The Broad Spectrum of Children’s Point of View in Literature: The Child That’s In Us

Not every book for adults is also a book for children, but the opposite is, luckily for us, true: children’s books are a rewarding and enriching experience for everyone, adults included.

The good author of literature for children is gifted with the precious and rare quality of thinking like a child in an adult body. In what we could define as a sort of emphatic relationship, he has the capacity to identify with the young protagonist of the story – and this is why we feel the writer particularly close to his character’s inner and outer journeys throughout the book.

Books for children speak to – and affect – us on many levels in a way that few books of other genres are able to. But the greatest ones are those where the writer’s and the child’s point of view intersect, melting together. It is a clever, interesting device, which defines the author’s mastery in writing good literature and leaves the reader with a subtle yet engaging confusion: was it the young character who started taking control over the writing process or did the writer allow himself to write from the privileged perspective of his own younger self?

For each of the four points of this list there is a book that is only indicative of the many other children books that are worth listing, but more than others it is successful in that it is not dedicated to children only, allowing adults the chance to see the world just as a child would see it. What these books have in common is that – no matter through which technique the author succeeded in conveying it – there is a strong feeling that the writer is deeply linked to his young character – often to the point of not being able to identify who’s who. To communicate through the powerful imagination of the child is an uncommon but very special gift, as if a breach on that far world would always remain open for that hidden side of every author who writes authentically, wholeheartedly for children and for everyone else.

Call it Sleep by Henry Roth

Standing before the kitchen sink and regarding the bright brass faucets that gleamed so far away, each with a bead of water at its nose, slowly swelling, falling, David again became aware that this world had been created without thought of him. (…) Where did the water come from that lurked so secretly in the curve of the brass? Where did it go, gurgling in the drain? What a strange world must be hidden behind the wall of a house!

Call it Sleep - Book cover
Call it Sleep – book cover

This novel does not come exactly under the books-for-children category. It is primarily one for adults, but David’s point of view enriches it of a child-like perspective on the world. This illuminating novel of the years of the Great American Depression was written by the genial though misunderstood mind of Henry Roth. Unlucky, because born under the bad star of those hard years, the book was to be welcomed in a controversy way and was soon forgotten by its contemporaries just to be later republished in 1964, when a deserved and actual success began exactly thirty years after the first publication.

David Schearl is the young protagonist of this Bildungsroman, which covers three years of his childhood. He is a very sensitive, curious, but also scared, six-years-old son of Jewish immigrants who has to find his own way in the Lower East Side. As we read on, we accompany him through the difficulties of being a kid growing up during years of recession and crisis, when poor people such as his father – a mostly angry, violent and resentful man – had hard times finding a job. His relationship with Genya, his mother, is completely different and is enlivened by a strong corresponded affection, which allows to glimpse, through a quite unhealthy attachment, the sign of the Oedipal complex suffered by him.

Among several adventures, discoveries and new meetings, what determines most the journey towards his personal growth is David’s approach to religion. As he starts his education at the synagogue, he begins to see the world in a different way: everything seems to have a hidden meaning out there; under the shadows, everything seems to retain a secret light – something that David starts to associate with God’s presence in the human experience. It is at this level that the novel reaches its highest tone and most sublime meaning. Light is the metaphor for God, and David’s mission seems to become that of looking for it in as many places as he can, and to flush it out. This intense and spiritual experience almost lead him close to death, when in a dangerous experiment with a piece of zinc inserted in a streetcar track the electricity was released in a powerful discharge; in that moment, David feels as closest as he can to God.

The novel is rich in streams of consciousness, one of whose culminates at the end of the story, where language is rarefied and meanings difficult to decipher. There are many challenging aspects to this reading. The choice of a highly poetical language in some passages, alternated with a mixture of Yiddish and vernacular English, is one of them. But most of all, Roth’s novel is appealing because visually strong: the book is full of images conveying a symbolical message and issues of good and bad, in particular, are rendered with a complex apparatus of images of light versus darkness. Call It Sleep is undoubtedly sustained by a realistic view of the world, but what stands out is David’s own reality: at the core of the book there are his impressions, his perceptions often reported to extremes to allow us to seize even the most elusive and transient of his thoughts. Even in the most harsh and unpleasant moments the reader is guided across David’s world with his gentleness in a perfect, though hard, balance between what stands outside and the naïve filter with which the author protects us and through which David sees – but never misinterprets – the world.

All one had to do was to imagine that it wasn’t there, just as the cellar in one’s house could be conjured away if there were a bright yard between the hallway and the cellar-stairs. One needed only a bright yard.

The Little Prince by Antoine de Saint-Exupéry

You must be very patient – answered the fox. You’ll sit first a little away from me, like that, in the grass. I’ll watch you out of the corner of my eye and you will say nothing. Language is source of misunderstanding. But every day, you can sit a little closer…

Screencap from the animated film adaptation of The Little Prince (2015)
Screencap from the animated film adaptation of The Little Prince (2015)

The Little Prince is one of the books everyone possesses an indirect knowledge of, whether it has been read or not: the image of a young, blond, lonely boy has accompanied our imagery and occupied our unconscious since forever. First published in English in 1943 and soon after in French, the book is Antoine de Saint-Exupéry’s absolute chef d’oeuvre and one of the most renowned and meaningful books in world’s literature.

The title anticipates the main character, but as for all the greatest artistic creations, we do not really need to be introduced to him. All readers probably have their own mysterious reason why the young boy, who speaks with such immediacy to our sensitivity, is someone to be fond of. It is part of his charming nature the fact that he does not have a real name or age, because he is a powerful emblem, a collector of meanings, an empowered human being. The young prince is probably Saint-Exupery’s alter ego, a character he created as a self-reminder, and a promise, not to forget how it is to be a child. The book is, therefore, the proof that he held his personal promise: always remember that childhood is the most precious time in life, and do not forget it as you grow up. Saint-Exupery is a master in the arduous attempt to write both as an adult and as a child, and the sweetness as well as the melancholy tone of the book both come from his ability to preserve an exquisitely childlike taste all over it.

What we know of the prince, what he allows us to know through the writer who is a character himself, is that he lives in a small asteroid, B-612, alone except for the presence of a rose, which he loves dearly, though prematurely. The prince still has to learn what love really means, so he flies away from home in search of a friend. In each of the planets he visits, he meets someone – the king, the tippler, the lamplighter… – discovering adults’ eccentricity and weaknesses, learning from their faults, until he lands in the earth. There he meets the most important character of the book, the fox, which teaches him the true meaning of affection in relationships and what it means to “create bonds” by creating one with him. At this point of his voyage the prince can finally see the precious value and uniqueness of what he is and of the things he loves, the difficulty to keep affections alive, the sadness that they entail, but also the happiness that springs from them. He leaves the fox enriched with the awareness of her secret, “that it is only with the heart that one can see rightly; what is essential is invisible to the eye.” Only by means of his heart and of the memories it disclosed could he see clearly the rarity of his rose and the responsibility that came from having tamed it, that is for loving it. This fable points the way to happiness as a consequence of looking deep onto the feelings and memories that hide behind all that we love, in order to see how special it is. Affections change the way we see the world, they transform it under the power of our memories, because “nothing in the universe can be the same if somewhere, we do not know where, a sheep that we never saw has – yes or no? – eaten a rose…”.

The Adventures of Huckleberry Finn by Mark Twain

The Adventures of Huckleberry Finn by Postertext
The Adventures of Huckleberry Finn by Postertext

All modern American literature comes from one book by Mark Twain called Huckleberry Finn. If you read it you must stop where the Nigger Jim is stolen from the boys. That is the real end. The rest is just cheating. But it’s the best book we’ve had. All American writing comes from that. There was nothing before. There has been nothing as good since.

Earnest Hemingway’s precious and frank statement is undoubtedly a clue of the importance of this book and of all the meanings it carries within. Written in an 1885 vernacular English and born with as simple an intention as being a sequel to The Adventures of Tom Sawyer, it ended up being a masterpiece and a model to American, and world, literature. This adventurous piece of narrative tells the story of a friendship between an escaped slave, Jim, and an orphan, the young rascal known as Huck Finn. In the voyage undertaken through South America, Mississippi and Ohio, this eccentric couple of friends shares a personal and common purpose: freedom, both from the restraints of daily life – the impositions and expectations of education and adults’ duplicity – and from social inequality and men’s reciprocal narrow-mindedness.

This novel shows how every child can teach adults how to live; it is a moral book but with no intent to be so. No matter how Twain mockingly warns us that “Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot” – we cannot help but see how satire, concepts of right and wrong are made lighter in Huck’s eyes, who as a child is surrounded by society’s rules but eventually ends up by making up his own moral discernment about life, human beings and their rights. The travel with Jim is a metaphor for a life free of bitter preconceptions, which is objectified into the choice to live outdoors, in the nature and in the sun and therefore be allowed to see things clearly, as they really are. We may initially be amused and smile gently at what we perceive as Huck’s ingénue innocence before the issues of the world, believing in what we have found – that things are more complicated – and be pleased with it. But, sometimes – Huck seems to tell us – things are really simpler than we convince ourselves they are:

It’s lovely to live on a raft. We had the sky, up there, all speckled with stars, and we used to lay on our backs and look up at them, and discuss about whether they was made, or only just happened – Jim he allowed they was made, but I allowed they happened; I judge it would have took too long to make so many.

The Daydreamer by Ian McEwan

The trouble with being a daydreamer who doesn’t say much is that the teachers at school, especially those who don’t know you very well, are likely to think you’re rather stupid. Or, if not stupid, then dull. No one can see the amazing things that are going on in your head.

Assuming that, as adults, our love for children’s books is mostly linked to our need not to let our childish side go but also suggesting that we should abandon the fruitless habit of presuming that literature for children has the exclusive, limited range of children’s taste and favour, McEwan states: “I began to think it might be better to forget about our mighty tradition of children’s literature and to write a book for adults about a child in a language that children could understand.” The Daydreamer is, in fact, a gift to all adults – a gift by means of which its author redefines the boundaries of what is considered children’s literature, refreshing its well-grounded definition, empowering its meaning and showing that it extends on a much larger ground than we think.

The Daydreamer book cover
The Daydreamer book cover

McEwan relies on Ovid’s Metamorphoses in order to evoke the aim of his book, “to tell of bodies which have been transformed into shapes of a different kind”, something that is paired in Peter’s freedom of mutate things and people up to, eventually, himself. This ability of transition and of change is equally found in the adaptability of the novel’s genre: in the preface, the author declares that his book is both for children and for adults: fascinatingly, both categories are privileged addressees of his stories; “Alone in my study, I read aloud passages to an imaginary child (…) on behalf of this imaginary adult. Ear and tongue, I wanted to please them both.”

Peter Fortune is the young daydreamer of the 7 stories of the novel, a kid who “liked to be alone and think his thoughts.” His continuous stream of fantasies puts him into trouble in relation to an intolerant, misunderstanding reality, but his mind is the place where everything is clear, possible and convincing, where inventiveness and sensitive understanding meet. The outstanding trait of The Daydreamer lies in its leading, inspiring double nature: it not only reconciles grown-ups with their forgotten yet invaluable primeval identities, it also brings children near to the discovery of early adulthood, always in an engaging, humorous tone. From chapter one to seven, the authorial voice harmonizes with Peter’s view so that all we are told and all we know depends on how the child sees the world.

What Peter feels and fears, for example, in The Dolls story is “The Bad Doll”, his sister’s Kate defective doll – a frightening toy with a hostile stare and a frowning smile, a leg and an arm left only – that, he imagines, plans to kill him by leading a revolution that involves the support of all the other dolls of the bedroom. In no time, we see The Bad Doll climbing the bed and seizing Peter’s arms and legs to the dolls’ cries of “What is fair is fair!” so it is bewildering when, the moment after, we are called to experience another facet of the story – its realistic side – which implies that we realize that Peter’s thoughts are a screen to reality, but also that this filter made of solitude, imagination and dreams can be as convincing and powerful a dimension of reality as people’s ordinary view of the world:

Now, you have to try and imagine the scene from where she stood. She had come home from playing with her friend, she had walked into her bedroom, and there was her brother, lying on the spare bed, playing with her dolls, all her dolls, and he was moving them around, and doing their voices. The only one not on the bed was the Bad Doll, which was lying on the carpet nearby.

It is in the wittingly clear artifice of switch between Peter’s and Kate’s perceptions we understand the concreteness of our own daydreaming with Peter, we discover to what extent mind-wandering with him can be nothing less concrete than adults’ solid-shaped, three-dimensional reality. McEwan means to legitimate Peter’s state of rêverie: if we are captured in his bewitching thoughts, if we feel exactly what he feels, we will not deny the authenticity of what has happened. As readers, we are not allowed to skip the dimension of the dream until the author decides that the time spent into Peter’s mind is enough for us to feel disoriented with the reality we have, at some point, recovered, and to acknowledge that at any moment we can be persuaded that the reality we are brought to believe in is an impeccable mental image, the outcome of our immense imaginative power.

In real life, Peter is a silent, observing child staring at things; in his mind, he is the greatest of adventurers. In chapter 4 – “The Bully” – Peter’s conviction that daydreaming is the very substance of reality is completed into a more mature belief. There are times when life really is not only a fleeting projection of our thoughts , but on the contrary is made up of our presumptions, it materializes into the dreams we have had. This implies a certain amount of responsibility for the life we live, and it is exactly what Peter learns by facing Barry Tamerlane, a bully who only behaved like a bully because the school kids, and he himself, had always been fostering this fantasized image of him. By seeing life as a dream, Peter ultimately proves, and learns, that dreams are something powerful, but also that by each owning our personal dream we are free to decide when to wake up from it, what is illusionary, temporary or inconsistent, and what needs to be changed.

The red metal was cool beneath his fingers. It was solid, real. How could it not be there? But then, that was how it was in dreams – everything seemed to be real. It was only when you woke that you knew you had been dreaming. How was he to know he was not dreaming the fire extinguisher, dreaming the red, dreaming the feel of it?

“…to the child whom this grown-up once was”

Every piece of literature for children that really means to be so is readable by everyone, because its sphere of interest is an ever-changing, progressive range of colourful subjects and themes which touches the lightest as well as the most complicated of them. It is not casual that successful narrative among children does not avoid difficult subjects, meaning that it is what children appreciate – to be introduced to reality and to learn, by reading, how to enhance their intelligence by also recognizing their own ability to cope with the unpleasant in life. It is impossible to limit the extension and width of literature for children in terms of what it is able to convey to all of us – a veritable lesson that only the most prosperous writers in children’s books have been able to assimilate. E. B. White was aware of what the etiquette “literature for children” implied for an author with a young audience: to many writers like him it was – and still is – anything but a simplification of the human journey, of our existence. “Anybody who shifts gears when he writes for children” he wrote “is likely to wind up stripping his gears.” Adding value and prestige to children’s literature therefore means positively problematizing it, as there is nothing that a child cannot understand when related to even complex matters through sensitivity and a gentle voice.

The world we enter every time that, as grown-ups, we pick up a children’s book empowers us of the privilege of being part of it – a child-centred but non-exclusive, wide and rich reality. Because ultimately, as Antoine de Saint-Exupéry teaches us, the line between children and adults is more elusive and inconsistent than it seems and to dedicate a book to an adult – as the French writer did with his beloved friend Leon Werth – is nothing but an act of reawakening, through memory, of the little child that is still somewhere inside him:

I ask children to forgive me for dedicating this book to a grown-up. I have a serious excuse: this grown-up is the best friend I have in the world. I have another excuse: this grown-up can understand everything, even books for children. I have a third excuse: he lives in France where he is hungry and cold. He needs to be comforted. If all these excuses are not enough then I want to dedicate this book to the child whom this grown-up once was. All grown-ups were children first. (But few of them remember it.) So I correct my dedication:

To Leon Werth,

When he was a little boy

The Little Prince - Illustration
The Little Prince – Author’s Illustration

Works Cited

  • Roth, Henry. Call it Sleep. New York: St. Martin’s Press, 2005. Print.
  • Saint-Exupéry, Antoine de. The Little Prince. London: MacMillan, 2010. Print.
  • Twain, Mark. The Adventures of Huckleberry Finn. London: Penguin, 2006. Print.
  • McEwan, Ian. The Daydreamer. London: Vintage, 1995. Print.

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  1. Daydreamer is lovely. I have never read a book which talks about someone’s thoughts, dreams and feelings. I enjoyed reading the chapter where Peter discovers moving dolls.

  2. Childhood – A state.

  3. Childhood! A bliss. Pure but not necessarily simple. So many questions racing through the mind, so many things to do.

  4. Huckleberry Finn is a book that I remembered fondly from my childhood that actually holds up to another reading as an adult.

  5. Emily Deibler

    I had to read The Little Prince for a college course–a class on comics and image-heavy narratives. It was glorious (and my professor’s favorite book, I think). I also loved Huck Finn. Excellent work on this article! I always love whimsical narratives that make you feel warm inside.

  6. Adnan Bey

    I absolutely loved The Little Prince… at least as a movie. I never read the book. I wish I did, because some parts of the movie weren’t clear to me but now I read this, I guess they weren’t meant to be clear. You know what piece of children’s literature I loved is The Secret Garden and The Graveyard Book. Each are dark enough to be read by adults, but lighthearted and magical enough to be enjoyed by children.

    • Susanna Princivalle

      I agree with you on The Graveyard Book – while writing this piece I’ve had Neil Gaiman’s works in mind the whole time.

    • I agree, regarding the ambiguous parts of the movie. I think I would benefit greatly from the book, because I feel that the movie left out a lot of things. The ending was rather abrupt and left me wondering whether the girl actually learned anything or not. My general impression is that she herself completed the old man’s story, yet all she presents to the old man is a bound collection of his stories rather than the additions that she has made. She also did not take the test or exam she was preparing for, even though she had been preparing for the whole movie; I’m interested in what how she would fare in light of her new experience. I’m also not sure what to make of the people on different planets (or asteroids) and whether they are meant to represent different archetypal people in the world, or different aspect of the same self; they all kind of seem derivative of one single person. Also, it doesn’t seem like the mother has learned anything by the end of the movie—she just seems really guilty about the old man.

  7. Huck Finn is a surprisingly cynical book.

  8. As I was reading Twain’s book, some kind of sinister feeling crept up on me. I can’t describe it.

  9. I read some of these novels when I was like ten or something and all I remembered was that I really loved them.

  10. Garland

    The Daydreamer truly terrified me as a child.

    The scene where the main character’s body parts are detached to make a doll created my nightmares and kept me away from dolls. Not sure what the author was going for with this book, but I wish I had read it when I was older.

  11. Do Isobel

    I’m stunned by childrens unwonted, unrestricted, inventiveness and imagination that throws me off completely.

  12. blanton

    What really makes Call It Sleep stand out is the use of language throughout the narrative.

  13. Fitzsimmons

    “Call it Sleep,” is a wonderfully full and vibrant novel and The Daydreamer is a GREAT book.

  14. Very well-written books and article.

  15. Jaleesa

    Grown -ups are really very odd in a childs perspective.

  16. Lemania

    Adventures of Huckleberry Finn is the greatest American novel ever written. The characters and events are so well described and depicted.

    • I had to read The Adventures of Huckleberry Finn for school, and i really hated reading it. In fact, I didn’t even read some of it – I looked up what happened on the internet. I just couldn’t read any more of it….it was so bad. The story was so …long. And boring. I was really perplexed as to why it is referred to as “The Great American Novel”.

  17. washo

    It’s really true what you say though- a good children’s book is so appealing to everyone, because deep down, we really are all children. Those books just happen to touch that part of ourselves once again. Beautiful article!

  18. Cordell

    Henry Roth was a truly talented writer and I feel frustrated as a reader that there are only a few books of his to read.

  19. Lorinda Kimball

    Well, I think it’s about time I tackled my to-read list. Thanks a lot for the encouragement.

  20. Finally, I finished my first Mark Twain book. Amazing and interesting!

  21. Isa Dye

    What I love about The Daydreamer is that it is so full of imagination.

  22. Holli K.

    The Little Prince is as magical as I remember it to be. Loved it as a kid, but I think I love it even more as an adult because now I understand that this totally isn’t a book for children. It’s a story children can enjoy, but you have to be an adult to truly understand it.

  23. Good post. They are all great work on looking at life and love through the eyes of an alien child.

  24. N.D. Storlid

    For the while I read, I was baffled to recognize old colors and faded words that came to me when I started reading as a child, an experience that emits a side of me that I have not felt in a long time. This was a wonderful experience, in being so ignorant to some of the ideas that I had always felt were lost, and in part of my history. Even when I do not fondly look at the distorted parts to it, what can only be felt is a genuine jolt of joy is what reminds me how much we have forgotten our past-selves.
    Thank you dearly for this, this is one of the best that have come from the Artifice in a long while.

  25. The Adventures of Huckleberry Finn is one of those books that reads differently every time you read it. This book and The DayDreamer is in my list of favorites.

  26. The Daydreamer is not just a children’s book. It can certainly make you feel like a child again, but it has very universal messages about life.

    • Susanna Princivalle

      Yes, it is indeed what my article is about, that all of these books – all of children’s books in my opinion – have what you call “universal messages”.

  27. Lexzie

    This is a wonderful article.
    I will admit that I have never read any of the books mentioned in this article. Shame on me.
    I do think children’s literature is so important though. These books can illustrate lessons that many adults have seemed to forgotten.

  28. CorrEWil

    With some of these books, you’d think it’s a children’s book till you realize this was meant for you.

  29. I would also consider Oliver Twist by Charles Dickens, in the narration we could notice not only the point of view of the external narrator but we also have the chance to study the psichology of Oliver’s character. A boy who never lose his spirit and his trust in humanity, this leads him to the victory against all the evils. I want to mention even “Songs of innocence” by William Blake, Huckleberry Finn… I desire to speak about an analysis (a thought) that i reached by reading a great amount of books, and thinking about my personal meditations… Here it is: children have in themselves the greatest joy of living possible, their curiosity and will of knowing leads them (us) to discover as much as we can about the world, children don’t need always a plan, they don’t need to be always in a scheme, everything is an adventure, everything is magical, there aren’t expectations, things happen, let’s smile at that and take the positive aspects, our maximal aim is only obtain the best by ourselves in every shade of us and just live our dreams…
    Children have the purest easyest and smartest approach to life, i don’t know why everything changes during our lives, adults think to be smart, to be the evolution of the child, but everything we search during our lives is the equilibrium, the happiness, the awareness of us… Or else what we obtained and what we had when we were children, that is what we lose and we are able to reach only in old age, it is a circular process…. when we are old, we become children, most of the times we have an easier and sweeter approach to life… This is why we know the truth, we lose it, we try all the life to catch the right state of mind and we reach all this only a few steps before die, really interesting…. !?

  30. Jacque Venus Tobias

    This article summons a soft bed, warm blanket and drifting off to a peaceful place in the memory of childhood.

  31. I think every child has a book that sticks with them throughout their lives. “A Wrinkle in Time” was the one that has stayed with me always. Such great books that make you think deeply and live more fully!

  32. ajgreen94

    I think it is part wishing to be small again plus the innocence you know exists when you read through a child’s view. They’re yet to see what the real world is like and that sounds like bliss to most adults.

    All I have to read is To Kill a Mockingbird and read the world through little Jem’s eyes to see how innocent the world can seem and how kind children can be to anyone.

  33. This was a lovely read. I’m sure it was very difficult to narrow the list down to only these four. Roald Dahl’s works and Norton Juster’s The Phantom Tollbooth are other books that are so rich for children and adults. I think the definition of a children’s book is so flimsy anyways – are they books specifically written for children or books written through the eyes of children? I would say a combination of the two, yet I don’t know if To Kill a Mockingbird would be considered a children’s book. Although it could be-?

    Anyways, this was a very enjoyable read!

  34. Susanna Princivalle

    Thank you, sabrina! It’s been tough to write without including Roald Dahl, indeed! But I’m glad you enjoyed it – I enjoyed writing it 🙂 (Not sure about Harper Lee’s novel as well, but thank you for mentioning “The Phantom Tollbooth” – it’s now in my reading list!)

  35. An excellent read. As another commenter mentioned, I think To Kill A Mockingbirg could have fit this list well. It is not so dissimilar to Roll of Thunder, Hear My Cry, in terms of content, I find, which won a Newbery medal .

  36. I read the Little Prince in French class in grade 11, and honestly it’s stuck with me ever since, making me very excited to see how the new movie will adapt it for the screen.

    Great article! As someone who works with kids, I am always amazed at the inspiring things they say, which is why children’s books are so important to reflect children’s experiences

  37. I teach children’s literature at a uni in Australia. It’s funny how my students react when I show them picture books that deals with fairly dark topics. For example, Anthony Browne’s Into the forest is wonderful. The students become enthralled by the intertextuality but when they figure what the books is about, they become quite distressed. This brings up questions of what assumptions we make about children and therefore what assumptions we make about texts for children too. But dark tales for children have always existed. I am thinking of the original fairy tales by the likes of Perrault. No sugar coating there … some scary stuff.

  38. This article is wonderful. The Little Prince (though I grew up knowing it as Le Petit Prince) and Huckleberry Finn both played such a significant role in my childhood and development, and it is nice to hear someone justify my endless love for children’s lit

  39. Joseph Cernik

    An interesting essay. Good.

  40. Joseph Cernik

    A good essay. I’m working on an essay about children’s books addressing migrants and the issues of families separated at the border so essays like yours help me to develop a deeper understanding of children’s literature.

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