In Germany, Enid Blyton is HUGE, and they continued some of her series with German writers.
Which is ironic, considering that Ms. Blyton was British.
British culture is in its basics a unique blend of German (Germanic) and French (Romance) culture, just like the English language. Besides, there is in Blyton's work, as I've noted earlier in this thread, a perverse whiff of proto-fascism, the Übermensch and a rigid caste system. I'm not saying that Germans were deliberately seeking this out, rather that they in the postwar years came upon a popular writer of children's literature whom they trusted, as a Briton, to have "sound and democratic" values. But the reason why she appealed to them, besides writing a children's equivalent of mass-produced orgy porn, might have been her decidedly right-wing perspectives. Something she, as a writer on the victorious Allied side could be allowed to, but German writers couldn't, so their books were boring. (Read Siegfried Lenz's
Deutschstunde, The German Lesson, for an entertaining discussion of this pedagogic issue.)
Do note I write this as someone whose political ideas some people would brand right-wing and right-radical. Besides not wanting to kill people and abolish democracy it's one of the ways I know I'm not a fascist: That I love many of the books the fascists burned. But it takes a better writer than Enid Blyton to write things that are good, true and beautiful. Thomas Mann is a great German example, but the Germans have had very few such writers of children's literature after the Brothers Grimm. (Whereas the British have had so many: Lewis Carrol, Charles Dickens, A.E. Milne, C.S. Lewis, Rudyard Kipling, Beatrix Potter, Roald Dahl etc.)
I'm more amazed she was popular in France. But there are a lot of hidden, unexpected strains in French society, among them a very rigid class system which parallells British society as featured in Blyton's books very well.