Philip Pullman “How children's books thrived under Stalin” http://www.theguardian.com/artanddesign/2013/oct/11/russian-children-books-illustration-stalin
“Inside the Rainbow: Russian children's literature 1920-1935 - in pictures” http://www.theguardian.com/books/gallery/2013/oct/11/illustration
Julian Rothenstein and Olga Budashevskaya Inside the Rainbow: Russian Children's Literature 1920-35: Beautiful Books, Terrible Timesという本の紹介。
初期蘇聯の児童書（児童文学や絵本など）のクォリティはすごく高い。それは、児童書が弾圧を逃れたアヴァンギャルドな詩人やアーティストのための避難所として機能したからである。勿論、その避難所は徐々に狭くなっていくのではあるが。
蘇聯の児童書の英国の児童書に対する影響について語られている箇所をカットしておく；
ところで、他の全体主義体制における子どもの本というのはどうなっていたのだろうか。例えば、日本の場合だと、早川タダノリ「お子様向け日本軍大活躍「過激描写」画像」*1をマークしておく。また中川李枝子「戦争は怖い」（『熱風』2013年７月号、pp.16-19）*2も。
Before full colour blossomed into British children's books with Brian Wildsmith and John Burningham in the 1960s, the old two-colour printing was common in books for young readers. It was cheap, and at its worst it was deadly dull. In 1920s Russia, however, El Lissitzky, among others, was showing how it could sparkle with modernist brilliance. The black and red of his About Two Squares (1922) are not trying to be anything other than deep black and brilliant red, and they succeed triumphantly, just as they do in his powerful propaganda poster Beat the Whites with the Red Wedge of 1919, a classic example of how to make abstraction instantly readable.The lithographic process used in many of these examples had a direct influence on the development of children's books in Britain. In 1939 the designer Noel Carrington, a great admirer of Soviet children's books, persuaded Allen Lane to add a Puffin series to the Penguins and Pelicans that had become so successful. Lithography was important here, because by getting the artist to draw directly on to the stone and printing from that, publishers could avoid the time and expense of a photographic stage.
