24

BRAZILIAN CHILDREN’S
LITERATURE IN THE AGE OF
DIGITAL CULTURE
Edgar Roberto Kirchof

Digital technology has been increasingly popular and accessible to a broad section of
the global population since the final two decades of the twentieth century. Due to the
undeniable facilities offered by this type of technology for the production, distribution
and consumption of information, contemporary culture is becoming a “culture encoded
in digital form” (Manovich 2001: 70). The role played by communication technologies
in all processes of globalization renders them ubiquitous in practically every country in
the world. This means that the way in which we relate to cultural products –​including
literature –​that we consume today, whether in Europe, the United States, Brazil or any
other country, is indelibly characterized by how these technologies and digital media
work, transforming many of our practices previously linked to analog media. Brazilian
children’s literary culture is gradually being transformed owing to its increasingly intense
relationship with digital technology. The use of the different types of digital technol-
ogy transforms the way that these works are produced and consumed, in that it fos-
ters the emergence of new literary forms and new reading media. My focus here is on
two new types of literary expression directed towards children: digital poems and digital
storytelling.

Children’s digital poetry

In the criticism devoted to digital literature, the digitized literature concept is commonly
used to refer to texts that exist originally in printed form and that are then transferred for
the virtual environment with programs such as PDF or EPUB. Specifically digital litera-
ture (or electronic literature), in turn, is produced to be read only on the screens of devices
such as computers, tablets and e-​readers and usually presents hypertext and multimedia
features as integral parts of the package. The first experiments with digital literary works
were performed over fifty years ago by Theo Lutz in Germany (Antônio 2008). Although
there has been no consensus as to how this literary manifestation is to be referred to –​
some of the most popular terms are electronic literature, cyber literature and ergodic
literature –​it is the object of a relatively large body of typologies and theoretical discus-
sions, led by researchers such as Jay David Bolter, George P. Landow, Espen J. Arseth,

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Stuart Moulthrop, N. Katherine Hayles, Roberto Simanowski, Jorge Luis Antônio and
Alckmar Luis dos Santos, among several others.
In comparison with the production of digital poetry for an adult audience, produc-
tion intentionally directed towards children is still very limited. This relative lack is not
exclusively Brazilian: even in countries where there has been more significant investment
in the creation and review of digital works, the number of digital poems for children
does not seem to be as extensive as the number of works for adults. In addition, at least
until now, the international publishing market is primarily investing in the production
of digital narratives for children, mainly to be read on mobile devices, to the detri-
ment of poetry, which thus causes the production of digital children’s poetry to remain
scarce. Among existing works, many digital poems have their roots in concrete poetry.
Others are characterized as adaptations of poems for children which had originally been
printed.
The concrete poetry movement, or concretism, refers to a proposal for pioneering
poetry which has been successfully practised, in Brazil, from the 1950s. Its main goal
has been to extend verbal language towards its phonic (vocal) and iconic (visual) poten-
tials. The Brazilian proponents of this movement used the term “verbivocovisual” to
define the advantages of utilizing non-​verbal communication for literary purposes, with-
out forfeiting the virtues of the word (Campos, Campos and Pignatari, 1986: 404). Its
main Brazilian representatives are the brothers Haroldo and Augusto de Campos and
Décio Pignatari. In Europe, the movement was established by the Swiss-​Bolivian Eugen
Gomringer.
Although it is not a movement directed towards children, the strong presence of visu-
als and sound in concrete poems in many cases allows it to shrink the boundaries which
separate that which is directed towards children from that meant for adults, which results
in several of these works being utilized at school, as objects of reading for children and
youngsters. Furthermore, from a very early stage, several concrete poems began not only
to be scanned but also animated using multimedia and/​or hypermedia features. The poem
Bomba (Bomb) by Augusto de Campos, for example, was originally published in the
1980s and was based on a sound and vision game established between the words poema
and bomba (poem and bomb). In the printed version, the idea of an explosion is con-
structed iconically through the layout and size of the letters, which seem to be in motion.
Even in the 1980s, a holographic version of the same poem was produced, and in 1997,
using the Flash program, Augusto de Campos produced a multimedia version (www2.
uol.com.br/​augustodecampos/​bomba.htm).
In addition to concrete poems transformed into digital poems, there also exist in the
Brazilian context, albeit small in number when compared to the production directed
towards adults, digital poems intentionally created for children. In contrast to poems
produced for adult audiences, digital poems for children are clearly characterized as being
meant for children, especially with the emphasis on fun, with playful themes related to
childhood and a structure reminiscent of games in which it is necessary to achieve some
type of objective. A very expressive and successful example of this approach can be found
in the work of Angela Lago, an author who is already established in the field of Brazilian
children’s literature (www.angela-​lago.com.br/​ABCD.html).
On the home page of her site, there are various figures that refer to a child’s imagin-
ation such as animals, a lake, a paper boat, an angel and a cloud. The angel and the lake
establish a playful dialogue based on the author’s own name: Angela Lago. The page
contains animated features created using the Flash program, and the figures are actually

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hyperlinks that refer the reader to different poems or jokes. Furthermore, the site allows
the reader to submit to the author not only comments, but also suggestions and even new
verses and images, some of which are incorporated by her on to the site.
Among the several possibilities provided on the home page is one in which if the
reader clicks on a paper boat this will then sink and in its place rises a bottle with a piece
of paper (a letter or a treasure map?), which will end up in the hands of the angel. When
clicking on this paper, the reader is referred to a new page, giving access to different poems
for children and games with the ability to choose between different languages: English,
Portuguese and Spanish. The page in English, as well as the others, features an ideogram
inviting the reader to get to know, through new hyperlinks, three other poems (Voodoo;
Riddle; Rhyme) as well as printed books by the author (Books). The first link, Voodoo,
gives access to the poem The ETs Voodoo, which combines verses with drawings submit-
ted to the author by two young readers: Bibi and Pedrinho. The structure of the poem
is reminiscent of popular songs such as The Ten Little Indian Boys, as with every verse
one of the characters disappears. In the Angela Lago version, however, the characters
are aliens, whose gradual disappearance is not narrated in the verbal text, but from the
images shown.
Unlike Angela Lago’s work, the page of Ana Cláudia Gruszynski and Sérgio Caparelli
is an experiment in adaptation of visual poems for the digital environment (www.ciber-
poesia.com.br/​). The site has its origins in a book entitled Poesia Visual (Visual Poetry),
published in 2000 by Editora Global, São Paulo, consisting of 28 visual poems. The
authors provided 12 of their printed poems, presented in groups of 4: Navio, Chá, Van
Gogh e Babel; Cheio, Vazio, Eu/​tu, Xadrez, zigue-​zague, primavera, gato, flechas (Ship, Tea,
Van Gogh and Babel, Full, Empty, I/​you, Chess, zig-​zag, spring, cat, arrows). In this case,
there is a simple transposition to the screen of the poems contained in the book, which
characterize an example of digitized poetry. However, in this digitized version, the reader
is able to increase or decrease the size of each poem by clicking on the “zoom” command.
Moreover, one can drag the poem to different places within its frame.
On the other hand, not all of these poems were simply digitized: ten were transformed
into cyberpoems, with the Flash program, and were expanded with hypermedia features,
which characterize an example of digital poetry itself. Like the poems of Angela Lago,
some of Cappareli and Gruszynski’s digital poems are also shown as a type of game
or joke. In Chá, for example, the young reader is invited to “make some tea” from the
ingredients that are available. The reader is presented with some initial guidance (“Click
and drag the ingredients into the cup to prepare your tea” and “When you think you
have enough ingredients, click to continue”). From there a new window is opened at the
same time as sounds are activated and attract the reader’s attention to different “objects”
such as a photograph of a couple (when the mouse passes over the image, the sound of
a smacking kiss is triggered); three stars which when “activated” trigger playful sounds;
hearts which suggest/​activate the sound of a heartbeat; a blue teapot (the mouse over the
teapot activates the sound of crashing crockery). The spoon, the cup and the tea bag do
not emit sounds.
The verses of poetry, in turn, appear graphically, represented by the movement of
steam caused by the hot water being poured into the cup. The use of italics, together with
the rhythmic movement of the steam/​verse, renders the reading more complex. The pur-
pose of the poem seems to be less about the very reading of words than the enjoyment of
its graphic layout on the page, which resembles, in part, the aesthetic design of concrete
poetry.

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Finally, when all the ingredients have been placed in the cup and the reader clicks on
the word “ready,” the sound of applause emerges, congratulating the child on finishing
the reading/​joke. This feature also “speaks” in the traditional way of electronic games,
in that the child is commended when they are able to overcome an obstacle or pass to
the next level of the game. Only after the sound of clapping, hence when the tea is ready,
does the following poetic verse appear, merged with the steam: “Deixe a infusão o tempo
necessário até que os nossos aromas e os nossos sabores se misturem” (“Leave the infu-
sion for the necessary time for our aromas and flavors to mix”). This then is the reader’s
prize: a poem resulting from their interactive work with different elements presented earl­
ier. There is, however, more to be said, for the recipe for making a pot of tea is a script.
The details people learn about particular phenomena are organized within scripts, that is,
the pre-​stored knowledge representations that we use even in such simple tasks as making
tea, and such scripts are in turn comparable to the always already existing plot structures
that readers call upon to anticipate the unfolding story logic of creative works (Herman
2002: 89–​91; Stephens 2011: 14). From here, it is a straightforward cognitive step to grasp,
if only intuitively, that “o tempo necessário até que os nossos aromas e os nossos sabores
se misturem” has a metaphorical significance: it refers to the process of understanding
and savoring a poem, but also implicates the cognitive process by which scripts are used
to comprehend and organize the world. The cyberpoem is not only entertaining, but
enacts a top-​down comprehension process which may serve to enhance the quality of
children’s knowledge structures.

Digital narrative for children

In the 1980s and 1990s, especially in the United States, there was intense discussion
regarding new narrative forms based on hypertext, which led some authors to even refer
to a new artistic and literary movement (e.g. Lister et al.: 2009: 26). Afternoon, a story
became known as the first hypertext literary work, produced by Michael Joyce in 1987,
constructed in a non-​linear way to be read specifically in digital media. The hypertextual-
ity of the work configures itself by the links available to the reader, which, by following
certain pathways over others, creates a specific reading route and ends up, simultan-
eously, developing its own storyline with each new reading. Another eminent example of
this type of work is Twelve Blue, also by Michael Joyce, (www.eastgate.com/​TwelveBlue/).
After the 1990s, many other forms of digital narrative directed towards adults emerged,
in which hypertextuality has not always played such a key role (Hayles 2008).
Recently, the Spanish researcher Celia Turrión (2014) carried out an inventory of digi-
tal narratives produced for children in Castilian and concluded that there are predom-
inantly four main types: audiobooks, hypermedia narratives, transmedia narratives and
multimedia narratives. Audiobooks had already existed in CD format, and before that
on cassette and vinyl. They are comprised of the narration of a previously written story,
which can be dramatized by different actors, with sound effects and musical features.
Hypermedia narratives, such as Afternoon, a Story and Twelve Blue, are a development
from hypertext narratives and are multi-​linear in structure. In this case, the reading path-
way will always be defined by the reader’s choices, with the possibility of accessing links
constructed through verbal text (hypertext) or visual texts (hypermedia). Transmedia nar-
ratives, in turn, require the development of a plot through different platforms and may
involve animation, electronic games, blogs and fan fiction sites, among others. Finally,
multimedia narratives are characterized by adapting or creating a story using different

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media, usually animation and audiovisual features. In Brazil and the United States, this
format seems to be the most predominantly used digital narrative for children.
One of the first narratives for children to be adapted for tablet with multimedia fea-
tures, making it extremely popular, was Alice in Wonderland, produced in 2010 from the
1865 text by Lewis Carroll. This application has 250 pages with numerous original illus-
trations, fifty-​two remastered pages and twenty animated scenes (Borràs 2012: 22). Many
universal classics of children’s literature have subsequently been adapted with multimedia
features, which can mainly be explained by the strong appeal that these features have for
a child as a form of entertainment and fun.
Thus, unlike that which happens with narratives directed towards adults, the interest
in producing digital storytelling specifically for children is very recent and, internation-
ally, is directly linked to the success in sales achieved by ebooks and other mobile devices.
As Yokota (2013: 443) explains, “the rise of e-​readers has impacted book sales, with adult
ebook sales outpacing those of print books within the first few years that the devices
were available.” Even though this success has not yet been repeated in the case of books
for children, the publishing market immediately identified the immense potential of sales
linked to the production of digital works directed towards children and to be used on
mobile devices. Thus, an increasing number of narratives for children are available for
purchase at online stores such as the App Store, Google Play and Amazon, with the vast
majority constructed with multimedia features.
In the international perspective, there are already some initiatives aimed at stimulat-
ing the production of digital works for children with high aesthetic quality. In 2012 the
Bologna Children’s Book Fair created the “Digital Ragazzi” Prize to recognize achieve-
ments in digital applications for children. In 2014, the “Bologna Digital” was launched
at the Fair, the purpose of which was to encourage technology studios to produce quality
applications, product and digital content. In Brazil, a similar initiative was taken in 2015
by the Câmara Brasileira do Livro (CBL) (the Brazilian Book Chamber), which included
“children’s digital books” amongst the categories that may win the famous Brazilian
prize “Jabuti.”
Nevertheless, so far, many works available in digital libraries seem to be much more
aligned with commercial intent and less with aesthetic elaboration. Due to such a strong
subordination to the market –​even when the market is based upon projected expect­
ations for the future –​the commercial intentions of these narratives are frequently so
explicit that they end up obliterating their own aesthetic-​literary quality. Many of these
are replete with devices seeking to draw the young reader into buying services and other
applications, and which are thus superimposed on their literary enjoyment. In the Alice
in Wonderland –​Interactive Children’s Storybook HD version, produced by TabTale TLD
(2013), for example, the home page itself demonstrates the multimedia aspect of the
work, as it allows the child to choose among “Auto Play,” “Read It Myself ” and “Read
to Me” modes. However, what draws immediate attention is a certain visual pollution
caused by icons such as “Store,” in the upper right of the screen, “More Apps” in the
bottom left as well as a banner in the bottom center, which sequentially advertises several
other applications, seducing the young reader to instant purchasing.
The narrative itself is an extremely brief summary (eleven pages) of Carroll’s work.
On each page it is possible to make objects, animals and the central character perform
certain movements and sounds by using touch screen. However, what most stands out is
that the advertising banner from the home page appears on all of the other eleven pages
of narrative. Similarly, the same items offered on the store home page are also present on

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the other pages, enticing the young reader to play with games and not just read the story.
After clicking on this link, child users will receive offers to buy various products: more
colors for the coloring game (coloring pages), puzzles, four match it type games, and they
will also have the option to pay to remove the advertising banners.
The first research regarding production and sales of digital content by the Brazilian
publishing sector was carried out in 2011 by Fundação Instituto de Pesquisas Econômicas
(FIPE) (the Institute of Economic Research Foundation), commissioned by Câmara
Brasileira do Livro (CBL) (the Brazilian Book Chamber) and Sindicato Nacional dos
Editores de Livros (SNEL) (the National Union of Book Publishers). According to the
most recent results, the selling of ebooks increased 3.5 times from 2011 to 2012, albeit
with a total sales value less than 1 percent of the total sector revenues. During the 4th
CBL International Conference of the Digital Book, a survey among delegates was car-
ried out regarding themes such as copyright, commercial prospects and relations between
the print and digital forms. One piece of data reveals that 58 percent of those editors
interviewed still feel insecure about the technical format that they would adopt were they
to enter this market, which is characterized as one of the main factors still preventing the
expansion of the digital book market in Brazil (CBL Report, 2013). On the other hand,
such reticence on the part of editors has not stopped the emergence of some digital nar-
ratives created specifically for Brazilian children.
One of the first works for children to be adapted for the tablet with multimedia fea-
tures was a classic of Brazilian children’s literature, Monteiro Lobato’s A menina do nar-
izinho arrebitado (The girl with the upturned nose). Basically, every illustrated page has
some animated and sound feature that requires the interaction of the young reader in
order to function. For example, on the second page of the story, the narrator explains,
through verbal text, how every day the character Narizinho goes to the edge of a creek
to observe the minnows. Practically repeating this information, the background of the
page contains the image of a waterscape in which colorful fish continuously move. When
a reader touches any of the fish with their finger, the fish move at great speed, as if they
are fleeing, and a sound like dripping water emerges.
The remaining pages contain similar features, which generally perform merely an illus-
trative function in relation to the verbal narrative. On the other hand, to the extent that
such features require a certain level of interaction by the reader, they additionally fulfill
the function of entertainment and recreation, rendering the children’s book to be more
similar to a toy or game. On the page in which two insects meet on Narizinho’s nose,
for example, one of them tickles the main character with its walking stick, making her
sneeze. In the illustration, if the reader touches Narizinho’s nose, this provokes the char-
acter to sneeze, which can not only be heard but also seen in a short animation.
Another very common characteristic of multimedia adaptations is the introduc-
tion of small games or playful activities that do not fulfill the function of illustrating
the story, but of entertaining the reader. For example, in the Brazilian adaptation of
the classic O pequeno príncipe (The Little Prince), from the translation by renowned
Brazilian poet Ferreira Gullar, the story is interspersed with some activities that inter-
rupt the narrative thread, inviting the young reader to simply play by coloring or draw-
ing. In the one example, the child is challenged to paint an image of the Little Prince,
choosing the correct colors for his clothes according to a small model on the top left
of the page. In another example, the story is interrupted so that the child can complete
the drawing of a sheep, connecting the numbered dots by touching the screen with their
fingers.

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New scenarios for children’s literature

In the field of literary criticism, discussions regarding how this situation is affecting read-
ers have been intense, diverse and often polarized. The main disputes revolve, on one side,
around the “future of books” in face of the proliferation of digital books –​which were
supposedly able to replace the printed book. On the other hand, there have been heated
discussions about the “future of reading and literature itself,” mainly due to the hybrid-
ization of verbal text with multimedia and hypermedia features, as was observed in the
poems and the digital narratives presented in the previous sections.
A very brief overview of the first discussion reveals that some authors believe that it
is only a matter of time before the printed book completely ceases to exist, giving way
to different formats of digital books, while others predict the coexistence of digital and
printed media. The main arguments in favor of the first position gravitate around the
facilities, comfort and low cost of digital books when compared to printed books. Junko
Yokota, for example, suggests that, “It’s hard to argue against the appeal of digital read-
ing, given that it is more accessible, convenient, and affordable” (2013: 444). On the other
hand, Umberto Eco insists on the superiority of the printed book in contrast to the rapid
obsolescence of technologies produced as alternatives to printed media:

We have seen that modern media quickly become obsolete. Why run the risk of
choosing objects that may become mute and indecipherable? It is proven that
books are superior to every other object that our cultural industries have put on
the market in recent years. So, wanting to choose something easily transportable
and that has shown itself equal to the ravages of time, I choose the book.
(Eco, 2012: 36)

Disputes about the future of reading and literature produce even more fierce and polar-
ized discussion. One of the most renowned and popular enthusiasts of new forms of
reading connected to the digital domain is the North American George P. Landow. In
the third edition of his classic Hypertext 3.0, Landow (2006: 125) affirms that hyper-
text “infringes upon the power of the writer, removing some of it and granting it to the
reader.” In Landow’s view, and those who adhere to his opinion, the reading provided by
the culture of printed media is monological and authoritarian since it concentrates all the
construction activity of the text in the hands of the author, whereas hypertext transforms
the reader into an active participant and thus promotes a more democratic culture.
In contrast to this euphoric perspective on the supposed benefits of hypertext, several
studies within the field of cognitive sciences have shown evidence that, unlike sequential
and linear texts, hypertext and hypermedia demand higher resources of working mem-
ory from the reader, since they make it necessary to simultaneously process information
represented in nodes and plan (further) navigation. Due to a natural limitation of the
human working memory, this kind of reading (and learning) process is prone to cause
cognitive overhead (also referred to as “lost-​in-​hyperspace”-​phenomenon) and cognitive
load, which may inhibit learning (Zumbach and Mohraz 2008: 876).
In this context, reading experiments carried out by researchers such as DeStefano
and LeFevre showed that increased demands of decision making and visual processing
in hypertext impair reading performance (DeStefano, LeFevre 2005: 1616). Studies car-
ried out by Niederhauser, Reynolds, Salmen, and Skolmoski lead to the conclusion that
“learners using a sequential and almost linear information retrieval show higher learning

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success than participants using a non-​linear browsing strategy” (cited in Zumbach,

Mohraz 2008: 876). In addition, studies cited by Fesel et al. (2015: 136) revealed that
“rather than ‘reading’ the digital text features (i.e., embedded hyperlinks in the text or
graphical and navigable overviews), readers prefer to ‘browse’ nonlinearly through the
sections, jumping from one text section to another.” On the other hand, Zumbach and
Mohraz postulate that, in the light of Cognitive Load Theory, the additional cognitive
effort demanded by hypertext/​hypermedia does not necessarily lead to learning failure.
According to these researchers, once readers of hypertext learn how to “reflect upon
their prior knowledge in order to make decisions about navigation” (Zumbach, Mohraz
2008: 876), they may even reach more elaborate levels of reading and learning.
It seems, then, that very polarized arguments regarding reading processes, literature
and the book run the risk of assuming essentialist and deterministic positions. From
this perspective, changes and displacements tend to be either considered as a degrad-
ing diversion or as an evolutionary improvement over an archetypal model; a fixed and
unchanging essence which would define literature and the book in terms of an idealized
scheme. Nevertheless, history has shown that the technology used over time to read and
write has never been fixed, having undergone several changes and displacements. The
field of children’s literature is a relatively recent phenomenon, having only emerged over
the seventeenth and eighteenth centuries in Europe.
Furthermore, recent research regarding how culture is received has demonstrated that
consumption of any such representation does not have the power to change the con-
suming subjects in a direct, linear or mechanical way. The way readers effectively take
ownership of the various texts at their disposal, producing their own identities, is always
regulated by different social forces, power struggles, cultural backgrounds and idiosyn-
crasies attached to each individual.
According to Fesel et al., research on children’s digital text comprehension is still very
limited and “there is no consensus on the positive or negative effects of hypertext read-
ing on reading comprehension” (2015: 136). In a study of how children structure their
knowledge representations across different digital text types –​linear digital text, digital
text with overview, hypertext, and hypertext with overview –​the researchers examined the
similarity of the children’s knowledge structures with a sequential model as well as with
an expert (hierarchical) model in the four digital text types. It was found among others
that “children accomplished the same comprehension scores in all four digital text types,
which is consistent with previous research on hierarchical hypertext with adults and chil-
dren” (Fesel et al., 2015: 141).
Thus, in order to avoid deterministic predictions and premonitions, perhaps the best
procedure to analyze what is occurring in children’s literature in the world of digital
culture is to describe some of the ongoing changes. In this sense, the analysis of digi-
tal poems and narratives addressing children allows us to perceive a complex mix of
technology and taste, culture and commerce, pointing to what Henry Jenkins has called
convergence culture. As Jenkins argues (2006: 235), corporate media soon recognized the
potential of cyberspace to expand their consumer base, promoting a specific type of par-
ticipatory culture, and children’s literature is not immune to the same logic.
The ease with which a digitized or digital work can migrate through different media
and, furthermore, can hybridize with other texts and pictures from the utilization of rela-
tively easy to use tools, is also producing in the literary field what Henry Jenkins (226)
calls convergence between different cultures –​in this case, mainly among literary, media
and consumer cultures. This phenomenon can easily be observed from the examples of

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poems for children and digital narratives presented in this article because the very struc-
ture of these works reveals a strong hybridization among literature, electronic games
intended for entertainment, and consumption.
Jenkins contends that participatory culture promoted by media convergence is
revealed in two ways: on the one hand there is participation deliberately produced by
corpor­ations, which believe they can (or desire to) control their consumers; on the other
hand, however, readers, in some cases, tend to produce their own, often creative dynamic,
which may come into conflict with the interests of the corporations.
Within this context, it is possible to conclude that both the book and children’s litera-
ture are subject to displacements and changes, which are still ongoing. New literary forms
and new reading media continue to appear and be changed, and this is a process that has
occurred in a context of constant negotiations between artistic and commercial interests,
and that seems to be converging ever more intensely in the universe of digital culture.

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 Edgar Roberto Kirchof

Digital Works
Caparelli, Sérgio and Ana Cláudia Gruszynski. Ciberpoesia. www.ciberpoesia.com.br/​
Carroll, Lewis. Alice in Wonderland. TabTale (App).
Lago, Angela. O ABCD de Angela Lago. www.angela-​lago.com.br/​ABCD.html
Lobato, Monteiro. A menina do narizinho arrebitado. Ilustrações de Rogério Coelho. São
Paulo: Globo (App).
Saint-​Exupéry, Antoine. O pequeno príncipe. Tradução de Ferreira Gullar. São Paulo: Agir (App).

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