1. What drew you to working with Classical Antiquity and what challenges did you face in selecting, representing, or adapting particular myths or stories?

I assume that the answer would not be original – there is no specific reason for the use of the Roman Colosseum in the book [Być jak Tygrys (The Secret Life of a Tiger)]. I decided to use it because it is well known as a building related to big achievement, important for art history and known by everyone. I wanted to show that the Tiger used his talent to build the Colosseum – something that would impress people of ancient times. I wanted to create something very impressive and find the best way to picture it is using classical content, something known by everyone. It is highly probable that children know what the Colosseum is as well as they know the Eiffel tower.

2. Do you have a background in classical education (Latin or Greek at school or classes at the University?) What sources are you using? Scholarly work? Wikipedia? Are there any books that made an impact on you in this respect?

The books that made impact on my perception of antiquity is a Polish series „Art of the World” („Sztuka świata”), a textbook I learned from in the course of my education, during art history studies. Today I use mainly iconography accessible by the Internet.

3. Did you think about how Classical Antiquity would translate for young readers, esp. in Poland?

I think that this topic is appreciated by children. I am sure that if it is done well, a project about antiquity may interest young people. For sure it should not be a transfer of knowledge consisting of hard facts themselves – more likely something with elements of adventure, humour or with extraordinarily illustrations.

4. How concerned were you with "accuracy" or "fidelity" to the original?  (another way of saying that might be — that I think writers are often more "faithful" to originals in adapting its spirit rather than being tied down at the level of detail — is this something you thought about?)

Drawing a classical building does not require paying attention to details [in Być jak tygrys (The Secret Life of a Tiger)]. These are forms known well enough so their shapes, sometimes even contours, suggest immediately the concrete object.

Prepared by Krzysztof Rybak, University of Poland, rybak.km@gmail.com

1. What drew you to working with Classical Antiquity and what challenges did you face in selecting, representing, or adapting particular myths or stories?

The idea of using a mythical character and making it the ancestor of the hare species came from the belief that the clash between "big" and "small" in a children's book is an amusing attraction, but also an invitation to potential readers to learn about the "great book of myths”. Such an intention agrees with my conviction that in children’s literature ordinary things should be written in simple terms. In this case I had also no problems choosing the mythical hero. Hercules met all the "monumental" expectations.

2. Why do you think classical / ancient myths, history, and literature continue to resonate with young audiences?

It’s got to. The European cultural circle in which we grow from childhood nurtures us using familiar mythology, fairy tales and religious beliefs. If beliefs are in some way imposed on us by family or if we acquire this kind of knowledge, as adults – classical myths, firmly embedded in our consciousness, first lead us into the magical world and then inspire in translating our real world. If we know myths we understand all classical literary, artistic, and musical inspirations. We accept them consciously and subconsciously. They become the non-verbal language of symbols. Young recipient – who does not like literalism – finds herself/himself easily in such communication as described above. Not to mention the attractiveness of myths resulting from their contemporary character, archetypical messages, and finally universality which allows them to be adopted and reproduced in literary genres adored by children and youth: fantasy and science-fiction.

3. Do you have a background in classical education (Latin or Greek at school or classes at the University?) What sources are you using? Scholarly work? Wikipedia? Are there any books that made an impact on you in this respect?  

I have only a "basic" classical education related to the subject of philological studies and the two-year Latin language course. But extended studies in philology (PhD) allowed me to explore ancient literature longer than average students of Polish studies do. In my literary work sometimes I use articles or books dealing with antiquity. There, I am looking for answers to the questions that bother me the most.

4. Did you think about how Classical Antiquity would translate for young readers, esp. in Poland?

No, to be honest. I only hoped that the figure of Hercules, who fascinated me in childhood, just like the heroes of other myths, will enrich the world of the hares and will unify it in a heroic way. So I chose this figure of Hercules consciously and with the conviction that this is the right hero.

5. How concerned were you with "accuracy" or "fidelity" to the original?

In this particular case, it was a charismatic, strong character, who provides to the hares a reason to be proud. Therefore, the choice of the hero did not require deep classical studies. However, if I would refer to Graeco-Roman mythology in a wide range, I would certainly look for strong links with the generally accepted and well-known version of the myths.  

6. Are you planning any further forays into classical material?

I grew up among myths and they are always in me. I do not plan any specific returns, but no doubt the knowledge that fascinated me in my childhood is still heard and appears in my work. After all, the books we write reflect our discoveries, fascinations, and admiration, in which we grew up to be adults…

Prepared by Krzysztof Rybak, University of Warsaw, rybak.km@gmail.com