Here Comes the Bogeyman is an essential text focussing on critical and contemporary issues surrounding writing for children. Containing a critically creative and a creatively critical investigation of the cult and culture of the child and childhood in fiction and non-fictional writing, it also contains a wealth of ideas and critical advice to be shared with writers, students of children s writing and students of writing. With scores of published children s fiction books and films to his name, Andrew Melrose shares his extensive critical, teaching, writing and research experience to provide:

• a critical and creative investigation of writing and reading for children in the early, middle and pre-teen years
• an accessible and critically important challenge to the latest international academic research and debates in the field of children s literature and creative writing.
• an evaluation of what it means to write for a generation of media-savvy children
• encouragement for critics, writers and students to develop their own critical, creative and writing skills in a stimulating and supportive manner
• guidance on writing non-fiction and poetry
• creative writing craftwork ideas which could be used as seminar topics or as individual reflections

This one-stop critical and creative text will be an indispensable resource for critics, writers and students interested in the cult and culture of writing for children; on Creative Writing BA and MA programmes; Children's Literature BA and MA programmes; English BA and MA programmes; Teacher Training, PGCE students and for those studying at Doctoral and Post-Doctoral level who are interested in writing for children.

While the field of childhood studies has blossomed in recent years, few scholars have taken up the question of age more broadly as a lens for reading American literature. Adulthood and Other Fictions shows how a diverse array of nineteenth-century writers, thinkers, and artists responded to the rise of chronological age in social and political life. Over the course of the century, age was added to the census; schools were organized around age groups; birthday cards were mass-produced; geriatrics became a medical specialty. Adulthood and Other Fictions reads American literature as a rich, critical account of this modern culture of age, and it examines how our most well-known writers registered-and often resisted-age expectations, particularly as they applied to women and people of color. More than simply adding age to the list of identity categories that have become de rigueur sites of scholarly attention, Adulthood and Other Fictions argues that these other measures of social location (race, gender, sexuality, class) are largely legible through the seemingly more natural and essential identity defined by age. That is, longstanding cultural ideals about maturity and development anchor ideologies of heterosexuality, race, nationalism, and capitalism, and in this sense, age rhetoric serves as one of our most pervasive disciplinary discourses. Writers including Louisa May Alcott, Frederick Douglass, and Henry James anticipated the ageism of our moment, but they also recognized how age norms both structure and limit the lives of individuals at all points on the age continuum. Ultimately, the volume argues for an intersectional understanding of age that challenges the celebration of independence and autonomy imbricated in US fantasies of adulthood and in American identity itself.

Focusing on his evocative and profound references to children and their stories, Children's Stories and 'Child-Time' in the Works of Joseph Cornell and the Transatlantic Avant-Garde studies the relationship between the artist's work on childhood and his search for a transfigured concept of time. This study also situates Cornell and his art in the broader context of the transatlantic avant-garde of the 1930s and 40s. Analisa Leppanen-Guerra explores the children's stories that Cornell perceived as fundamental in order to unpack the dense network of associations in his under-studied multimedia works. Moving away from the usual focus on his box constructions, the author directs her attention to Cornell's film and theater scenarios, 'explorations', 'dossiers', and book-objects. One highlight of this study is a work that may well be the first artist's book of its kind, and has only been exhibited twice: Untitled (Journal d'Agriculture Pratique), presented as Cornell's enigmatic tribute to Lewis Carroll's Alice books.

This study assesses the significance of Pinocchio in the twentieth and twenty-first centuries in addition to his status as the creature of a nineteenth century traversed by a cultural enthusiasm for dummies, puppets, and marionettes. This collection identifies him as a figure characterized by a 'fluid identity,' informed with transition, difference, joie de vivre, otherness, displacement, and metamorphosis, making Pinocchio a truly modern, indeed postmodern and posthuman, cultural icon. Pinocchio, Puppets and Modernity explores this crucial and as yet little visited field, reassessing Pinocchio's genealogy and progeny, as well as illuminating both the wider context and more specific cultural manifestations of the mechanical-human interface in the domains of theatre, the fine arts, literature, radio, and even virtual reality coherently with the digital metamorphosis of our times. The wide-ranging scope of this exploration encompasses Italian, French, and English literature, dummies and marionettes in modernist and contemporary theatre, the fairytale tradition, and traditional and contemporary painting, as well as the older and newer media of radio, television, cinema, and the Internet. The diverse, comparative, and multimedia focus of this original discussion testifies to the enduring transcultural legacy of Pinocchio. Eminently sellable as a traditional cultural icon, Pinocchio is equally impactful and relevant for a globalized, multicultural, and virtual society, from Collodi to Disney and beyond. Katia Pizzi is Senior Lecturer in Italian at the Institute of Germanic & Romance Studies, School of Advanced Study, University of London. She has published volumes on cultural identities, including A City in Search of an Author (2001) and The Cultural Identities of European Cities (2010), and on children's literature and illustration.

In this book, Blackford historicizes the appeal of the Persephone myth in the nineteenth century and traces figurations of Persephone, Demeter, and Hades throughout girls literature of the nineteenth and twentieth centuries. She illuminates developmental patterns and anxieties in E. T. A. Hoffmann 's Nutcracker and Mouse King, Louisa May Alcott 's Little Women, Emily Bront 's Wuthering Heights, J. M. Barrie 's Peter and Wendy, Frances Hodgson Burnett 's The Secret Garden, E. B. White 's Charlotte 's Web, J. K. Rowling 's Harry Potter and the Chamber of Secrets, Stephenie Meyer 's Twilight, and Neil Gaiman 's Coraline. The story of the young goddess 's separation from her mother and abduction into the underworld is, at root, an expression of ambivalence about female development, expressed in the various Neverlands through which female protagonists cycle and negotiate a partial return to earth. The myth conveys the role of female development in the perpetuation and renewal of humankind, coordinating natural and cultural orders through a hieros gamos (fertility coupling) rite. Meanwhile, popular novels such as Twilight and Coraline are paradoxically fresh because they recycle goddesses from myths as old as the seasons. With this book, Blackford offers a consideration of how literature for the young squares with broader canons, how classics flexibly and uniquely speak through novels that enjoy broad appeal, and how female traditions are embedded in novels by both men and women.

As Canada came to terms with its role as an independent nation following Confederation in 1867, there was a call for a literary voice to express the needs and desires of a new country. Children's literature was one of the means through which this new voice found expression. Seen as a tool for both entertaining and educating children, this material is often overtly propagandistic and nationalistic, and addresses some of the key political, economic, and social concerns of Canada as it struggled to maintain national unity during this time. From Nursery Rhymes to Nationhood studies a large variety of children's literature written in English between 1867 and 1911, revealing a distinct interest in questions of national unity and identity among children's writers of the day and exploring the influence of American and British authors on the shaping of Canadian identity. The visions of Canada expressed in this material are often in competition with one another, but together they illuminate the country's attempts to define itself and its relation to the world outside its borders.

In this pioneering and timely book, Lampert examines the ways in which cultural identities are constructed within young adult and children's literature about the attacks of September 11, 2001. Looking at examples including picture books, young adult novels, and a selection of DC Comics, Lampert finds the co-mingling of xenophobia and tolerance, the binaried competition between good and evil and global harmony and national insularity, and the glorification of both the commonplace hero and the super-human. Specifically, Lampert identifies three significant identity categories encoded in 9/11 books for children--ethnic identities, national identities, and heroic identities--arguing that their formation is contingent upon post-9/11 politics. These shifting identities offer implicit and explicit accounts of what constitute good citizenship, loyalty to nation and community, and desirable attributes in a Western post-9/11 context. Lampert makes an original contribution to the field of children's literature by providing a focused and sustained analysis of how texts for children about 9/11 contribute to formations of identity in these complex times of cultural unease and global unrest.

Into the Closet examines the representation of cross-dressing in a wide variety of children's fiction, ranging from picture books and junior fiction to teen films and novels for young adults. It provides a comprehensive analysis of the different types of cross-dressing found in children's narratives, raising a number of significant issues relating to the ideological construction of masculinity and femininity in books for younger readers. Many literary and cultural critics have studied the cultural significance of adult cross-dressing, yet although cross-dressing representations are plentiful in children's literature and film, very little critical attention has been paid to this subject to date. Into the Closet fills this critical gap. Cross-dressing demonstrates how gender is symbolically constructed through various items of clothing and apparel. It also has the ability to deconstruct notions of problematizing the relationship between sex and gender. Into the Closet is an important book for academics, teachers, and parents because it demonstrates how cross-dressing, rather than being taboo, is frequently used in children's literature and film as a strategy to educate (or enculturate) children about gender.

Once Upon a Time in a Different World, a unique addition to the celebrated Children's Literature and Culture series, seeks to move discussions and treatments of ideas in African America Children's literature from the margins to the forefront of literary discourse. Looking at a variety of topics, including the moralities of heterosexism, the veneration of literacy, and the "politics of hair," Neal A. Lester provides a scholarly and accessible compilation of essays that will serve as an invaluable resource for parents, students, and educators. The much-needed reexamination of African American children's texts follows an engaging call-and-response format, allowing for a lively and illuminating discussion between its primary author and a diverse group of contributors; including educators, scholars, students, parents, and critics. In addition to these distinct dialogues, the book features an enlightening generational conversation between Lester and his teenage daughter as they review the same novels. With critical assessments of Toni and Slade Morrison's The Big Box and The Book of Mean People, bell hooks' Happy to Be Nappy, and Anne Schraff's Until We Meet Again, among many other works, these provocative and fresh essays yield a wealth of perspectives on the intersections of identity formations in childhood and adulthood.

This study is concerned with how readers are positioned to interpret the past in historical fiction for children and young adults. Looking at literature published within the last thirty to forty years, Wilson identifies and explores a prevalent trend for re-visioning and rewriting the past according to modern social and political ideological assumptions. Fiction within this genre, while concerned with the past at the level of content, is additionally concerned with present views of that historical past because of the future to which it is moving. Specific areas of discussion include the identification of a new sub-genre: Living history fiction, stories of Joan of Arc, historical fiction featuring agentic females, the very popular Scholastic Press historical journal series, fictions of war, and historical fiction featuring multicultural discourses.

Wilson observes specific traits in historical fiction written for children ? most notably how the notion of positive progress into the future is nuanced differently in this literature in which the concept of progress from the past is inextricably linked to the protagonist's potential for agency and the realization of subjectivity. The genre consistently manifests a concern with identity construction that in turn informs and influences how a metanarrative of positive progress is played out. This book engages in a discussion of the functionality of the past within the genre and offers an interpretative frame for the sifting out of the present from the past in historical fiction for young readers.

The myth of the Victorian family remains a pervasive influence within a contemporary Britain that perceives itself to be in social crisis. Nostalgic for a golden age of "Victorian values" in which visions of supportive, united families predominate, the common consciousness, exhorted by social and political discourse, continues to vaunt the "traditional, natural" family as the template by which all other family forms are gauged. Yet this fantasy of family, nurtured and augmented throughout the Victorian era, was essentially a construct that belied the realities of a nineteenth-century world in which orphanhood, fostering, and stepfamilies were endemic. Focusing primarily on British children's texts written by women and drawing extensively on socio-historic material, The Fantasy of Family considers the paradoxes implicit to the perpetuation of the domestic ideal within the Victorian era and offers new perspectives on both nineteenth-century and contemporary society.

Astrid Lindgren, author of the famed Pippi Longstocking novels, is perhaps one of the most significant children's authors of the last half of the twentieth century. In this collection contributors consider films, music, and picturebooks relating to Lindgren, in addition to the author's reception internationally. Touching on everything from the Astrid Lindgren theme park at Vimmerby, Sweden to the hidden folk songs in Lindgren's works to the use of nostalgia in film adaptations of Lindgren's novels, this collection offers an important international and intermedial portrait of Lindgren research today.

How did the 'flat' characters of eighteenth-century children's literature become 'round' by the mid-nineteenth? While previous critics have pointed to literary Romanticism for an explanation, Jackie C. Horne argues that this shift can be better understood by looking to the discipline of history. Eighteenth-century humanism believed the purpose of history was to teach private and public virtue by creating idealized readers to emulate. Eighteenth-century children's literature, with its impossibly perfect protagonists (and its equally imperfect villains) echoes history's exemplar goals. Exemplar history, however, came under increasing pressure during the period, and the resulting changes in historiographical practice - an increased need for reader engagement and the widening of history's purview to include the morals, manners, and material lives of everyday people - find their mirror in changes in fiction for children. Horne situates hitherto neglected Robinsonades, historical novels, and fictionalized histories within the cultural, social, and political contexts of the period to trace the ways in which idealized characters gradually gave way to protagonists who fostered readers' sympathetic engagement. Horne's study will be of interest to specialists in children's literature, the history of education, and book history.

Concurrent with increasing scholarly attention toward national children's literatures, Contemporary English-language Indian Children's Literature explores an emerging body of work that has thus far garnered little serious critical attention. Superle critically examines the ways Indian children's writers have represented childhood in relation to the Indian nation, Indian cultural identity, and Indian girlhood. From a framework of postcolonial and feminist theories, children's novels published between 1988 and 2008 in India are compared with those from the United Kingdom and North America from the same period, considering the differing ideologies and the current textual constructions of childhood at play in each. Broadly, Superle contends that over the past twenty years an aspirational view of childhood has developed in this literature-a view that positions children as powerful participants in the project of enabling positive social transformation. Her main argument, formed after recognizing several overarching thematic and structural patterns in more than one hundred texts, is that the novels comprise an aspirational literature with a transformative agenda: they imagine apparently empowered child characters who perform in diverse ways in the process of successfully creating and shaping the ideal Indian nation, their own well-adjusted bicultural identities in the diaspora, and/or their own empowered girlhoods. Michelle Superle is a Professor in the department of Communications at Okanagan College. She has taught children's literature, composition, and creative writing courses at various Canadian universities and has published articles in Papers and IRCL.

Taking up the various conceptions of heroism that are conjured in the Harry Potter series, this collection examines the ways fictional heroism in the twenty-first century challenges the idealized forms of a somewhat simplistic masculinity associated with genres like the epic, romance and classic adventure story. The collection's three sections address broad issues related to genre, Harry Potter's development as the central heroic character and the question of who qualifies as a hero in the Harry Potter series. Among the topics are Harry Potter as both epic and postmodern hero, the series as a modern-day example of psychomachia, the series' indebtedness to the Gothic tradition, Harry's development in the first six film adaptations, Harry Potter and the idea of the English gentleman, Hermione Granger's explicitly female version of heroism, adult role models in Harry Potter, and the complex depictions of heroism exhibited by the series' minor characters. Together, the essays suggest that the Harry Potter novels rely on established generic, moral and popular codes to develop new and genuine ways of expressing what a globalized world has applauded as ethically exemplary models of heroism based on responsibility, courage, humility and kindness.

Fantasy conjures up images of witches, fairies, dark woods, magic wands and spells, time travel, ghosts, and dragons. Each of us defines fantasy in a personal way, based on our life stories, experiences, hopes, dreams, and fears. Fantasy Literature for Children and Young Adults, helps teachers and students of literature to develop their own understandings of this broad genre in order to evaluate and promote the joy of fantasy in their classrooms. An excellent teaching tool, the discussions are organized around three categories of fantasy literature, including fairy/folktale; mixed fantasy (which includes journey, transformation, talking animal, and magic); and heroic-ethical; and they are supported by well-chosen examples of representative authors, critics, and theorists. With the assumption that the reader has no special knowledge of fantasy literature but has some previous exposure to the study of literature for children and young adults, this book focuses on reviewing texts that illustrate particular types of fantasy literature. The authors have an extensive knowledge of both classic and contemporary children's and YA titles, and they offer many insightful observations and details that make a book a particularly good classroom choice. Literature allows us to discuss controversial issues without making judgments; it allows us the opportunity to "experience" another time and space by providing a new lens through which to view; and it offers us a multitude of ways to come to appreciate and embrace the world of fantasy. Fantasy Literature for Children and Young Adults will help teachers and other readers to deepen their knowledge, appreciation, and pedagogical understandings of fantasy literature.

Irish Children's Literature and Culture looks critically at Irish writing for children from the 1980s to the present, examining the work of many writers and illustrators and engaging with major genres, forms, and issues, including the gothic, the speculative, picturebooks, ethnicity, and globalization. It contextualizes modern Irish children's literature in relation to Irish mythology and earlier writings, as well as in relation to Irish writing for adults, thereby demonstrating the complexity of this fascinating area. What constitutes a "national literature" is rarely straightforward, and it is especially complex when discussing writing for young people in an Irish context. Until recently, there was only a slight body of work that could be classified as "Irish children's literature" in comparison with Ireland's contribution to adult literature in the twentieth century. The contributors to the volume examine a range of texts in relation to contemporary literary and cultural theory, and children's literature internationally, raising provocative questions about the future of the topic. Irish Children's Literature and Culture is essential reading for those interested in Irish literature, culture, sociology, childhood, and children's literature. Valerie Coghlan, Church of Ireland College of Education, Dublin, is a librarian and lecturer. She is a former co-editor of Bookbird: An International Journal of Children's Literature. She has published widely on Irish children's literature and co-edited several books on the topic. She is a former board member of the IRSCL, and a founder member of the Irish Society for the Study of Children's Literature, Children's Books Ireland, and IBBY Ireland. Keith O'Sullivan lectures in English at the Church of Ireland College of Education, Dublin. He is a founder member of the Irish Society for the Study of Children's Literature, a former member of the board of directors of Children's Books Ireland, and past chair of the Children's Books Ireland/Bisto Book of the Year Awards. He has published on the works of Philip Pullman and Emily Bronte.

Reading the Adolescent Romance provides an exhaustive study of the developments in young adult literature since the 1980s with a focus on Francine Pascal's "Sweet Valley High" series, which has become a cultural and literary touchstone for both fans and critics of the novels. Pattee carefully examines the series' content, structure, and readers, allowing her to investigate an influential marketing and literary phenomenon and to interrogate the intersecting influences of history, audience positioning, and readability that allowed "Sweet Valley" and other teen series to flourish. This book demonstrates that, as a series of generic romance novels, "Sweet Valley High" exhibits tropes associated with both adolescent and adult romance and, as a product of the early 1980s, has and continues to espouse the conservative romantic ideologies associated with the time period. While erstwhile readers of the series recall the novels with pleasure, re-readers of Pascal's novels -- who remember reading the series as young people and have re-visted the books as adults -- are more critical. Interestingly, both populations continue to value "Sweet Valley High" as an identity touchstone. Amy Pattee is an associate professor of library and information science at the Graduate School of Library and Information Science at Simmons College in Boston, Massachusetts. There, she teaches children's and young adult literature in both the library school and in a dual degree program affiliated with Simmons College's Center for the Study of Children's Literature.

Soviet literature in general and Soviet children's literature in particular have often been labeled by Western and post-Soviet Russian scholars and critics as propaganda. Below the surface, however, Soviet children's literature and culture allowed its creators greater experimental and creative freedom than did the socialist realist culture for adults. This volume explores the importance of children's culture, from literature to comics to theater to film, in the formation of Soviet social identity and in connection with broader Russian culture, history, and society.

Between 1932 and 1958, thousands of children read volumes in the book series Childhood of Famous Americans. With colorful cover art and compelling-and often highly fictionalized-narrative storylines, these biographies celebrated the national virtues and achievements of famous women like Betsy Ross, Louisa May Alcott, and Amelia Earhart. Employing deep archival research, Gregory M. Pfitzer examines the editorial and production choices of the publisher and considers the influence of the series on readers and American culture more broadly.In telling the story of how female subjects were chosen and what went into writing these histories for young female readers of the time, Pfitzer illustrates how these books shaped children's thinking and historical imaginations around girlhood using tales from the past. Utilizing documented conversations and disagreements among authors, editors, readers, reviewers, and sales agents at Bobbs-Merrill, "Fame is Not Just for the Fellas" places the series in the context of national debates around fame, gender, historical memory, and portrayals of children and childhood for a young reading public-charged debates that continue to this day.

In this new book, Julie Cross examines the intricacies of textual humor in contemporary junior literature, using the tools of literary criticism and humor theory. Cross investigates the dialectical paradoxes of humor and debunks the common belief in oppositional binaries of 'simple' versus 'complex' humor. The varied combinations of so-called high and low forms of humor within junior texts for young readers, who are at such a crucial stage of their reading and social development, provide a valuable commentary upon the culture and values of contemporary western society, making the book of considerable interest to scholars of both children's literature and childhood studies. Cross explores the ways in which the changing content, forms and functions of the many varied combinations of humor in junior texts, including the Lemony Snickett series, reveal societal attitudes towards young children and childhood. The new compounds of seemingly paradoxical high and low forms of humor, in texts for developing readers from the 1960s onwards, reflect and contribute to contemporary society's hesitant and uneven acceptance of the emergent paradigm of children's rights, abilities, participation and empowerment. Cross identifies four types of potentially subversive/transgressive humor which have emerged since the 1960s which, coupled with the three main theories of humor - relief, superiority and incongruity theories - enables a long-overdue charting of developments in humor within junior texts. Cross also argues that the gradual increase in the compounding of the simple and the complex provide opportunities for young readers to play with ambiguous, complicated ideas, helping them embrace the complexities and contradictions of contemporary life.

Innocence, Heterosexuality, and the Queerness of Children's Literature examines distinguished classics of children's literature both old and new?including L. Frank Baum's Oz books, Laura Ingalls Wilder's Little House series, J. K. Rowling's Harry Potter novels, Lemony Snicket's A Series of Unfortunate Events, and Stephenie Meyer's Twilight series?to explore the queer tensions between innocence and heterosexuality within their pages. Pugh argues that children cannot retain their innocence of sexuality while learning about normative heterosexuality, yet this inherent paradox runs throughout many classic narratives of literature for young readers. Children's literature typically endorses heterosexuality through its invisible presence as the de facto sexual identity of countless protagonists and their families, yet heterosexuality's ubiquity is counterbalanced by its occlusion when authors shield their readers from forthright considerations of one of humanity's most basic and primal instincts.

The book demonstrates that tensions between innocence and sexuality render much of children's literature queer, especially when these texts disavow sexuality through celebrations of innocence. In this original study, Pugh develops interpretations of sexuality that few critics have yet ventured, paving the way for future scholarly engagement with larger questions about the ideological role of children's literature and representations of children's sexuality.

Tison Pugh is Associate Professor in the Department of English at the University of Central Florida. He is the author of Queering Medieval Genres and Sexuality and Its Queer Discontents in Middle English Literature and has published on children's literature in such journals as Children's Literature, The Lion and the Unicorn, and Marvels and Tales.

An entertaining guide for building safe and fun forts - outside, inside, at the beach, and in snow country. Ages 8-14.

Building on recent critical work, this volume offers a comprehensive consideration of the nature and forms of medieval and early modern childhoods, viewed through literary cultures. Its five groups of thematic essays range across a spectrum of disciplines, periods, and locations, from cultural anthropology and folklore to performance studies and the history of science, and from Anglo-Saxon burial sites to colonial America. Contributors include several renowned writers for children. The opening group of essays, Educating Children, explores what is perhaps the most powerful social engine for the shaping of a child. Performing Childhood addresses children at work and the role of play in the development of social imitation and learning. Literatures of Childhood examines texts written for children that reveal alternative conceptions of parent/child relations. In Legacies of Childhood, expressions of grief at the loss of a child offer a window into the family's conceptions and values. Finally, Fictionalizing Literary Cultures for Children considers the real, material child versus the fantasy of the child as a subject.

This landmark volume is the first to bring together leading scholarship on children's and young adult literature from three intersecting disciplines: Education, English, and Library and Information Science. Distinguished by its multidisciplinary approach, it describes and analyzes the different aspects of literary reading, texts, and contexts to illuminate how the book is transformed within and across different academic figurations of reading and interpreting children's literature.

• Part one considers perspectives on readers and reading literature in home, school, library, and community settings.
• Part two introduces analytic frames for studying young adult novels, picturebooks, indigenous literature, graphic novels, and other genres. Chapters include commentary on literary experiences and creative production from renowned authors and illustrators.
• Part three focuses on the social contexts of literary study, with chapters on censorship, awards, marketing, and literary museums.

The singular contribution of this Handbook is to lay the groundwork for colleagues across disciplines to redraw the map of their separately figured worlds, thus to enlarge the scope of scholarship and dialogue as well as push ahead into uncharted territory.