First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Beverly Clark provides a cultural criticism of the school story, drawing upon the work of Derrida, Foucult, Spivak, Garger, and Jameson, among others. This is a study of the cross-gendering of the school story and explores the intersections of gender and age. This book argues that children's literature should receive the same critical scrutiny as adult literature.

Raising key questions about race, class, sexuality, age, material culture, intellectual history, pedagogy, and gender, this book explores the myriad relationships between feminist thinking and "Little Women".

In 18th through 20th-century British and American literature, school stories always play out the power relationships between adult and child. They also play out gender relationships, especially when females are excluded, although most histories of the genre ignore the unusual novels that probe the gendering of school stories. When the occasional man wrote about girls schools-as Charles Lamb and H. G. Wells did-he sometimes empowered his female characters, granting them freedoms that he had experienced at school.
Women who wrote about boys' schools often gave unusual emphasis to families, and at times, revealed the contradictions in the schoolyard code against telling tales or presented competing versions of masculinity, such as the Christian gentleman versus the self-made man. Sometimes these middle-class white women projected their sense of estrangement onto working class and minority women. Sometimes they wrote school stories that were in dialog with other genres, as when Mrs. Henry Wood wrote a sensation story or, like Louisa May Alcott, they domesticated the boys school story, giving prominence to a female viewpoint.

Beverly Lyon Clark and Margaret R. Higonnet bring together twenty-two scholars to look closely at the complexities of children's culture. "Girls, Boys, Books, Toys" asks questions about how the gender symbolism of children's culture is constructed and resisted. What happens when women rewrite (or illustrate) nursery rhymes, adventure stories, and fairy tales told by men? How do the socially scripted plots for boys and girls change through time and across cultures? Have critics been blind to what women write about "masculine" topics? Can animal tales or doll stories displace tired commonplaces about gender, race, and class? Can different critical approaches--new historicism, narratology, or postcolonialism--enable us to gain leverage on the different implications of gender, age, race, and class in our readings of children's books and children's culture?