通常，儿童因不具备独立经济能力，且社会化程度有限，而在家庭安排、社会管理中处于边缘性角色，至多是参与者、辅助者和见证者。这固然是社会 “现实”、生活常态，但这种常态实际上也隐含或遮藏了另一种真实——儿童，尤其是步入少年期的孩子，他们自我意识苏醒，独立意识萌发，往往葆有掌控生活、自主命运的强烈愿望和潜能。
    Usually, children play marginalized roles in family arrangements and social management due to their lack of independent economic ability and limited socialization, at most being participants, helpers, and witnesses. This is certainly a social "reality" and a norm of life, but this norm actually implies or conceals another reality - children, especially those who have entered adolescence, awaken their self-awareness, develop independent consciousness, and often maintain a strong desire and potential to control their lives and determine their own destiny.
    换言之，每一个少男、少女心中都深藏着一个小勇士、小侠女。只不过，这种愿望、能力作为生命潜质，很多时候处于隐匿、蛰伏状态，需要有理解力、洞察力、想象力的作家使其由“隐”而“显”发掘、提炼、创设、表达出来。
    In other words, every young man and girl has a little warrior or heroine hidden deep in their hearts. However, these desires and abilities, as potential for life, often remain hidden and dormant, requiring writers with understanding, insight, and imagination to excavate, refine, create, and express them from "hidden" to "visible".
    而这套书中的不少作品就是如此。故事里的孩子面对生活困境不是逆来顺受、听天由命，而是孩子凭借自己的智慧，依靠不屈的意志、不懈的行动逆天改命，积极创造生活，自主把握命运。如《赛车手爸爸的极速使命》中，十二岁男孩弗兰克的爸爸受伤截肢，并被劫匪裹挟犯罪，身陷囹圄。在如此艰难的处境下，弗兰克没有退缩，而是以勇气和智慧与劫匪抗争，最终成功营救了爸爸……类似的例子在《飞行员爷爷的空中逃亡》《魔鬼牙医》《冰雪怪兽》等作品中，也有生动体现。
    And many of the works in this set of books are like this. The children in the story face life difficulties not by accepting adversity and accepting fate, but by relying on their own wisdom, indomitable will, and unremitting actions to change their fate, actively create life, and independently grasp their destiny. In the movie "Racing Dad's Speed Mission", the father of a 12-year-old boy named Frank was injured and had his limbs amputated, and was kidnapped by robbers to commit a crime and imprisoned. In such a difficult situation, Frank did not back down, but fought against the robbers with courage and wisdom, and finally successfully rescued his father... Similar examples are also vividly reflected in works such as "Grandpa Pilot's Flight", "The Devil's Dentist", and "Ice and Snow Monsters".
    其二，呈现了芜杂现实中的善恶纷争，在表达价值选择同时，也充分彰显了童年的生命方向。
    Secondly, it presents the conflicts of good and evil in the chaotic reality, expressing value choices while fully demonstrating the direction of childhood life.
    该系列小说在情节设置上习惯于强化人物、环境间的矛盾冲突，将小主人公置于情感和道德两难境地，以此凸显情节的戏剧性、陌生化效应，彰显作品的题旨内涵、价值取向。比如，《臭臭先生》中，女孩克洛伊觉察妈妈“禁止流浪汉上街”的竞选主张后，很为无家可归的臭臭先生担忧。于是，克洛伊瞒着家人，把臭臭先生藏进自家的工具棚；还比如，《赛车手爸爸的极速使命》中，黑帮老大很欣赏弗兰克的聪明、果敢，试图用金钱收买他，结果被男孩断然拒绝……这些情节内容无不体现着作品诚挚美好、昂扬向上的社会价值导向，彰显着童年的生命方向。
    This series of novels tends to strengthen the contradictions and conflicts between characters and the environment in plot setting, placing the young protagonist in an emotional and moral dilemma, highlighting the dramatic and unfamiliar effects of the plot, and highlighting the theme, connotation, and value orientation of the work. For example, in "Mr. Stinky", the girl Chloe became very worried about the homeless Mr. Stinky after realizing her mother's campaign proposal to "prohibit homeless people from going out on the streets". So, Chloe hid Mr. Stinky in her own tool shed without telling her family; For example, in "Racing Dad's Speed Mission", the gang leader admires Frank's intelligence and courage, and tries to bribe him with money, but is firmly rejected by the boy... These plot contents all reflect the sincere, beautiful, and uplifting social value orientation of the work, highlighting the direction of childhood life.
    其三，通过诸多有正气、敢担当的男孩、女孩形象，多层面建构并呈现儿童生命的“可能”形态与内在精神。
    Thirdly, through the portrayal of many positive and responsible boys and girls, the "possible" forms and inner spirits of children's lives are constructed and presented at multiple levels.
    该系列小说通过诸多悬念迭出、大开大合的喜剧故事，塑造了丹尼斯、弗兰克、杰克、克洛伊、斯黛拉等诸多小男子汉和聪慧女孩形象，生动呈现了儿童充满生命力的生活状态。在表现他们单纯善良、积极乐观、珍惜亲情、明辨是非、热忱正直、勇于担当等优秀品质同时，充分揭示了流露在这些孩子非凡言行中以纯真、自由、独立、勇敢、乐观、创造为内核的童年精种。比如，《和大猩猩一起拯救地球》中，当男孩埃里克获悉好朋友大猩猩格特鲁将要被动物园园长处死时义愤填膺，他立刻和希德叔叔行动起来……故事末尾，他们不仅成功救出了大猩猩，还粉碎了德国间谍的惊天阴谋，挽救了包括丘吉尔首相在内很多英国政治人物的生命；还比如，《冰雪怪兽》中，小孤女埃尔茜自己本是流浪儿，食不果腹，衣不蔽体，但当知晓自然博物馆里已经复活的“冰雪怪兽”猛犸象一心想要回到北极家乡时，她还是挺身而出，经过种种努力，最后将猛犸象送回了故乡……
    This series of novels portrays many young men and intelligent girls such as Dennis, Frank, Jack, Chloe, Stella, etc. through suspenseful and open comedy stories, vividly presenting the vibrant life of children. While demonstrating their excellent qualities such as simple kindness, positive optimism, cherishing family ties, distinguishing right from wrong, enthusiasm and integrity, and courage to take responsibility, it fully reveals the childhood essence that is manifested in these children's extraordinary words and deeds, with purity, freedom, independence, courage, optimism, and creativity as the core. For example, in "Saving the Earth with the Gorilla", when the boy Eric learned that his good friend Gertrude the Gorilla was about to be executed by the zoo director, he was filled with righteous indignation. He immediately took action with Uncle Hyde... At the end of the story, they not only successfully rescued the Gorilla, but also foiled the shocking conspiracy of German spies and saved the lives of many British politicians, including Prime Minister Churchill; For example, in "Ice and Snow Monsters," the orphan girl Elsie herself was originally a homeless person, hungry and clothed. However, when she learned that the resurrected "ice and snow monster" mammoth in the Natural History Museum was determined to return to her Arctic hometown, she stepped forward and, after various efforts, finally sent the mammoth back to her hometown
    上述作品里，小主人公凄凉的身世、黯淡的处境与其言行之果敢、精神之昂扬形成鲜明反差，令人读来深受触动。该系列作品中，作家依托想象力，借助孩子们缔造的一个个生命奇迹，不仅生动描述了童年的潜在形态，而且形象地阐释了其轻捷、巧智、率真、勇毅的内在精神。
    In the above works, the bleak background and bleak situation of the young protagonist are in stark contrast to their bold words and actions, as well as their high spirits, which deeply touch readers. In this series of works, the author relies on imagination and uses the miracles of life created by children to vividly describe the potential forms of childhood, and vividly interpret their inner spirit of agility, cleverness, frankness, and courage.
    最后，聚焦儿童所遭遇的生活磨难，通过现实与想象的错位对比，强化了儿童文学“磨难成长”审美范式，为家庭教育提供了观念指引、文本参照。
    Finally, by focusing on the life hardships that children encounter and contrasting reality and imagination, the aesthetic paradigm of "hardship growth" in children's literature is strengthened, providing conceptual guidance and textual references for family education.
    通读该系列小说，就会发现，故事里的小主人公大多是“苦孩子”。他们情感缺失，饱经磨难。也因此，珍惜亲情，渴望幸福，就成为他们共通的生命本色。比如，在《魔鬼牙医》中，男孩艾尔菲早年丧母，也没有兄弟姐妹。做煤矿工人的爸爸因病失业在家。艾尔菲每天除了上学、做功课，还要照料爸爸，做家务。尽管如此，他依然深爱爸爸。爸爸很会讲故事。在他们的小平房里，爸爸会带着儿子进行各种各样惊险刺激的冒险……小艾尔菲铭记爸爸告诉他的生活理念：不管有多穷，依然要认真对待生活赋予的简单乐趣。
    Reading through this series of novels, one will find that most of the little protagonists in the story are "bitter children". They lack emotions and have gone through hardships. Therefore, cherishing family ties and yearning for happiness have become their common life traits. For example, in "The Devil's Dentist", the boy Alfie lost his mother in his early years, and there were no brothers or sisters. My father, who works as a coal miner, is unemployed due to illness and staying at home. Alfie not only goes to school and does homework every day, but also takes care of her father and does housework. Nevertheless, he still deeply loves his father. Dad is very good at telling stories. In their small bungalow, the father would take his son on various thrilling adventures... Little Elfi remembered the life philosophy his father had told him: no matter how poor he was, he should still take the simple pleasures that life gave him seriously.
    统观“大卫·少年幽默小说系列”，小说里的“苦孩子”大都有两个不同寻常的本领：或者依靠想象故事弥补生活缺失；或者凭借智慧、行动扭转生活走向。
    Looking at the "David Young Humorous Novel Series" as a whole, most of the "bitter children" in the novels have two unusual abilities: either relying on imaginative stories to make up for life's shortcomings; Or turn life around with wisdom and action.
    这其实又涉及对幽默的审美理解。诚如前文所说，更高意义上，幽默是一种笑对人生、坦然自信的生活观念、生命态度。艰难中的达观、危境里的勇敢、贫窘下的自信、含着泪光的笑容、简单而快乐的满足，等等。这些都是幽默。从这意义上说，该系列作品所呈现的，就是真正的童年智慧、生命幽默。
    This actually involves an aesthetic understanding of humor. As mentioned earlier, in a higher sense, humor is a philosophy and attitude towards life that involves smiling and being confident. Perceived in difficulties, brave in perilous situations, confident in poverty, tearful smiles, simple yet joyful satisfaction, and so on. These are all humor. In this sense, the series of works presents true childhood wisdom and life humor.
    综上，窃以为，“大卫·少年幽默小说系列”代表了童年表达的一种范式，那就是“写可能的、本质的童年，而非现实的、表象的童年”。而这样的童年书写不止为我们提供了培育孩子正确价值观和良好道德品质的优质阅读资源，更为原创儿童小说创作确立了某种坐标和参照——好的儿童文学作品，既要关注童年现实，更要创造属于孩子的奇迹。正如《恶魔姑姑的可怕计划》末尾小幽灵消失前告诉斯黛拉：当你还是个孩子的时候，你能看见这个世界上所有的奇迹……即便你的眼睛再也看不到这世界的奇迹，你的心里还是要相信。
    In summary, I believe that the "David Young Humorous Novel Series" represents a paradigm of childhood expression, which is to "write about possible and essential childhood, rather than the real and superficial childhood". And such childhood writing not only provides us with high-quality reading resources to cultivate children's correct values and good moral qualities, but also establishes a certain coordinate and reference for the creation of original children's novels - good children's literature works should not only focus on the reality of childhood, but also create miracles that belong to children. As the little ghost told Stella at the end of "Aunt Demon's Terrifying Plan" before disappearing, "When you were a child, you could see all the wonders in this world... Even if your eyes can no longer see the wonders of this world, you still have to believe in your heart.
    是的。正因为孩子相信奇迹，渴望奇迹，同时也拥有创造奇迹的潜能。那么，顺理成章，儿童文学作家就应该成就孩子的梦想，为孩子们创造一个个“看得见的童年奇迹”，让儿童文学成为孩子们的“奇迹花园”。这是儿童文学理应承担的职责和使命。
    yes. Because children believe in miracles, crave for miracles, and also have the potential to create miracles. So, naturally, children's literature writers should fulfill children's dreams, create "visible childhood miracles" for them, and make children's literature their "miracle garden". This is the responsibility and mission that children's literature should undertake.