创作的过程远比想象中更曲折。有的孩子皱着眉头捏着铅笔:“寓言怎么这么难写?”有的孩子写了一半,又突然“哎呀”一声,发现自己把道理写成了作文。还有的孩子看着空白的纸发呆,一边小声嘟囔:“狐狸、乌鸦、狼、兔子都被人写完了,那我还能写什么?”但就在这一遍遍的尝试、推翻、重写中,他们渐渐明白:好的寓言,未必要有狐狸和乌鸦,也可以是身边的点滴启发。于是,关于“瓶子草的故事”“一张小纸”“被嘲笑的小喜鹊”……一个个以童真视角的新奇故事开始诞生。
The process of creation proved far more winding than one might imagine. Some children frowned over their pencils, sighing, “Why is writing a fable so difficult?” Others made a promising start, only to exclaim halfway through that they had accidentally written an essay rather than a story with a moral. There were also those who stared blankly at the page, quietly murmuring, “All the foxes, crows, wolves and rabbits have already been used—what’s left for me?”
Yet through this cycle of attempts, rewrites, and revisions, the children slowly came to realise that a good fable need not always feature a cunning fox or a clever crow. Sometimes, inspiration lies in the simplest corners of life. And so, new and imaginative tales began to emerge—The Story of the Pitcher Plant, A Small Piece of Paper, The Little Magpie Who Was Laughed At—each one a fresh glimpse into the world through the eyes of a child.