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"Liminal Spaces in Children's and Young Adult Literature: Stories from the In Between brings together a collection of essays in conversation with each other surrounding a widely untapped field of study in children's and young adult literature"--
From the forests of the tales of the Brothers Grimm to Enid Blyton’s The Faraway Tree, from the flowers of Cicely May Barker’s fairies to the treehouse in Andy Griffith and Terry Denton’s popular 13-Storey Treehouse series, trees and other plants have been enduring features of stories for children and young adults. Plants act as gateways to other worlds, as liminal spaces, as markers of permanence and change, and as metonyms of childhood and adolescence. This anthology is the first compilation devoted entirely to analysis of the representation of plants in children’s and young adult literatures, reflecting the recent surge of interest in cultural plant studies within the environmental humanities. Mapping out and presenting an internationally inclusive view of plant representation in texts for children and young adults, the volume includes contributions examining European, American, Australian, and Asian literatures and contributes to the research fields of ecocriticism, critical plant studies, and the study of children’s and young adult literatures.
Since its inception in the 1970s, the Philosophy for Children movement (P4C) has affirmed children’s literature as important philosophical work. Theory, meanwhile, has invested in children’s classics, especially Lewis Carroll’s Alice books, and has also developed a literature for beginners that resembles children’s literature in significant ways. Offering a novel take on this phenomenon, Theory for Beginners explores how philosophy and theory draw on children’s literature and have even come to resemble it in their strategies for cultivating the child and/or the beginner. Examining everything from the rise of French Theory in the United States to the crucial pedagogies offered in children’s picture books, from Alison Bechdel’s graphic memoir Are You My Mother? and Lemony Snicket’s A Series of Unfortunate Events to studies of queer childhood, Kenneth B. Kidd deftly reveals the way in which children may learn from philosophy and vice versa.
Traditionally in the West, children were expected to “know their place,” but what does this comprise in a contemporary, globalized world? Does it mean to continue to accept subordination to those larger and more powerful? Does it mean to espouse unthinkingly a notion of national identity? Or is it about gaining an awareness of the ways in which identity is derived from a sense of place? Where individuals are situated matters as much if not more than it ever has. In children’s literature, the physical places and psychological spaces inhabited by children and young adults are also key elements in the developing identity formation of characters and, through engagement, of readers too. The contributors to this collection map a broad range of historical and present-day workings of this process: exploring indigeneity and place, tracing the intertwining of place and identity in diasporic literature, analyzing the relationship of the child to the natural world, and studying the role of fantastic spaces in children’s construction of the self. They address fresh topics and texts, ranging from the indigenization of the Gothic by Canadian mixed-blood Anishinabe writer Drew Hayden Taylor to the lesser-known children’s books of George Mackay Brown, to eco-feminist analysis of contemporary verse novels. The essays on more canonical texts, such as Peter Pan and the Harry Potter series, provide new angles from which to revision them. Readers of this collection will gain understanding of the complex interactions of place, space, and identity in children’s literature. Essays in this book will appeal to those interested in Children’s Literature, Aboriginal Studies, Environmentalism and literature, and Fantasy literature.
Liminal Spaces of Writing in Adolescent and Adult Education sheds new light on persistent issues plaguing student writing. Through a compilation of approaches centered around the convergence of structure and agency in practicing writing, the book offers invaluable insights into cultivating agentic student writing for literacy researchers.
Focus on young adult literature - This focus on young adult literature means that this book expands scholarship specifically in this area. Focus on the Gothic for young people – Gothic texts are very popular in children’s and young adult literature, but there hasn’t been a lot of scholarship on the Gothic for adolescents. This book expands our knowledge of how the Gothic intersects with young adult literature. Includes coverage of YA fiction from the UK, US, Canada, Australia and New Zealand, a range of genres that intersect with the Gothic (including historical fiction and fairy tale), as well as forms such as the short story and graphic novel.
"This second edition of Multicultural and Ethnic Children's Literature in the United States describes the history and characteristics of ethnic and multicultural children's literature in the U.S. and elsewhere, elaborating on people, businesses, and organizations that create, disseminate, promote, critique, and collect these materials"--
This edited volume, working within the specific frame of the ‘affective turn’ in the study of contemporary sociocultural settings across Latin America, compiles a series of essays on children's presence in selected Latin American literary and cinematic expressions.
Amber Sparks holds her crown in the canon of the weird with this fantastical collection of “eye-popping range” (John Domini, Washington Post). Boldly blending fables and myths with apocalyptic technologies, Amber Sparks has built a cultlike following with And I Do Not Forgive You. Fueled by feminism in all its colors, her surreal worlds—like Kelly Link’s and Karen Russell’s—are all-too-real. In “Mildly Happy, With Moments of Joy,” a friend is ghosted by a text message; in “Everyone’s a Winner at Meadow Park,” a teen coming-of-age in a trailer park befriends an actual ghost. Rife with “sharp wit, and an abiding tenderness” (Ilana Masad, NPR), these stories shine an interrogating light on the adage that “history likes to lie about women,” as the subjects of “You Won’t Believe What Really Happened to the Sabine Women” will attest. Written in prose that both shimmers and stings, the result is “nothing short of a raging success, a volume that points to a potentially incandescent literary future” (Kurt Baumeister, The Brooklyn Rail).
