The Effects Of Children 's Literature On Kids

It surprised me at first that Contemporary Realistic Fiction is the most popular genre in children’s books. But after reading this it made more sense why contemporary realistic fiction is the most popular genre. It approaches the reality of children’s own lives. They can also connect to it so much easier than other genres.

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.

When readers read a story written by an author they will usually think that the author likes to read books and is what led the author to writing a book. William Goldman said, “As a child, I had no Interest in reading” (Goldman 3), this can lead readers to imagining the author as a young child rather than an adult not wanting to read a book. When Readers imagine the author as a young child the image imagined can give a better sense of how the author felt as a young child. The imagination of a child giving the reader a picture to think about is less complex than that of a adult giving a reader a picture to think about.

There are numerous genre’s in literature, but their level of importance and influence on an individual will differ. Exposure to books and stories is especially important for children because it is their opportunity to acclimate themselves to written language, and in turn create their own visuals for the toneless words. Maria Tatar writes, “Why Fairy Tales Matter: The Performative and the Transformative” to demonstrate how fairy tale’s written language can spark a child’s imagination as well as empower them. Through personal insight from distinguished writers— Richard Wright— Tatar builds her argument for the benefits of fairy tales— particularly the violent stories. The writer organizes her essay in a concrete fashion by using each paragraph to build on a proposed idea or to present a belief, but does not use contemporary writers personal anecdotes or heed to her own advice of avoiding childish fairy tales.

Richard Rodriguez, in the passage “Remedial Reading” from his autobiography “Hunger of Memory”(1982), promotes active reading as a developer of one’s mind. He justifies his position by describing his initial experiences with reading, specifically his attachment to the reading. Rodriguez’s anecdote functions as an encourager of stubborn minds trying to read and displaying its potential to change their life for the better. Rodriguez uses a very descriptive style that may be too verbose for children but compliments the verbosity with enough explanation of his purpose for his message to be known or ascertained.

Maria Tatar points out how these stories help shape individuals at a young age. She explores how children reading these stories and using imagination can uncover fears and desires they have. But these fairy tales do not only have a good influence on children, but also

I have never been as comfortable with people made of flesh and bone than I have been with those made of words. Whatever information I lose in the contours of the human face, I have no trouble locating in the unchanging, permanent text of a book. There is something about literature that felt safe to me; the worlds created within far more welcoming to little girls with problems fitting in than the one outside the pages. For this reason, fiction, from Harry Potter to The Book Thief, has remained my greatest passion ever since I learned to read.

Picture a nine or ten year old, roving the backwoods of Ohio with his friends. One of them had just finished telling a story about how some kids had went missing-- presumed dead, in that very spot. Suddenly, an echo resounds, the sound of snapping branches, heralding the approach of a masked killer. Hearts pounding like a church choir, all of the boys spirit away as fast as they can, shaken to the very core, as their older friend emerges from the brush “Huh, I wonder what that was about”. As is evident in the name, the horror genre, to its credit, is full of stories about children being threatened or harmed in someway, because what’s more horrific than the future being stricken in some way? Just look at the work of

The best picture books, are warm, humorous, and can be read again and again. There must be something new to take away each time you read it. It has to hold up to multiple readings. There must be substance, depth, and layering.

In this twelve page article by, Armelle Hours, a correlation between fairy tales and treating abused children is investigated. Hours focuses her study on children in France that have been placed into foster care due to maltreatment. In this experiment, Hours, a youth worker, and psychology intern, work together to organize a playgroup at the foster home. The playgroup met once a week for an hour and involved six children, ranging from ages 6-12. Hours’ playgroup would start off by reading fairy tale classics, and then the children would have a chance to act out the story using clay models, drawings, and all other child appropriate materials within the room. Hours illustrates two of the playgroup sessions that were held. In the first playgroup session, they read the story Cinderella and Hours focuses on a six year old girl. The girl asked Hours to make her an elephant trunk before she participated in the Cinderella play, even though the elephant trunk had nothing to do with the original story. After having the trunk on her face, the girl became the leader of the play and made clay food for all the other children. Hours explains that the girl may have needed the mask in order to feel comfortable around her peers. The elephant trunk

Well-written and inspirational literature not only has the ability to carry a reader into another world but they are able to accomplish this feat while simultaneously delivering deep messages that surpass the written text. Children’s literature is sometimes overlooked in terms of reaching these standards and being considered worthy of critical analysis; this genre is often perceived as having juvenile storylines and concepts portrayed through simplistic language. However, the common writing styles in children’s literature, often being either illustrated books or picture-books, offer the genre with a unique opportunity to achieve deep themes and messages through the dynamic

Reading novels is an experience unlike any other. With the crack of a new book, the reader is transported into the pages, into a new land, ready to take on the role of protagonist. Each little girl has the chance to be a pirate-fighting hero, each little boy able to become the doting husband. If that sentence sounds strange, it is because society has socialized individuals to gender any and all activities, reading included. Elizabeth Segel drives this point home in her article “As the Twig is Bent… Gender and Childhood Reading,” which gives an in-depth analysis of gender in children’s book, and the implications it has for readers.

In advanced classes, books are used to help demonstrate and reiterate what has been taught. A Critical Handbook of Children’s Literature by Rebecca J. Lukens, Jacquelin J. Smith, and Cynthia Miller Coffel is a great utensil in digging deeper into the world of writing. One of the main goals of the Lukens text is to give readers a more in depth understanding of what exactly makes a written piece quality literature.

However, few realize that there are many communal ideas imbedded in the plots that often go unrecognized. Fairy tales, more often than not, highlight a multitude of social aspects which might seem inappropriate for children. Constantly evolving, fairy tales, as indicated by Yolen and Zipes, illustrate the sexist views of the dominating class, the societal beliefs as they change throughout history as well as the community’s values especially during crisis.

As we grow up, we hear fairy tales and we read them into our lives. Every word and every image is imprinted into our minds. The fairy tales we read are never abandoned. They grow with us and our dreams become molds of the many morals and happily ever afters fairy tales display. We tell children fairy tales when they go to sleep and they read them in school and we even have them watch Disney adaptions that reinforce them further. Generally, they were everywhere while we grew up and they continue to be present while children are growing up now. But what influence do these stories have? We casually expose our children to these tales, but in some cases they can have particularly, harmful personal effects on them, although there is nothing completely or visibly “bad” about them or about the characters in them. Before we divulge our youth to these stories, we should assess their substance and see what sort of effect they may be having on them. They have received so much scrutiny and have been studied by many. Recognizing fairy tales effects on the minds of children is vital in their development. This paper will focus on the underlying messages that the average person wouldn’t recognize in these everyday stories. There’s a modern distort with fairy tales because while they still are widely popular with the youth, they influence children’s self images, outlooks on reality and expectations for their futures, especially for young women.