The first volume to consider childhood over eight centuries of British writing, this book traces the literary child from medieval to contemporary texts. Written by international experts, the volume's essays challenge earlier readings of childhood and offer fascinating contributions to the current upsurge of interest in constructions of childhood.
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.
In this lively discussion Kim Reynolds looks at what children's literature is, why it is interesting, how it contributes to culture, and how it is studied as literature. Providing examples from across history and various types of children's literature, she introduces the key debates, developments, and people involved.
Considering a wide range of texts by authors such as Locke, Rousseau, Caroline Norton, Henry Mayhew, Frances Trollope, and Charles Dickens, Monica Flegel provides an interpretive framework for understanding the formation of child cruelty popularized by the National Society for the Prevention of Cruelty to Children. The emergence of the NSPCC, Flegel argues, had material effects on the lives of children, and profound implications for the role of class in representations of suffering and abused children.
'He is, as Proust was before him, the great literary chronicler of his culture in his time.' GUARDIAN 'A Dance to the Music of Time' is universally acknowledged as one of the great works of English literature. Reissued now in this definitive edition, it stands ready to delight and entrance a new generation of readers. In this first volume, Nick Jenkins is introduced to the ebbs and flows of life at boarding school in the 1920s, spent in the company of his friends: Peter Templer, Charles Stringham, and Kenneth Widmerpool. Though their days are filled with visits from relatives and boyish pranks, usually at the expense of their housemaster Le Bas, a disastrous trip in Templer’s car threatens their new friendship. As the school year comes to a close, the young men are faced with the prospects of adulthood, and with finding their place in the world.
This book explores how the concept of childhood in the late-18th century was constructed through the ideological work performed by children's literature, as well as pedagogical writing and medical literature of the era. Andrew O'Malley ties the evolution of the idea of "the child" to the growth of the middle class, which used the figure of the child as a symbol in its various calls for social reform.
Ever since children have learned to read, there has been children’s literature. Children’s Literature charts the makings of the Western literary imagination from Aesop’s fables to Mother Goose, from Alice's Adventures in Wonderland to Peter Pan, from Where the Wild Things Are to Harry Potter. The only single-volume work to capture the rich and diverse history of children’s literature in its full panorama, this extraordinary book reveals why J. R. R. Tolkien, Dr. Seuss, Laura Ingalls Wilder, Beatrix Potter, and many others, despite their divergent styles and subject matter, have all resonated with generations of readers. Children’s Literature is an exhilarating quest across centuries, continents, and genres to discover how, and why, we first fall in love with the written word. “Lerer has accomplished something magical. Unlike the many handbooks to children’s literature that synopsize, evaluate, or otherwise guide adults in the selection of materials for children, this work presents a true critical history of the genre. . . . Scholarly, erudite, and all but exhaustive, it is also entertaining and accessible. Lerer takes his subject seriously without making it dull.”—Library Journal (starred review) “Lerer’s history reminds us of the wealth of literature written during the past 2,600 years. . . . With his vast and multidimensional knowledge of literature, he underscores the vital role it plays in forming a child’s imagination. We are made, he suggests, by the books we read.”—San Francisco Chronicle “There are dazzling chapters on John Locke and Empire, and nonsense, and Darwin, but Lerer’s most interesting chapter focuses on girls’ fiction. . . . A brilliant series of readings.”—Diane Purkiss, Times Literary Supplement
From the renowned author of Possession, The Children’s Book is the absorbing story of the close of what has been called the Edwardian summer: the deceptively languid, blissful period that ended with the cataclysmic destruction of World War I. In this compelling novel, A.S. Byatt summons up a whole era, revealing that beneath its golden surface lay tensions that would explode into war, revolution and unbelievable change — for the generation that came of age before 1914 and, most of all, for their children. The novel centres around Olive Wellwood, a fairy tale writer, and her circle, which includes the brilliant, erratic craftsman Benedict Fludd and his apprentice Phillip Warren, a runaway from the poverty of the Potteries; Prosper Cain, the soldier who directs what will become the Victoria and Albert Museum; Olive’s brother-in-law Basil Wellwood, an officer of the Bank of England; and many others from every layer of society. A.S. Byatt traces their lives in intimate detail and moves between generations, following the children who must choose whether to follow the roles expected of them or stand up to their parents’ “porcelain socialism.” Olive’s daughter Dorothy wishes to become a doctor, while her other daughter, Hedda, wants to fight for votes for women. Her son Tom, sent to an upper-class school, wants nothing more than to spend time in the woods, tracking birds and foxes. Her nephew Charles becomes embroiled with German-influenced revolutionaries. Their portraits connect the political issues at the heart of nascent feminism and socialism with grave personal dilemmas, interlacing until The Children’s Book becomes a perfect depiction of an entire world. Olive is a fairy tale writer in the era of Peter Pan and Kenneth Grahame’s The Wind In the Willows, not long after Alice’s Adventures in Wonderland. At a time when children in England suffered deprivation by the millions, the concept of childhood was being refined and elaborated in ways that still influence us today. For each of her children, Olive writes a special, private book, bound in a different colour and placed on a shelf; when these same children are ferried off into the unremitting destruction of the Great War, the reader is left to wonder who the real children in this novel are. The Children’s Book is an astonishing novel. It is an historical feat that brings to life an era that helped shape our own as well as a gripping, personal novel about parents and children, life’s most painful struggles and its richest pleasures. No other writer could have imagined it or created it.
First published in 1889, this novel has two main plots; one set in the real world at the time the book was published (the Victorian era), the other in the fictional world of Fairyland.
For over a century British authors have been writing about the Antarctic for child readers, yet this body of literature has never been explored in detail. Antarctica in British Children’s Literature examines this field for the first time, identifying the dominant genres and recurrent themes and tropes while interrogating how this landscape has been constructed as a wilderness within British literature for children. The text is divided into two sections. Part I focuses on the stories of early-twentieth-century explorers such as Robert F. Scott and Ernest Shackleton. Antarctica in British Children’s Literature highlights the impact of children’s literature on the expedition writings of Robert Scott, including the influence of Scott’s close friend, author J.M. Barrie. The text also reveals the important role of children’s literature in the contemporary resurgence of interest in Scott’s long-term rival Ernest Shackleton. Part II focuses on fictional narratives set in the Antarctic, including early-twentieth-century whaling literature, adventure and fantasy texts, contemporary animal stories and environmental texts for children. Together these two sections provide an insight into how depictions of this unique continent have changed over the past century, reflecting transformations in attitudes towards wilderness and wild landscapes.