Is Junie B. What´s Contemporary Realistic Fiction?

Children’s Literature is a wide range. It is collection of culture, concepts and future values. After reading the introduction” Trade And Plumb-Cake Forever, The Riverside Anthology of Children’s Literature), I considered most insightful in reading this section , Children’s literature differs from adult literature, Children’s literature plays a key role in raising children's imaginations, and it plays an important role in the development and creative thinking in children.

Word in the bookstore is that Children's literature is rather entertaining, and more likely to sell than most other genres. According to eBookFriendly this is rather true, as Childrens Fiction is the best selling genre of all time. Barbara Kingsolver’s novel; The Bean Trees is very entertaining, specifically because of its humor and unexpected plot twists. The genre of this book is Humour, Fiction, Children's literature, and Travel literature.

Children’s literature is the precedent for the development of all children. Children’s literature varies from poetry to children’s picture books. Every aspect of children’s literature gives an ability to grow a child mentally and develop their ideas and imagination. In early literature, children were romanized to be perfect and well behaved. Author Maurice Sendak counters the idea of a perfect child in his book “Where The Wild Things Are”. Sendak uses his picture book to illustrate a child’s ability to have feelings of anger, resentment, and frustration. The interviewer, Patrick F. Roughen of Red Feather Journal states that“Where the Wild Things Are (1963) contains some of the earliest attempts in children’s literature to represent the intrapsychic challenges of the lives of children. Anger, frustration, and the complexities of parent-child relationships can be found throughout its pages”. “Where the Wild Things Are” reinforces the idea that children are capable of emotions that one would imagine are only depicted in the adult world.

This charming story reverses the typical roles within a children’s book. With underlying issues of stereotypes, independence and empowerment, it fills children with imagination and teaches them the importance of being strong, smart, and the realization that beauty comes from within.

Children’s literature can take many forms, from far-fetching science fiction to spell binding who-done-it mysteries. One of the most popular ideas presented in these various forms is that of escapism. The characters in these stories explore quite complex social issues in ways that are less confrontational then realism. One might consider why escape is such a central theme; as a child there are numerous benefits to fantasy, it allows readers to experiment with different views of the world and takes hypothetical situations and invites them to make connections between this fictive scenario and their own reality. John Stephens an English professor at Macquarie University has said “ Fantasy writing operates through metaphor- so that the unfamiliar is used to stand in for, or comment upon, the familiar.”

The 20th century begins a new era in children's literature. Authors began writing books to entertain and delight the minds of children. Books presented "the fantastical" - otherwise known as the bizarre or coming from an unrestrained imagination. Many of these stories would delight children for the coming century and even became major motion pictures, like the stories of Alice and Peter Pan. Lewis Carroll's Alice's Adventures in Wonderland and J.M. Barrie's Peter Pan present their own unique stories with "the fantastical" which entertain many for generations to come.

These values may or may not hurt the children depending on how much the child can understand or analyze the novel. This novel is not a simple child’s novel due to the fact it holds a lot of Milne’s thoughts as well as that in order to write a novel, one must derive their writings from their thoughts or surroundings. As a result, this supports that Winnie the Pooh has realistic values. Although Winnie the Pooh may not have extreme realistic values, Winnie the Pooh still may not meet the criteria of children’s novel. A children’s literature is usually define as written works or illustrations in order to entertain or instruct young people. However, due to the fact that Winnie the Pooh does not explicitly or implicitly define its audience, it is not known whether or not Winnie the Pooh is regarded as a children’s novel. The fact that adults may read this book and as it is said previously, they may take it to the extremities of the real worlds, portrays that Winnie the Pooh may not be regarded as a children’s

Through Jules’ blog I learned a lot about the process that goes into producing children’s literature. Most of the time when producing a book there are many people that work together to make

The book is designed for children of preschool age and it is very suitable for them. The colorful illustrations and vivid imagery will surely leave an impression on the minds of children. Not only are they eye-catching, but

Throughout this review I will be explaining about my resource and how it supports children’s learning and development. The resource that I have made is a book. The concept of my book is based on a fairy tale story. Throughout this essay, I will be answering why was the resource made, who is the target audience, because of the target audience what was prepared specially in the resource, what techniques will be used to make it engaging and fun, how it would support children’s learning and development and lastly produce an overall summary on how well I carried out my resource to my target audience.

One of the themes that characterize children’s literature is the question of agency. Agency in children’s literature allows the child reader to experience a degree of autonomy in the imagined world, which the child does not possess in a world governed by adult rules and authority. However, a close reading of Milne’s Winnie-the-Pooh and Collins’ The Hunger Games demonstrates that children have more power and agency than they believe they do. Although children’s worlds are controlled by various restrictions, children possess the power of imagination, the ability to create their own worlds, and that is their source of autonomy and agency. As they grow older, they gradually start losing that agency as they enter into the adult world, a world governed by a different kind of obedience.

Literary heroes that are also ordinary children are engaging to readers, particularly child readers. James Pope and Julia Round write that “Roald Dahl is a fascinating author in that his books for children feature child heroes who are very often neither hero nor villain, but a wild, subversive combination of both” (258). These characteristics are also true of Coraline and Harry Potter, as they are presented as imperfect, but ultimately find the power within themselves to save what is important to them. Children readers are empowered by Coraline and Harry because they identify with these ordinary children and feel as if they can also make a difference in their lives, as the characters defeat the evil in theirs.

It is on a very basic level imperative that those forming the creation and spread of kids' books have the information and social instinct required when working with content (Crisp, 1, 2010). In the event that the writer and artist of a book are not the scarcest worried with the significant absence of multicultural books for kids then nothing will change. It is vital that creators and artists turn out to be firmly mindful of the requirement for change in youngsters' writing. On the off chance that they start to make books with substance that shows thankfulness for all races, ethnicities and skin tones…

Jack Zipes in his book Relentless Progress : The Reconfiguration of Children 's Literature, Fairy Tales, and Storytelling puts forward a valid perspective that the act of a child reading any form of children’s literature is set up to promote “adult aims and the power of the market” (4). Although this perspective is important to remember when considering how the formation of childhood identity is guided and influenced by children’s literature, it is important to remember that the literature itself is not to blame. Adults, parents, teachers, guardians or other people of influence in a child’s life have the power to provide children with literature that contains many alternative encompassing views of the world to help shape the childs

By allowing children to associate themselves with strong, “postmodern” child heroes (292) the child will be able to take a stronger role in their own life. Through narratives such as Harry Potter, children are able to gain an understanding of the complexities of relationships and personalities. This gives a child the ability to question what they are told and the ability to question the world. This in contrast to classic fairy tales which, as Chappell describes, functions on a “simple binary of good [or] evil” (282) and do not provide a sufficient explanation of the world to children. Most fairy tales leave children at a disadvantage in their societies, unaware that they can question the adults in their life. Thus, in this work, Chappell encourages parents to read narratives such as the Harry Potter series with their children so that the child may learn lessons about “ambiguity, agency [and] resistance” (292). These imperative skills for children are often difficult for a parent to teach but must be learned in order for a child to become an active part of their own