The definitive and revealing biography of the author of The Secret Garden. Frances Hodgson Burnett's favourite theme in her fiction was the reversal of fortune, and she herself knew extremes of poverty and wealth. Born in Manchester in 1849, she emigrated with her family to Tennessee because of the financial problems caused by the cotton famine. From a young age she published her stories to help the family make ends meet. Only after she married did she publish Little Lord Fauntleroy that shot her into literary stardom. On the surface, Frances' life was extremely successful: hosting regular literary salons in her home and travelling frequently between properties in the UK and America. But behind the colourful personal and social life, she was a complex and contradictory character. She lost both parents by her twenty-first birthday, Henry James called her "the most heavenly of women" although avoided her; prominent people admired her and there were many friendships as well as an ill-advised marriage to a much younger man that ended in heartache. Her success was punctuated by periods of depression, in one instance brought on by the tragic loss of her eldest son to consumption. Ann Thwaite creates a sympathetic but balanced and eye-opening biography of the woman who has enchanted numerous generations of children.

The Mary Poppins that many people know of today--a stern, but sweet, loveable, and reassuring British nanny--is a far cry from the character created by Pamela Lyndon Travers in the 1930's. Instead, this is the Mary Poppins reinvented by Disney in the eponymous movie. This book sheds light on the original Mary Poppins,

Myth, Symbol, and Meaning in Mary Poppins is the only full-length study that covers all the Mary Poppins books, exposing just how subversive the pre-Disney Mary Poppins character truly was. Drawing important parallels between the character and the life of her creator, who worked as a governess herself, Grilli reveals the ways in which Mary Poppins came to unsettle the rigid and rigorous rules of Victorian and Edwardian society that most governesses embodied, taught, and passed on to their charges.

Stories, Pictures and Reality follows two children as they work out the reality status of stories and pictures, with a daily parent-observer record from the birth of the first child until the second is eight, a span of eleven years in all. Together these children pick through the meaning of stories and the motivations of the characters they discover in this unique first-hand description of the discernment that children bring to books from an early age, full of revealing quotes that tell us a great deal about the cognitive development of our young readers: "It's a joke 'cause it couldn't really have happened", "I'll tell you what's pretend: Batman, Robin, Superman, pirates, cowboys and Indians". "Pussy cats don't fly kites!", "The man who drawed it was wrong". In analysis this longitudinal study shows that children have more insight and understanding than they are often given credit for and that they approach subjects that puzzle the most sophisticated of thinkers with an elegant simplicity beyond the expectations of conventional psychologists and children's literature commentators. This book urges readers, especially practitioners and academics, to afford greater respect to what young children are capable of in this area.

A collection of essays based on the Children's Books History Society study conference marking the bicentenary of the Religious Tract Society and the Lutterworth Press. The book analyses the children's literature it produced, charting the development of the genre from the evangelical tract through to the popular school story, spanning the period from the late eighteenth to the mid-twentieth centuries. It shows how publishing worked within the context of a missionary society with a global reach. The book details the nature and development of the tract genre both in Britain and America, before looking at the range of RTS and Lutterworth output of children's titles, including its movement into magazine publishing. The work studies the two great magazines for which the RTS and Lutterworth were known to generations of children, the Boy's Own Paper and the Girl's Own Paper, as well as other magazines, such The Child's Companion. There are also chapters on popular tracts, such as The Dairyman's Daughter, and successful authors, from Hesba Stretton and Mrs Walton to W.E. Johns and Laura Ingalls Wilder. These essays explore how, in order to reflect an increasingly secular age, the subject matter widened, providing more non-fiction in its periodicals as well as an increasingly broad range of fiction, mostly secular in nature. It was also necessary for the Society to alter its didactically religious tone in order to present its Christian values with more subtlety. With chapters on subjects as diverse as American religious tracts, boy's school stories, secular publishing for girls and the presentation of gender roles, this collection is a major contribution to publishing history in the nineteenth and twentieth centuries. Contributors include Brian Alderson, Mary Cadogan, Aileen Fyfe and Anne Thwaite.

Stories, Pictures and Reality follows two children as they work out the reality status of stories and pictures, with a daily parent-observer record from the birth of the first child until the second is eight, a span of eleven years in all. Together these children pick through the meaning of stories and the motivations of the characters they discover in this unique first-hand description of the discernment that children bring to books from an early age, full of revealing quotes that tell us a great deal about the cognitive development of our young readers: "It's a joke 'cause it couldn't really have happened", "I'll tell you what's pretend: Batman, Robin, Superman, pirates, cowboys and Indians". "Pussy cats don't fly kites!", "The man who drawed it was wrong". In analysis this longitudinal study shows that children have more insight and understanding than they are often given credit for and that they approach subjects that puzzle the most sophisticated of thinkers with an elegant simplicity beyond the expectations of conventional psychologists and children's literature commentators. This book urges readers, especially practitioners and academics, to afford greater respect to what young children are capable of in this area.

This study enhances our understanding of katabasis, as well as the intersections between adult and children's literature in English and French, by examining the relationships between works of children's literature incorporating this form of narrative and the Aeneid and the Inferno.

This is the first full-length study of South African English youth literature to cover the entire period of its publication, from the late nineteenth century to the early twenty-first century. Jenkins' book focuses on what made the subsequent literature essentially South African and what aspects of the country and its society authors concentrated on. What gives this book particular strength is its coverage of literature up to the 1960s, which has until now received almost no scholarly attention. Not only is this earlier literature a rewarding subject for study in itself, but it also throws light on subsequent literary developments. Another exceptional feature is that the book follows the author 's previous work in placing children 's literature in the context of adult South African literature and South African cultural history (e.g. cinema). He also makes enlightening comparisons with American, Canadian and Australian children 's literature.

As a setting for juvenile literature, the Arctic has traditionally been a space for adventure, the exotic and the fantastic. More recent works have used the Arctic setting to explore a dystopian future, often related to climate change. The aim of the present volume is to examine themes in Arctic juvenile fiction from the early nineteenth century until today. The deceptive image of the Arctic as geographically uniform seems to promise a cultural coherence, but the collection illustrates the diversity of Arctic literature by critically discussing and comparing works written by visitors and settlers as well as by indigenous peoples. The chapters combine macro- and micro-perspectives to interrogate and illuminate the role of Arctic literature for young readers in creating, maintaining and increasingly challenging Arctic myths and motifs.

Now in paperback, Inventing the Child is a highly entertaining, humorous, and at times acerbic account of what it means to be a child (and a parent) in America at the dawn of the new millennium. J. Zornado explores the history and development of the concept of childhood, starting with the works of Calvin, Freud, and Rousseau and culminating with the modern 'consumer' childhood of Dr. Spock and television. The volume discusses major media depictions of childhood and examines the ways in which parents use different forms of media to swaddle, educate, and entertain their children. Zornado argues that the stories we tell our children contain the ideologies of the dominant culture - which, more often than not, promote 'happiness' at all costs, materialism as the way to happiness, and above all, obedience to the dominant order.

Children's classics from Alice in Wonderland to the works of Astrid Lindgren, Roald Dahl, J.K. Rowling and Philip Pullman are now generally recognized as literary achievements that from a translator's point of view are no less demanding than 'serious' (adult) literature. This volume attempts to explore the various challenges posed by the translation of children's literature and at the same time highlight some of the strategies that translators can and do follow when facing these challenges. A variety of translation theories and concepts are put to critical use, including Even-Zohar's polysystem theory, Toury's concept of norms, Venuti's views on foreignizing and domesticating translations and on the translator's (in)visibility, and Chesterman's prototypical approach. Topics include the ethics of translating for children, the importance of child(hood) images, the 'revelation' of the translator in prefaces, the role of translated children's books in the establishment of literary canons, the status of translations in the former East Germany; questions of taboo and censorship in the translation of adolescent novels, the collision of norms in different translations of a Swedish children's classic, the handling of 'cultural intertextuality' in the Spanish translations of contemporary British fantasy books, strategies for translating cultural markers such as juvenile expressions, functional shifts caused by different translation strategies dealing with character names, and complex translation strategies used in dealing with the dual audience in Hans Christian Andersen's fairy tales and in Salman Rushdie's Haroun and the Sea of Stories.

For several generations, comics were regarded as a boy's club-created by, for, and about men and boys. In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre's entire history. Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In Funny Girls: Guffaws, Guts, and Gender in Classic American Comics, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li'l Tomboy-a group that collectively forms a tradition of funny girls in American comics. Abate demonstrates the massive popularity these funny girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising. Collectively, these comics did far more than provide amusement-they were serious agents for cultural commentary and sociopolitical change.

In this visually captivating volume, a vibrant selection of loved and revered children's book illustrators reveals the secrets of their narrative techniques. Divided into a series of enchanting sections each created by individual illustrators, this unique and gift-worthy book tells the story of how to successfully depict narrative and compel an audience through visual art. Marvel at how composition and environment can create suspense, and how color, visual hierarchy, and symbolism can tell a story beyond just the action. Learn how to inject dynamism and emotion into your illustrations to tell a tale that isn't just engaging, but is memorable and one that transcends generations. Lavishly illustrated and with a luxurious finish, How to Be a Children's Book Illustrator is ideal for book lovers in general as well as anyone looking to unlock the secrets of children's book illustration.

This book introduces the study of children's literature, addressing theoretical questions as well as the most relevant critical approaches to the field.
The fourteen chapters draw on insights from academic disciplines ranging from cultural and literary studies to education and psychology, and include an essay on what writers for children think about their craft. This results in a fascinating range of perspectives on key topics in children's literature and an introduction to such diverse concerns as literacy, ideology, stylistics, feminism, history and culture, and bibliotherapy. An extensive general bibliography is complemented by lists of further reading for every chapter and a glossary defines critical and technical terms, making the book accessible to those coming to the field or to a particular approach for the first time.
In this second edition there are four entirely new chapters; contributors have revisited and revised or rewritten seven of the chapters to reflect new thinking, while the remaining three are classic essays, widely acknowledged to be definitive. The glossary, further reading lists and general bibliography have also been thoroughly updated.
Understanding Children's Literature is an invaluable guide for students of literature or education and it will also inform and enrich the practice of teachers and librarians.

In the last few decades, scholars have turned their attention to constructions of masculinity and its influence on expressions of nationality and citizenship. Serialized Citizenships participates in and critiques these ongoing conversations about boyhood by examining works produced between 1840 and the first decade of the twentieth century. American boyhood has often been narrowly defined by nineteenth- and twentieth- century canonical texts, such as Mark Twain's Huckleberry Finn, which represent boyhood as a time of rebellion against society. This book suggests that significant representations of American boyhood can be found elsewhere: in serialized texts published in middle-class magazines such as Youth's Companion and Our Young Folks, and also in less familiar children's periodicals, including Young American's Magazine of Self-Improvement and Boys of New York. Author Lorinda Cohoon argues that through their regular publication, these forms of productions construct citizenships that are then adapted by readers from a wide variety of backgrounds-not just by the white middle-class boy readers for whom many of the serialized representations of boyhood were originally published. Cohoon analyzes serializations of Thomas Bailey Aldrich's Story of a Bad Boy and Mark Twain's Huckleberry Finn, along with serializations published by Jacob Abbott, William Taylor Adams, Louisa May Alcott, and Frances Hodgson Burnett. Challenging the seemingly omnipresent "bad boyhood" that is still used to characterize American masculinity, this text examines cultural and textual evidence that reveals many other versions of boyhood citizenships that have been marginalized and sometimes ignored. The serializations and the surrounding periodical material also provide insights into texts that intervene in the construction of regional and national boyhood citizenships throughout the nineteenth century and continue to shape the ways citizenship is negotiated in the twentieth and twenty-

This book introduces the study of children's literature, addressing theoretical questions as well as the most relevant critical approaches to the field.
The fourteen chapters draw on insights from academic disciplines ranging from cultural and literary studies to education and psychology, and include an essay on what writers for children think about their craft. This results in a fascinating range of perspectives on key topics in children's literature and an introduction to such diverse concerns as literacy, ideology, stylistics, feminism, history and culture, and bibliotherapy. An extensive general bibliography is complemented by lists of further reading for every chapter and a glossary defines critical and technical terms, making the book accessible to those coming to the field or to a particular approach for the first time.
In this second edition there are four entirely new chapters; contributors have revisited and revised or rewritten seven of the chapters to reflect new thinking, while the remaining three are classic essays, widely acknowledged to be definitive. The glossary, further reading lists and general bibliography have also been thoroughly updated.
Understanding Children's Literature is an invaluable guide for students of literature or education and it will also inform and enrich the practice of teachers and librarians.

Whether a secularized morality, biblical worldview, or unstated set of mores, the Victorian period can and always will be distinguished from those before and after for its pervasive sense of the "proper way" of thinking, speaking, doing, and acting. Animals in literature taught Victorian children how to be behave. If you are a postmodern posthumanist, you might argue, "But the animals in literature did not write their own accounts." Animal characters may be the creations of writers' imagination, but animals did and do exist in their own right, as did and do humans. The original essays in Animals and Their Children in Victorian explore the representation of animals in children's literature by resisting an anthropomorphized perception of them. Instead of focusing on the domestication of animals, this book analyzes how animals in literature "civilize" children, teaching them how to get along with fellow creatures-both human and nonhuman.

Saints are currently undergoing a resurrection in middle grade and young adult fiction, as recent prominent novels by Socorro Acioli, Julie Berry, Adam Gidwitz, Rachel Hartman, Merrie Haskell, Gene Luen Yang, and others demonstrate. Cyborg Saints: Religion and Posthumanism in Middle Grade and Young Adult Fiction makes the radical claim that these holy medieval figures are actually the new cyborgs in that they dethrone the autonomous subject of humanist modernity. While young people navigate political and personal forces, as well as technologies, that threaten to fragment and thingify them, saints show that agency is still possible outside of the humanist construct of subjectivity. The saints of these neomedievalist novels, through living a life vulnerable to the other, attain a distributed agency that accomplishes miracles through bodies and places and things (relics, icons, pilgrimage sites, and ultimately the hagiographic text and its reader) spread across time. Cyborg Saints analyzes MG and YA fiction through the triple lens of posthumanism, neomedievalism, and postsecularism. Cyborg Saints charts new ground in joining religion and posthumanism to represent the creativity and diversity of young people's fiction.

Youth of Darkest England examines the representation of English working-class children-the youthful inhabitants of the poor urban neighborhoods that a number of writers dubbed "darkest England"-in Victorian and Edwardian imperialist literature. In particular, the book focuses on how the writings for and about youth undertook an ideological project to enlist working class children into the British imperial enterprise.
It is generally assumed that the dominant middle-classes succeeded in recruiting the working-class youth and thus easily manipulating these young people for nationalist purposes. However, Boone demonstrates convincingly that this was not the case and that the British working-class youth resisted a nationalist identification process that tended to eradicate or obfuscate class differences.
In the first chapter he explores the contradictory aspect of imperialist writings through a careful study of Henry Mayhew's "London Labour and the London Poor." In the next two chapters he examines the "penny bloods," cheap adventure stories, which contained subversive tendencies and were condemned by the middle class but appreciated and grasped by working class youth. As a counter to the "penny hoods," new more conservative magazines were developed. In the chapters that follow Boone carefully analyzes the middle-class representations of working-class culture such as William Booth's "In Darkest England and the Way Out" to show how this culture was linked to degeneration and needed to be regenerated by middle-class visionaries. Most of the schemes or organizations for "reforming" or "co-opting" working class youth such as the scout organizations involved an instrumentalization ofthe working-class young which resisted this process through World War I.
Lucidly written and thoroughly researched, Youth of Darkest England is a major contribution to our understanding of youth culture and children's literature in the nineteenth century.

Out of Reach: The Ideal Girl in American Girls' Serial Literature traces the journey of the ideal girl through American girls' series in the twentieth century. Who is the ideal girl? In what ways does the trope of the ideal girl rely on the exclusion and erasure of Othered girls? How does the trope retain its power through cultural shifts? Drawing from six popular girls' series that span the twentieth century, Kate G. Harper explores the role of girls' series in constructing a narrow ideal of girlhood, one that is out of reach for the average American girl reader. Girls' series reveal how, over time, the ideal girl trope strengthens and becomes naturalized through constant reiteration. From the transitional girl at the turn of the century in Dorothy Dale to the "liberated" romantic of Sweet Valley High, these texts provide girls with an appealing model of girlhood, urging all girls to aspire to the unattainable ideal. Out of Reach illuminates the ways in which the ideal girl trope accommodates social changes, taking in that which makes it stronger and further solidifying its core.

In 2003 Jack Zipes translated "Beautiful Angiola," the first half of Laura Gonzenbach's astonishing treasury of folk and fairy tales, told and retold by generations of Sicilian peasants. Now the Gonzenbach collection is complete in English: "The Robber with the" "Witch's Head" presents almost fifty new stories about demons and clever maidens and princes. Bursting with life, "The Robber with the Witch's Head "is a storyteller's dream, full of adventure and magic, expertly rendered by the translator of the Brothers Grimm.
what critics have said about "Beautiful Angiola":
"The Sicilian tales in Beautiful Angiola are a revelation; not in their originality, because like all great collected folk and fairy tales they are universal. But they have a uniqueness because the flavor of that island off the toe of the boot of Italy is so concentrated, so lusty, so full of sun, lemons and herbs that when reading them, I could taste them. I see a series of paintings inspired by them forming in my head. What a wonderful collection
for any folklorist, Italian and especially Sicilian! Strega Nona (who is Calabrese) approves!." -- Tomie dePaola
"Ostensibly collected for younger readers, the anthology is just as appropriate for an adult audience." - "Library Journal
"
"An extraordinary collection." -- "Ruminator Review
"
"Stories with a feminist slant, strange, quirky and tart. Sometimes shocking, often superb."
--Jacqueline Wilson, author of "Girls in Tears" and "The Lottie Project"

The modern fantasy novel might hardly seem to need a defence, but its position in contemporary literature in the 1980s was still rather ambivalent. Many post-war writers had produced highly successful fantasy novels, some phenomenal publishing successes had occurred in the field, and an increasing number of universities throughout the English-speaking world now included the literary criticism of fantasy as part of their English Literature courses. None the less some critics and academics condemned the whole genre with a passion that seemed less than objectively critical. In this book, originally published in 1984, Dr Ann Swinfen presents a wide-ranging and comprehensive view of fantasy: what it is, what it tries to achieve, what fundamental differences distinguish it from mainstream realist fiction. She concentrates on the three decades from 1945, when a new generation of writers found that Tolkein had made fantasy 'respectable'. Her approach is thematic, rather than by individual author, and she brings out the profound moral purpose that underlies much modern fantasy, in a wide range of works, both British and American, such as Russell Hoban's The Mouse and His Child, C.S. Lewis's Chronicles of Narnia and Ursula Le Guin's Earthsea Trilogy.

Despite the fame Ted Hughes's poetry has achieved, there has been surprisingly little critical writing on his children's literature. This book identifies the importance of Hughes's children's writing from an ecocritical perspective and argues that the healing function that Hughes ascribes to nature in his children's literature is closely linked to the development of his own sense of environmental responsibility. This book will be the first sustained examination of Hughes's greening in relation to his writing for children, providing a detailed reading of Hughes's children's literature through his poetry, prose and drama as well as his critical essays and letters. In addition, it also explores how Hughes's children's writing is a window to the poet's own emotional struggles, as well as his environmental consciousness and concern to reconnect a society that has become alienated from nature. This book will be of great interest to not only those studying Ted Hughes, but also students and scholars of environment and literature, ecocriticism, children's literature and twentieth-century literature.

Needed now more than ever: a guide that includes 500 diverse contemporary fiction and memoir recommendations for preteens and teens with the goal of inspiring greater empathy for themselves, their peers, and the world around them. As young people are diagnosed with anxiety and depression in increasing numbers, or dealing with other issues that can isolate them from family and friends-such as bullying, learning disabilities, racism, or homophobia-characters in books can help them feel less alone. And just as important, reading books that feature a diverse range of real-life topics helps generate openness, empathy, and compassion in all kids. Better with Books is a valuable resource for parents, teachers, librarians, therapists, and all caregivers who recognize the power of literature to improve young readers' lives. Each chapter explores a particular issue affecting preteens and teens today and includes a list of recommended related books-all published within the last decade. Recommendations are grouped by age: those appropriate for middle-grade readers and those for teens. Reading lists are organized around: Adoption and foster care Body image Immigration Learning challenges LGBTQIA+ youth Mental health Nature and environmentalism Physical disability Poverty and homelessness Race and ethnicity Religion and spirituality

During World War I, as young men journeyed overseas to battle, American women maintained the home front by knitting, fundraising, and conserving supplies. These became daily chores for young girls, but many longed to be part of a larger, more glorious war effort. A new genre of children's books entered the market, written specifically with the young girls of the war period in mind. Through fiction, girls could catch spies, cross battlefields, man machine guns, and blow up bridges. These adventurous heroines built the framework for the feminist revolution, creating avenues of leadership for women and inspiring individualism and self-discovery. The work presented here analyzes the powerful response to such literature, how it sparked the engagement of real girls in the United States and Allied war effort, as well as how it reflects their contemporaries' awareness of girls' importance.

Four British Fantasists explores the work of four of the most successful and influential fantasy writers of the generation who rose to prominence in the "second Golden Age" of children's literature in Britain: Susan Cooper, Alan Garner, Diana Wynne Jones, and Penelope Lively. Drawing on history, archeology, social geography, anthropology, and postcolonial theory, as well as literary criticism, Butler provides a series of new perspectives through which to view these writers' achievements. He begins by highlighting some points of biographic coincidence (e.g. all four authors were children during WWII, all were born within a year or two of each other, and all attended Oxford University in the early 1950s-when C. S. Lewis and J. R. R. Tolkien were publishing their seminal fantasies) and questions if these factors play any significant role in the development of these fantasy writers. The author then uses this question as the springboard for a case study in the assessment of biographical and literary influence. The book also considers the role played by Britain itself in determining the shape and preoccupations of these writers' fiction. Britain is a land with a long history in which contemporary life is constantly juxtaposed with evidence of the past in the form of ancient buildings, historic sites, and archeological remains. By placing the work of Cooper, Garner, Jones, and Lively in the context of British culture and of their own time, Butler provides a key to their fascination with history, mythology, and magic, and to the ways in which that fascination has found expression in their fiction. Students of children's literature and of fantasy literature as well as readers who are interested in the lives of these four subject authors will find this an insightful read.