Marisa De Castro is born in Athens. She studied Pedagogy at the Sorbonne and Literature for Children and Young People. She taught History and Literature to primary school students in the private sector. She writes documentary books for children in the field of history and art, and translates literature for young people and adults. Since 1998, she writes literary critics for children’s and teenage books in print and online media. She is a member of the Hellenic Authors’ Society, IBBY Greece and the editorial committee of the online literary magazine ‘O Anagnostis’.
Her books have received numerous literary awards: National Book Award for Non-Fiction (2006, 2018, 2020, 2023, 2024), IBBY Award for Non-Fiction Book (2012, 2016, 2021) and the Young Adult Book Translation Award of the Greek Society of Translators (2014). She was included in the IBBY Honorary List 2016 for the translation in Greek of the youth book Wonder. Her books were included in the White Ravens 2017 and 2018 catalogues of the International Munich Youth Library.
Some of her most recent books include: 2194 Days of War, Alki Zei: Eyes as Blue as the Sea, Money, What is democracy?, Where do the rights come from?, 2651 Days of Dictatorship, Walking through the Byzantine Era, all published by Metaixmio.
Your latest book 2194 Days of War was recently published by Metaichmio. Tell us a few things about this great venture of yours.
When I first talked about the idea everyone wondered how this long and sprawling war would fit into the pages of a young people’s book. It seemed quite daring to the point of being chaotic! I had kind of planned it in my mind and so I insisted. I started reading historical articles to get an idea of the course of the war. Then I made the detailed outline that included decisions on the topics I wanted to address, i.e. the defining events by year in Greece and the world – warfare, resistance, the Holocaust, art (literature, cinema, visual arts, etc.), economy, daily life, the effects of the war.
At the same time, I did research οn the corresponding testimonies and photographic documents to accompany the events. I worked with illustrator Achilleas Razis (the book is his too!) who repainted the black and white photographs of the time to make them recognisable and enable readers to find them in other books or on the internet, and gave them colour. When the writing was finished I gave it to Professors Hagen Fleischer and Anna-Maria Droumpouki, the two historians who advised me and checked the content of the book. I owe them my heartfelt thanks.
Your books delve into major historical issues, such the Greek Revolution of 1821, World War II, the Holocaust, as well as social and societal issues such as democracy etc. Does literature constitute a way to make history more attractive or to raise awareness especially among children and teenagers?
Definitely so! We all agree that literature opens the mind and raises awareness, regardless of whether readers identify with the literary characters or simply encounter them through the pages. The mere contact with situations experienced by famous or everyday heroes raises issues for discussion. To make history interesting and lively, it must be written with honesty, even when it is necessary to address brutal and traumatic issues, such as the Holocaust or a civil war, for instance. I share the opinion of the great Alki Zei who argued that we can talk about anything to children. It is up to us to find the way.
Where do you draw the line between fiction and historical facts, between literary narration and historical recording?
We could call my books “literary historical documentary books”. In other words, I am not a prose writer and there is no fiction in my books in the classical sense. Literary narrative is interwoven with documented historical events. History is the people, emotions, actions, art, everyday life with its agonies, dilemmas, morals and values, which acquire a literary dimension. Writing about every milestone of WWII includes and lays emphasis on the micro-stories, testimonies and experiences of the historical subjects, which help complete the puzzle of the 2194 days of the war. It is these that connect us with the older generations so that history is no longer an abstract concept.
For instance, how did the Japanese pilot express his anguish when he was about to bomb Pearl Harbor? And how did ordinary American sailors experience the attack? What did the little Jewish girl hiding in Thessaloniki feel? Will I resist, will I fight for my ideals, whatever the cost? The German students of the “White Rose” did so, risked their lives and were hanged like thousands of others who resisted the Nazis. In every major issue, there are testimonies that give a face to history beyond numbers and dates.
Because I am a teacher at heart, I am concerned about the way in which historical knowledge is transmitted and, by extension, how historical consciousness is formed in young people, which unfortunately is not acquired at school. I hope I have something to offer…
You have dedicated yourself to children’s literature as a writer, critic, teacher. How did it all start?
As often happens. That is, by accident! At school the only course I was good at was history. I pursued history through other paths by going to museums and archaeological sites and my hobby soon became a profession. As a teacher I taught History in primary schools and designed curricula on historical topics, with children showing me the way. Later, I started writing books on a variety of subjects that at times sparked my interest.
For instance, I wrote 2651 Days of Dictatorship because every year in November my younger students asked me how we lived during those years. Working as a literary critic of children’s/young people’s books also helped me. I learn from other authors, study what they are most concerned with and how they write! By systematically reading a huge number of books for young readers, both Greek and foreign, I form opinions, discern thematic and pictorial trends in children’s and young adult literature, etc. And I continue to keep my ears and eyes open!
What makes a book attractive to such a demanding audience as children? And, in turn, what do you want to offer kids through your books?
I would add that children, in addition to being demanding, are also selective in their readings. And this is directly linked to the educational level of the family and of course the school and their peers that influence them in one direction or another and shape their choices.
Practically speaking, when I write a book, I have active readers in mind who, starting from the book, will not be restricted to its pages. My books, although classified as children’s literature, are open to multiple readings and ages depending on the maturity of the reader. If we want to keep readers engaged, open their horizons and actively involve them in the narrative, we must make sure to include multi-faceted/multi-thematic content, not only textual but also illustrative. Illustration plays a key role. It offers information, sparks the imagination, visualises narratives, surprises, and puzzles. The above applies of course to all books, whether they are knowledge books, short illustrated stories, graphic novels or even novels.
What do you consider should be done at an institutional level to make literature more appealing to young people and foster their love for reading?
Younger generations will love books, when they discover how much more they have to offer them compared to social media, which they follow and “read” with passion. Effortlessly and not as a moral imposition, as schools and parents usually insist.
Much can be done at an institutional level, some are already implemented by institutions with the participation of minded people. In my formative years as a reader, I was fortunate enough to get to books with the assistance of enlightened teachers.
Moreover, while I was studying in Paris, I visited hospitable, active libraries and even worked in the Clamart pilot children’s library. I support libraries; they exist in every municipality in our country and need serious funding to function effectively as hives of culture and breeding ground for readers.
*Interview by Athina Rossoglou
TAGS: LITERATURE & BOOKS | READING GREECE
