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Books for Children 
Edith Fowke 

My best known children's book is Sallv Go Round the Sun: 300 
Songs. Rhvmes. and Games of Canadian Children (Toronto: 
McClelland & Stewart; New York: Doubleday, 1969). This is a 
large-size volume beautifully illustrated by Carlos Marchiori. It 
won the Canadian Association of Children's Librarians ' Award 
for the best book of the year, and it continues popular. All the 
items were from oral tradition, collected in 1958-1964 from 
Canadian children plus a few from adult friends who 
remembered them from their youth. 

I started collecting with some of the children on my own 
street and then began going to various Toronto schools where I 
arranged to tape the students in Grade 3 classes, which I found 
the best age-group for this type of material. I asked them for the 
games and rhymes they knew, and had no trouble getting a wide 
variety. Children's lore is probably the easiest kind of folklore to 
collect today. 

When I had assembled a number of tapes, I transcribed 
them, picked the best versions of the various items, arranged 
them in categories, and cited the sources and references to other 
versions. I was lucky in the artist whose delightful color 
illustrations made the book very attractive. He used two unusual 
techniques: many of his pictures included fingerprints, others 
looked like lace. 

This book is still in print, still popular, and still representa-
tive of the children's lore common in Canada. Students in my 
introductory folklore classes at York University collected 
children's rhymes and games as an annual assignment during the 
seventies and eighties, and found very few that were not in 
Sally. In 1989 Virginia Caputo, a graduate student in anthro-
pology at York, did her masters' thesis comparing the songs in 
my collection with those she collected in the same schools some 
twenty-five years later. An article on her study, which showed a 
remarkably close parallel, appeared in the Canadian Folk Music 
Journal for 1990. 

Keith MacMillan, who had transcribed the music, brought 
a group of children into a studio and recorded some of the songs 
and games. This was not a field recording, as the children had to 
be rehearsed: They knew the songs, but some of their versions 
were slightly different from those in Sallv, and Keith's piano or 
guitar accompaniments were used. However, it was children 
singing children's songs--an 

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improvement over most children's records which are sung by adults. Later, 
the record was replaced by a cassette. 

Partly because of the lovely illustrations and the record, Sally is much 
the best known of my books. At various gatherings parents still come up to 
tell me how much their children enjoy it, and many adults liked being 
reminded of their childhood. I was pleased to find that it was the only North 
American book on the reference list in the Opies' The Singing Game 
(Oxford: New York, 1984) except for Newell's Games and Songs of 
American Children from 1903. 

Jay Rahn, a leading Canadian ethnomusicologist, used my collection as 
the basis for an analysis of the tunes of children's songs, "Stereotyped Forms 
in English-Canadian Children's Songs: Historical and Pedalogical Aspects" in 
the 1981 Canadian Folk Music Journal. It compares the tunes in Sally with 
those of similar items in Britain and the States. This seems to be the first 
attempt to analyze English-language children's tunes. 

A sequel, Ring Around the Moon: 200 songs, tongue twisters, riddles. 
and rhvmes of Canadian children (Toronto: McClelland & Stewart; Engle-
wood Cliffs, NJ: Prentice-Hall, 1977), was designed for a slightly older 
group and contains some material for children rather than from children. 
Because of its smaller format and black-and-white illustrations, it proved less 
popular than Sally and was out of print for several years, but it has recently 
been reprinted (Toronto: NC Press, 1987). 

Both those books gave sources, comparative references, and indexes. A 
smaller and less scholarly book, Riot of Riddles (Richmond Hill, Ont: 
Scholastic-TAB, 1982), was published by one of the major companies selling 
to schools. It contains a wide variety of riddles and puzzles: true riddles, 
conundrums, riddle jokes, crossword puzzles, guessing games, etc. Of course 
riddles are tremendously popular among children; any group will gladly 
produce a number, and some make up their own. 

More recently, I assembled a book of children's street games. Red 
Rover. Red Rover (Toronto: Doubleday Canada, 1988). The material came 
largely from my students' assignments over a dozen years supplemented by 

some from Robert Cosbey, who had collected them from his folklore class at 
Regina University, Laurel Doucette, who sent some from an Ottawa class and 
some she remembered from her childhood, and Philip Thomas, who collected 
some in Vancouver, plus a few from Helen Creighton's collection in the 
Folklore Archives of the National Museum. 

Again I went through a voluminous mass of game descriptions, selected 
the best versions, organized them in the eleven classes use by Iona and Peter 
Opie in Children's Games in Street and Plavground (London: Oxford 
University Press, 1969), and added four extra sections: Pretending, Miscel-
laneous, Marble, and Word Games. When I told Iona what I was planning, 
she wrote: "I think it would be excellent if you used the analytical arrange 

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Booksfor Children 

ment of Children' Games in Street and Playground . . . I think Peter would 
be pleased. He was justifiably proud of his analysis, which caused him many 
skull-cracking hours." 

In addition to those books designed specifically for children, some of my 
others are also useful for children. One, published originally as Canada's Story in 
Song (Toronto: Gage, 1965), and long out of print, came out later in a new 
edition as Singing Our Historv (Toronto: Doubleday Canada, 1984). This 
began as a series of radio programs for which I wrote the scripts and 
Canadian folksinger Alan Mills narrated and sang the songs. All the songs 
are related to events and periods in our history, and we hoped it would be 
used in history and social studies classes. Alan recorded a two record set of 
the songs (Folkways 4000), and the New York Times listed it as one of the 
hundred best records of 1956. Singing Our Historv is a revised and enlarged 
edition, containing eighteen additional songs found since 1965. 

Another book that came out of a radio series, John D. Robins' Logging 
with Paul Bunvan, originally published in 1967 (Toronto: Ryerson), was 
reissued in a somewhat different format designed to appeal to children as 
Paul Bunvan. Superhero of the Lumberjacks (Toronto: NC Press, 1980). 
Dr. Robins, a professor at the University of Toronto, had worked in the 
northern woods where he heard many lumbering songs and stories. (Inci-
dentally, he was instrumental in getting me interested in folklore, and my 
first book was dedicated to him.) We had collaborated on a radio series 
about Paul Bunyan in which Dr. Robins, impersonating an old lumberjack, 
told the stories and I supplied songs from records. After Dr. Robins died, 
Mrs. Robins turned his manuscripts over to me; I edited them, adding an 
introduction and notes. When it had been out of print for several years, NC 
Press issued the revised version aiming at a children's market 

Folktales of Canada (Toronto: NC Press, 1979) has also been used with 
children, although it is not primarily for children. It is translations of varied 
French-Canadian tales (mostly from Marius Barbeau's collection) illustrating 
the different types of folktales. I did this book because most French-
Canadian tales available in English had been rewritten, and I kept my 
translations as close as possible to the original texts. 

My folksong anthologies, Folk Songs of Canada I and II (Waterloo: 
Waterloo Music, 1954, 1967), and The Penguin Book of Canadian Folk- 
Songs (Harrnsworth, England, 1973; rpt. Markham, Ont., 1986), while not 
designed for children, have been used in school music programs and at 
summer camps. 

Folk Songs of Canada, produced with a musician, Richard Johnston, 
was my first book. I began to realize the need for such a book as a result of 
my radio series, "Folk Song Time," which was then being aired on the 
Canadian Broadcasting Corporation. When I played records of Canadian 

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songs, listeners would inquire where they could find them, but no general 
Canadian collection of folk songs existed, only regional collections from 
Quebec, Nova Scotia, and Newfoundland. 

We also produced a small volume of French-Canadian songs, Chansons 
de Ouebec/Folk Songs of Ouebec (Waterloo: Waterloo Music, 1957) with the 
original French and singable English translations, hoping to make the 
beautiful French-Canadian songs better known among Anglo-Canadians. 
Also, as singing French is much easier than speaking it, the book would be 
useful in teaching French to English-speaking children. 

Then in Canada's Centennial Year, 1967, we added the second volume, 
originally published as More Folk Song-s of Canada. It gave some less 
familiar songs and some from Ontario and Western Canada collected since 
1954. When working on the first book, we found practically no songs from 
west of Quebec, which led me to begin my own collecting. 

My other general anthology, The Penguin Book of Canadian Folk 
Songs, was prepared with the hope of making Canadian songs better known 
in Britain and the United States, and allowed me to present a substantial 
number of Ontario songs I had collected. 

Later I scripted The Audio-Visual Historv of Canadian Folk Music, 
issued by Mead Sound Filmstrips as a combined filmstrip and cassette for 
sale to schools. The Canadian singer Stan Rogers (tragically killed in a plane 
crash a few years later) narrated the script which was illustrated by short 
excerpts from songs and some well-chosen paintings and photographs. One 
delightful book I edited came from my friend Alice Kane, a children's 
librarian who supplied some of the items for Sally and Ring Around the Moon. She 
is a founder of The Storytellers' School of Toronto and the best storyteller in 
Canada. She has a phenomenal memory, and every time I saw her she would 
be quoting a song or a poem or a saying she remembered from her childhood. 
I kept telling her to write these down, they were folklore; eventually she did, 
but instead of simply writing the songs and rhymes, she quoted them as part 
of the story of her childhood years in Belfast, and gave me the manuscript as 
a Christmas present! I was so charmed by it that I arranged to have it printed 
as Songs and Savings of an Ulster Childhood (Toronto: McClelland & 
Stewart, 1983). This is a beautifully written narrative incorporating an 
astonishing wealth of folklore drawn from Alice's amazingly complete 
memory of her first twelve years in Ireland. I added an introduction, notes, 
comparative references, and bibliography. 

In 1985 I received the Vicky Metcalf Award of $2,000 "for a body of 
work inspirational to Canadian youth," a prize administered by the Canadian 
Authors Association. 

Toronto 

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