SIXTH EDITION CHILDREN’S BOOKS in CHILDREN’S HANDS An Introduction to Their Literature

A01_TEMP8684_06_SE_FM.indd 1 4/12/18 12:05 PM A01_TEMP8684_06_SE_FM.indd 2 4/12/18 12:05 PM SIXTH EDITION CHILDREN’S BOOKS in CHILDREN’S HANDS An Introduction to Their Literature

Charles Temple Hobart and William Smith Colleges Miriam Martinez University of Texas at San Antonio Junko Yokota National Louis University (Emeritus)

330 Hudson Street, NY NY 10013

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Library of Congress Cataloging-in-Publication Data

Names: Temple, Charles A., 1947- author. | Martinez, Miriam G., 1948- author. | Yokota, Junko, author. Title: Children’s books in children’s hands: An introduction to their literature / Charles Temple, Hobart and William Smith Colleges, Miriam Martinez, University of Texas at San Antonio, Junko Yokota, National Louis University. Description: Sixth edition. | Boston : Pearson, [2019] | Includes bibliographical references and index. Identifiers: LCCN 2018010026| ISBN 9780134798684 | ISBN 0134798686 Subjects: LCSH: Children’s literature—History and criticism. Classification: LCC PN1009.A1 C5118 2015 | DDC 809/.89282—dc23 LC record available at https://lccn.loc.gov/2018010026

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ISBN-10: 0-13-479868-6 ISBN-13: 978-0-13-479868-4

A01_TEMP8684_06_SE_FM.indd 4 4/12/18 12:05 PM To the memories of my late wife Frances Temple and my inspiring classmate Bill Teale; in gratitude to Kent Brown, Jr., and the Highlights Foundation for their support of quality children’s literature; and in celebration of Reno and Frankie. —C.T.

To Sky, Emma, Annabelle, Elia, and Alyssa with thanks for the opportunities to share stories with you. —M.M.

To the International Youth Library and the Stippis, from whom I have learned much. —J.Y.

A01_TEMP8684_06_SE_FM.indd 5 4/12/18 12:05 PM ABOUT the AUTHORS

This book grew out of the collaboration of three teacher-friends who are joined by a love of good stories, amazing facts, lively poetry, an appreciation of cultural diversity, and a sense of awe at the power of good books to open children’s minds and make them more wholesome individuals.​​

Charles Temple is a guitar-and banjo-picking storyteller, poet, and sometime children’s author who teaches courses in children’s literature, storytelling, writing for children, literacy, and international education at Hobart and William Smith Colleges in Geneva, New York. He has written many books in the fields of literacy and children’s literature. Internationally, he serves as an advisor to projects in Tajikistan, Liberia, and Sierra Leone helping authors and illustrators produce books for children, and helping teachers teach with them, with the support from CODE of Canada, USAID, and the World Bank. He co-chairs the International Literacy Association’s Special Interest Group on Literacy in Developing Countries, and serves on the board of Storytellers in Higher Education, an Source: Kevin Colton, Hobart affiliate of the National Storytelling Network. and William Smith Colleges Miriam Martinez teaches children’s literature and literacy courses at the University of Texas at San Antonio. She is actively involved in the Children’s Literature Assembly, the National Council of Teachers of English, the International Literacy Association, and the Literacy Research Association. Her research and publications have focused on the nature of children’s literary meaning-making, children’s responses to literature, and their under- standing of various literary genres and formats. She also conducts content analyses of children’s books.

Junko Yokota is director of the Center for Teaching through Children’s Books and is professor emeritus at National Louis University in Chicago. She held research fellowships at the International Youth Library, and the Staatsbibliothek in Berlin, and a Fulbright at the University of Wrocław in Poland. She served on the Caldecott, Newbery, Batchel- der, Pura Belpré, and Ezra Jack Keats committees and on the Bologna, Nami, and Hans Christian Andersen Juries. Her research focuses on picturebooks, and multicultural and international literature. For more teaching ideas related to Children’s Books in Children’s Hands, the authors invite you to see the companion volume to this book—Martinez, Yokota, and Temple (2017), Thinking and Learning Through Children’s Literature, published by Rowman and Littlefield.

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A01_TEMP8684_06_SE_FM.indd 6 4/12/18 12:05 PM CONTENTS vii BRIEF CONTENTS

1 Children’s Books in Children’s Hands 1 2 Literary Elements in Works for Children 23 3 Picturebooks 47 4 Literature Representing Diverse Perspectives 85 5 International Literature 121 6 Poetry for Children 141 7 Traditional Literature 177 8 Modern Fantasy and Science Fiction 207 9 Contemporary Realistic Fiction 237 10 Historical Fiction 263 11 Nonfiction 285

APPENDIX Children’s Book Awards 317

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Preface xv

1 Children’s Books in Children’s Hands 1 What Are Good Books for Children? 3 What Are Good Books for Each Child? 3 ■ ISSUE TO CONSIDER 1.1: Children’s Books Are Nice, But Are They Educational? 4 • How About Just So-So Books? 5 What Is Children’s Literature? 5 Qualities of Children’s Literature 6 • Qualities of Outstanding Children’s Literature 8 Children’s Books and Childhood 9 Children in the Middle Ages 9 • Children in Puritan Times 9 ■ ASK THE CRITIC . . . Betsy Hearne 10 • Children in the Enlightenment 11 • The “Golden Age of Children’s Literature” 12 • Contemporary Children’s Books 13 The Genres of Children’s Literature 14 Bending Genres/Shifting Formats: An Introduction 14 Children’s Books and English ­Language Learners 15 Censorship: Which Books Will Make it into Children’s Hands? 16 Resources for Children’s Books 17 ■ ISSUE TO CONSIDER: Censorship of Children’s Books 18 EXPERIENCES FOR FURTHER LEARNING 20 REFERENCES 20

2 Literary Elements in Works for Children 23 The Artistry of Literary Elements 24 Genres: The “Rules of the Game” 24 Bending Genres, Shifting Formats 25 Settings: How Do Authors Create Times and Places? 25 Settings in Folktales and Fairy Tales 27 • Settings in Realistic Fiction 27 ■ ASK THE EDITOR . . . Cheryl Klein 28 • Settings as Important Features in Themselves 29 Characterization: How Do ­People Emerge from the Page? 29 Characters: What They Do 30 • Characters: How They Relate to Others 30 • Characters: What They Think and Feel 30 • Characters: What They Say and How They Say It 30 • Characters: The Roles They Play in the Plot 31 • Characters: As the Author Describes Them 31 • Round Characters and Flat Characters 32 • Round Characters Undergo Changes 32 Plots: How Do Stories Happen? 32 Plots and Conflicts 33 • Plot Structures 33 • Recurring Plots 34 • Episodes: Stories Within Stories 35 • Layered Stories: The Code of Actions and the Code of Revelation 36 Themes: How Do Stories Convey Meaning? 37 Explicit and Implicit Themes 37 ■ ISSUE TO CONSIDER: Are Themes Really There? 37 • Reading Against the Grain 38

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The Stance of the Implied Reader 39 Identifying with Characters 39 • Taking the Intended Moral Stance 39 • Filling in the Gaps 40 Point of View 40 Stories in the First Person 41 • Stories in the Second Person 41 • Stories in the Third Person 41 Style 41 Words 42 • Images 42 • Metaphors 42 • Voice, Tone, and Mood 43 • Intertextuality 43 Visual Literacy 44 ■ FOR ENGLISH LANGUAGE LEARNERS 44 EXPERIENCES FOR FURTHER LEARNING 44 RESOURCES AND REFERENCES 45

3 Picturebooks 47 What Are Picturebooks? 48 The Evolution of Picturebooks 48 The Development of the Concept of the Picturebook 48 • Changes in Printing and Technology 49 • Authors and Illustrators Who Have Defined the Field 51 Categories of Picturebooks 53 Early Childhood Books 53 ■ FOR ENGLISH LANGUAGE LEARNERS 56 • Wordless Books 56 • Picturebooks with Minimal Text 56 • Books for Beginning Readers 57 • Picture Storybooks 58 Visual Literacy 59 Elements of Design 59 Appreciating the Artistic Craft of the Picturebook 60 Artistic Media 60 • Artistic Style 64 How Picture Storybooks Work 67 Book Design 67 ■ ISSUE TO CONSIDER: Should Teachers Take the Time to Teach Students How to Interpret and “Read” the Illustrations in Picturebooks? 70 • Picture/Text Relationships 71 • Visual Representations of Literary Elements 71 Criteria for Evaluating Picturebooks 73 ■ ASK THE AUTHOR/ASK THE ILLUSTRATOR: Jon Scieszka and Lane Smith 75 EXPERIENCES FOR FURTHER LEARNING 76 RECOMMENDED BOOKS 76 RESOURCES 83 CHILDREN’S BOOKS REFERENCED 84 REFERENCES 84

4 Literature Representing Diverse Perspectives 85 Diverse Perspectives in the United States 86 ■ ASK THE AUTHOR: Alma Flor Ada 87 The Role of Schools in Presenting ­Multiple Perspectives 88 Literature’s Potential for Influencing the Reader’s Perspective 89 What Is Multicultural Literature? 89

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The Value of Multicultural Literature 90 Identifying Multicultural Books 91 Culturally Generic Books 92 • Culturally Specific Books 92 Evolution of Multicultural Literature 92 Issues Related to Multicultural Literature 94 Cultural Authenticity 95 • Perspective: Insider or Outsider 95 ■ ISSUE TO CONSIDER: How Much Artistic License Should Be Given to Illustrators as They Create Images of a Culture? 96 ■ ASK THE AUTHOR: Julius Lester 97 • Stereotyping and Other Unacceptable Depictions of ­Cultural Groups 97 • Identification of Cultural Groups 98 Criteria for Evaluating and Selecting Multicultural Literature 100 Do the Author and Illustrator Present Authentic Perspectives? 100 • Is the Culture Portrayed Multidimensionally? 101 • Are Cultural Details Naturally Integrated? 102 • Are Details Accurate and Is the ­Interpretation Current? 102 • Is Language Used Authentically? 102 • Is the Collection Balanced? 103 Awards for Multicultural Literature 104 The Coretta Scott King Award 105 • The Pura Belpré Award 105 • Tomás Rivera Mexican American Children’s Book Award 105 • The Américas Book Award for Children’s and Young Adult Literature 106 • The Asian Pacific American Award for Literature 106 • The American Indian Youth Literature Award 107 • The Jane Addams Children’s Book Award 107 Educators’ Roles in Presenting Multiple and Diverse Perspectives 108 Understanding Diverse Perspectives through Adult Literature 108 • Understanding Diverse Perspectives through Professional Literature 108 • Helping Children Gain Diverse Perspectives 109 EXPERIENCES FOR FURTHER LEARNING 109 RECOMMENDED BOOKS 109 Other Cultural Groups 115 RESOURCES 118 REFERENCES 119

5 International Literature 121

■ ISSUE TO CONSIDER: Why Take the Extra Effort to Find International Books? 122 What Is International Literature? 122 Evolution of International Literature 123 Issues Related to ­International Literature 125 Criteria for Evaluating International Literature 126 Authors and Illustrators of International Literature 129 Authors from Past Decades 129 ■ FEATURED ILLUSTRATOR/AUTHOR: Mitsumasa Anno 129 ■ ISSUE TO CONSIDER: Featured Author: Ana Maria Machado 130 ■ ASK THE AUTHOR: Beverley Naidoo 132 Awards for International Literature 133 The Hans Christian Andersen Award 133 • The Astrid Lindgren Memorial Award 133 • The Mildred Batchelder Award 133 • The White Ravens List 134 • Other International Book Awards 134 • Outstanding International Books for Children 134 EXPERIENCES FOR FURTHER LEARNING 135 RECOMMENDED BOOKS 135 RESOURCES 140 REFERENCES 140

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6 Poetry for Children 141 What Is Poetry? 142 ■ ASK THE POETRY ADVOCATES 143 The Evolution of Children’s Poetry 144 Early Poetry for Children 144 • More Sympathetic Voices 144 • Contemporary Poetry for Children 146 Categories of Poetry For Children 147 Mother Goose Rhymes and Other Rhymes of the Nursery 147 ■ WHY DO WE CALL THEM “MOTHER GOOSE” RHYMES? 147 • Jump Rope and Counting-Out Rhymes 148 • Folk Songs Popular Among Children 149 • Lyric or Expressive Poems 149 • Narrative Poems 150 ■ ASK THE POET . . . Naomi Shihab Nye 151 • Nonsense Verse 151 • Form Poems: Limericks 152 ■ BENDING GENRES/SHIFTING ­FORMATS 152 • Form Poems: Haiku 153 ■ ISSUE TO CONSIDER: Should We Distinguish Between “Poems” and “Rhymes”? 154 • Concrete Poems 154 • Dialogue Poems and Poems for Two Voices 155 • Free Verse 156 • Poetry Collections 157 Elements of Poetry 157 Sounds 157 • Images 160 • Comparisons 160 • Forms 161 • Insight 162 Children’s Preferences in Poetry 163 ■ CRITERIA FOR SELECTING POETRY FOR CHILDREN 163 ■ ISSUE TO CONSIDER: How Can We Keep Children’s Liking for Poetry Alive? 164 ■ POETRY AND ­ENGLISH ­LANGUAGE LEARNERS 165 Major Children’s Poets and their Works 165 ■ ASK THE POET . . . Nikki Grimes 167 EXPERIENCES FOR FURTHER LEARNING 168 RECOMMENDED BOOKS 168 RESOURCES 173 REFERENCES 174 Poets Who Contributed to This Chapter 175

7 Traditional Literature 177 What Is Traditional Literature? 178 The Value of Traditional Literature 178 The Evolution of Traditional Literature 179 Categories of Traditional Literature 180 ■ FOR ENGLISH LANGUAGE LEARNERS 181 Folk Literature from Many Cultures 182 Folktales from Italy 182 • Folktales from France 183 • Folktales from Germany 184 • Folktales from Wales, Ireland, Scotland, and England 184 • Folktales from Russia 185 • Folktales from Norway 186 • Folktales from the United States 186 ■ ASK THE RETELLER . . . Joseph Bruchac 187 • Folktales from Latin America 187 • Folktales from Africa 188 • Folktales from the Jewish Diaspora 188 • Folktales from the Middle East 189 • Folktales from Asia 189 • Myths from the Classical World 190 • Religious Tales 191 ■ ISSUE TO CONSIDER: Religious Stories in Public Schools? 191 Bending Genres/Shifting Formats 192 How Traditional Literature Works 193 Openings and Closings 193 • Settings 194 • Characters 194 • Themes 195 • Plots 195 • The Hero Cycle 196

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Criteria for Evaluating Traditional Literature 198 ■ ASK THE STORYTELLER . . . Fran Stallings 199 Traditional Literature and Storytelling 199 EXPERIENCES FOR FURTHER LEARNING 200 RECOMMENDED BOOKS 201 REFERENCES 205

8 Modern Fantasy and Science Fiction 207 What Is Modern Fantasy? What Is ­Science Fiction? 208 Definition of Modern Fantasy 208 • Definition of Science Fiction 209 • Distinction Between Fantasy and Science Fiction 209 The Evolution of Modern Fantasy 209 Categories of Modern Fantasy 212 ■ BENDING GENRES/SHIFTING ­FORMATS 212 • Personified Animals 212 • Personified Toys 213 • Outlandish Characters and Situations 214 • Magical Powers 215 • Extraordinary Worlds 216 • Supernatural Elements 216 • Time Slips 217 • High Fantasy 218 ■ FOR ENGLISH LANGUAGE LEARNERS 219 How Fantasy Works 219 Setting 220 • Character 220 • Plot 220 • Theme 221 Criteria for Evaluating Modern Fantasy 221 ■ ASK THE AUTHOR . . . Bruce Coville 222 Other Notable Writers of Modern Fantasy 222 ■ ASK THE AUTHOR . . . Jane Yolen 223 The Evolution of Science Fiction 224 Categories of Science Fiction 225 Projecting Scientific Principles 225 • Utopian and Dystopian Societies 226 • Surviving Environmental Catastrophes 226 • Science Fantasies 227 How Science Fiction Works 227 ■ ISSUE TO CONSIDER: Can Reading Fantasy Be Inappropriate for Children? 228 Criteria for Evaluating Science Fiction 228 EXPERIENCES FOR FURTHER LEARNING 229 RECOMMENDED BOOKS: FANTASY 229 RECOMMENDED BOOKS: SCIENCE FICTION 235 RESOURCES 236 REFERENCES 236

9 Contemporary Realistic Fiction 237 What is Contemporary Realistic Fiction? 238 The Value of Contemporary Realistic Fiction 238 ■ FEATURE: BENDING GENRES, SHIFTING FORMATS 239 The Evolution of Realistic Fiction 239 The 19th Century 240 • The 20th Century 240 • From New Realism to Diverse Perspectives 241

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Categories of Contemporary Realistic Fiction 242 Books About Self-Discovery and Growing Up 242 ■ ISSUE TO CONSIDER: Growing up in a Culture Outside the Mainstream 243 For English Language Learners—Series­ Books in Readers’ Lives 244 Books About Families and Family Diversity 244 • Books About Interpersonal Relations 245 • Books About School 245 • Books About Sports 246 • Books About Nature and Animals 246 • Books About Survival 247 • Books About Mental, Physical, Emotional, and Other Challenges 248 • Books About Moral Dilemmas and Moral Responsibility 248 • Books About Social Diversity and Society 249 • Books About Aging, Death, and Dying 250 ■ FEATURE: OUT OF PRINT BUT LOOK IN YOUR LIBRARY 251 • Mystery and Suspense Books 251 • Humorous Books 251 • Series Books 252 How Contemporary Realistic Fiction Works 253 Setting 253 • Plot 253 • Theme 253 • Character 253 • Point of View 254 Criteria for Evaluating Realistic Fiction 254 EXPERIENCES FOR FURTHER LEARNING 255 RECOMMENDED BOOKS 255 RESOURCES 260 REFERENCES 261

10 Historical Fiction 263 What Is Historical Fiction? 264 Time Periods Emphasized in Historical Fiction 264 • Value of Historical Fiction 265 ■ ISSUE TO CONSIDER: Does Historical Fiction Have a Place in the Study of History? 266 The Evolution of Historical Fiction 266 Style 266 • Historical Perspective 267 • Subject Matter 267 • Picturebooks 268 ■ BENDING GENRES/SHIFTING FORMATS­ 268 ■ ASK THE AUTHOR . . . Deborah Wiles 269 ■ FOR ENGLISH LANGUAGE LEARNERS 270 Categories of Historical Fiction 270 Fictionalized Memoirs 270 • Fictionalized Family History 271 • Fiction Based on Research 271 ■ FOR ENGLISH LANGUAGE LEARNERS 272 How Historical Fiction Works 273 Setting 273 • Plot 275 • Character 276 • Theme 277 Criteria for Evaluating Historical Fiction 277 EXPERIENCES FOR FURTHER LEARNING 277 RECOMMENDED BOOKS 278 RESOURCES AND REFERENCES 283

11 Nonfiction 285 What Is Nonfiction? 286 Value of Nonfiction 286 • Topics Addressed in Nonfiction 287 • Formats of Nonfiction 288 The Evolution of Nonfiction 289 ■ ASK THE AUTHOR AND ILLUSTRATOR: ­Candace Fleming and Eric Rohmann, ­Creators of Giant Squid 290 ■ ISSUE TO CONSIDER: Is It Acceptable to Fictionalize Nonfiction? 292 ■ BENDING GENRES/­SHIFTING FORMATS: ­NONFICTION AND ­BIOGRAPHY 292

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Categories of Nonfiction 293 Factual Nonfiction 293 • Interpretive Nonfiction 293 • Nonfiction of Inquiry 294 How Nonfiction Works 295 Structure 295 • Organizational and Support Tools 297 • Style 297 • Graphic and Visual Features 298 Criteria for Evaluating Nonfiction 299 What Is Biography? 299 Value of Biography 300 The Evolution of Biography 301 Categories of Biography 303 Partial Biographies 303 • Complete Biographies 303 • Collective Biographies 303 • Autobiographies and Memoirs 304 • Picturebook Biographies 304 How Biography Works 305 Characterization 305 • Structure 305 • Visuals 306 • Organizational and Support Tools 306 Criteria for Evaluating Biography 306 ■ FOR ENGLISH LANGUAGE LEARNERS 306 EXPERIENCES FOR FURTHER LEARNING 307 RECOMMENDED BOOKS 307 RESOURCES 315 REFERENCES 315

Appendix Children’s Book Awards 317 Name/Title Index 000 Subject Index 000 Credits 000

A01_TEMP8684_06_SE_FM.indd 14 4/12/18 12:05 PM PREFACE

Welcome to—wow!—the sixth edition of Children’s Books in Children’s Hands. It is our happy task in these pages and chapters to acquaint you with the best and most recent books for children, in many genres. We will share ideas for discussing those books and analyzing them with young people, too. We understand that as a teacher-in-training or a practicing teacher, you may feel pulled in many directions these days. Our urging you to put good books into children’s hands is competing with many other voices, especially those demanding that you help children meet rigorous new standards for reading skills. Is knowing children’s literature still relevant in this era of intense accountability? Of course it is. Children need to learn how to read, but there are many values to reading—not just knowing how to read but reading—that teachers cannot overlook, because they are vital to children’s education and to their well-being. Having the habit of reading good books helps children better understand other people and themselves. It takes them into the lives of people from other neighbor- hoods in the United States, from other parts of the world, and from other times. It gives them bigger vocabularies, boosts their world knowledge, and even gives them measurably higher intelligence than those who know how to read but don’t. It gives them deeper knowledge of things from the real world worth knowing. It excites their curiosity and furnishes their imaginations. And it gives them a ready source of enjoyment and inspiration that will last them all their lives. It is a generous and nurturing act to put good children’s books into children’s hands, and to create meaningful experiences with those books. It is our honor and pleasure to help you make the most of it.

New to This Edition

■■ They haven’t been replaced by drones yet, so the friendly drivers for UPS, USPS, and Fed Ex can still easily find their way to our houses in Upstate New York, San Antonio, and Chicago as they have every day for decades delivering new children’s books. “New to this edition” most importantly are the new books we are reviewing and presenting—dozens of new titles and many new authors in each chapter. ■■ Just as in previous editions, at the end of each chapter there are hundreds of annotations of newer titles for children in Children’s Books in Children’s Hands, Sixth Edition, with a strong emphasis on books from many cultural groups. ■■ New Teaching Ideas populate each chapter, along with the best of the tried and true. ■■ Newly updated “Top Shelf” lists of books are included in each chapter. ■■ Traditional genres of children’s books are being challenged and reworked in ­exciting ways, and our presentation is updated to reflect changes in the genres with a new feature called “Bending Genres/Shifting Formats” that highlights ways contemporary authors and illustrators are blurring the lines between ­traditional categories of children’s books. ■■ The needs of English Language Learners are addressed in many places in the book. English Language Learners are now found in classrooms in most states, and constitute more than one student in ten. ■■ There are entire chapters on Multicultural Books and International Books, and both are updated from the last edition.

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■■ The chapter on Traditional Literature has been updated with special emphasis on storytelling in the school and the classroom, as a bridge to having children appreciate children’s books. We have as a new feature an interview with a noted multicultural storyteller. ■■ The chapter on Poetry is brimming with new poems from contemporary poets to show examples of features of children’s poetry, thanks to a collaboration with noted children’s poet and anthologist Janet Wong. ■■ The chapter on Nonfiction emphasizes the notable artistry of recent nonfiction picture books. The artistry of nonfiction picturebooks is highlighted through a new “Ask the Author and Illustrator” feature that engages the reader in an in-depth exploration of how the award-winning book Giant Squid was crafted. ■■ The chapter on Historical Fiction features more international historical fiction along with many newly published historical fiction titles. There is new emphasis on using the internet as a tool to support readers of historical fiction by bringing to life settings far removed from readers in terms of both time and place.

How This Book Is Organized PART 1 “Understanding Literature and the Child Reader” orients the reader to the study of children’s literature and gives the critic’s perspective. Chapter 1, “Children’s­ Books in Children’s Hands,” introduces children’s literature as a distinct category and discusses the genres of children’s books as well as their qualities. Chapter 2, “Literary Elements in Works for Children,” introduces a set of literary concepts with which to approach children’s books, describing how plots are organized, how characters are drawn, and how themes are developed. Chapter 3, “Picture Books,” focuses on how art and text combine to form unique works. Chapter 4, “­Literature Representing Diverse Perspectives,” reflects this book’s strong emphasis on multicultural literature. It investigates the ways various cultural groups are depicted in children’s literature, highlights the progress that has been made in publishing children’s books that rep- resent various cultural groups more extensively and fairly, surveys the multicultural books that are available, and sets out guidelines for selecting high-quality multicul- tural books for children. Chapter 5, “International Literature,” introduces books that come to us from other parts of the world. It investigates international children’s literature, surveys the international books that are available, and sets out guidelines for selecting high-quality international books for children. PART 2 “Exploring the Genres of Children’s Literature” surveys the books that have been written for children, type by type or genre by genre. Each of the chapters in this part outlines the historical development of a particular genre, examines the literary qualities that distinguish the genre and the reading demands those qualities place on the child, reviews outstanding examples of works from the genre, and sets out criteria for selecting good works in the genre. Each chapter closes with an ­extensive annotated list of recommended books in the genre. Chapter 6, “Poetry for Children,” surveys the genre from nursery rhymes to contemporary multicultural poetry for children. Chapter 7, “Traditional Literature,” looks at folk literature from many times and cultures, with a new emphasis on storytelling. Chapter 8, “Modern Fantasy and Science Fiction,” considers the artistry that enables readers to enter hypothetical­ worlds. Chapter 9, “Contemporary Realistic Fiction,” looks at ways ­authors create believable books that are set in the “here and now” and that address the wide-ranging­ problems and delights of today’s children. Books set in times that may be many generations removed from our own are discussed in Chapter 10, “Historical­ Fiction,” which also explains the current emphasis on meticulous ac- curacy in this genre. Chapter 11, “Nonfiction” surveys a growing area of children’s literature in which talented writers present the real world and its people to young readers in skillfully focused works that can be as riveting as fiction.

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breadth of our diversity. For further information, the Cooperative Children’s Book Council in Wisconsin maintains annual statistics on its website on the pub- lication of multicultural books because of its commitment to raising awareness for the continuing need for representations of multicultural experiences. Multicultural education theorists define pluralism as diversity in “ethnic, racial, linguistic, religious, economic, and gender [characteristics], among others” ( Nieto, 1996 ). Nieto argues “that all students of all backgrounds, languages, and experiences need to be acknowledged, valued, and used as important sources of their education” (p. 8). This inclusive definition of pluralism correlates with beliefs about the need for diverse perspectives in education. Banks (2013) asks that multicultural education include voices that have been marginalized in the past, but urges that it not ignore the achievements of Western civilization in doing so. The goal of multicultural edu- cation is freedom—helping students develop the knowledge, attitudes, and skills that will allow them to participate in a democratic and free society. Banks acknowledges that students should know their own culture before they can successfully participate in other cultures. Moreover, educators must know their own culture, assumptions, and biases before they can be ready to scaffold how their students learn about their cultures and understand those of others. The United States is a diverse society, and this diversity has many sources. The obvious ways in which both the general and school populations are diverse are gender, culture, ethnic and racial background, language, and physical and mental PREFACE xvii abilities. Less often acknowledged are differences in social class, and how socio- economic class affects the daily lives of people within and across other types of diversities. The enormous differences in urban/suburban/rural lifestyles also need to be reflected in the literature to get richer, more nuanced ways of knowing our Pedagogical Enrichment and Features worlds. All of these differences can affect the ways people see themselves and others. And all must be taken into account in forging a working democracy or maintaining of This Book a harmonious classroom. The richly illustrated sixth edition is packed with practical applications and unique pedagogical features: CHILDREN’S BOOKS IN CHILDREN’S HANDS 3

TEACHINGTEACHING IDEA 1. 1 TOP The Role of Schools in Presenting SHELF “Teaching Ideas” provide ASK THE CHILDREN! 4. 1 Multiple Perspectives valuable, practical lessons Have a conversation with a group of children about children’s books. Ask these questions in a Schools face many demands in shaping the curriculum. Some of these demands are conversational way: and activities for sharing MULTIRACIAL made by people who want the curriculum to be presented from one perspective— 1. How do you know a book is a children’s book? ­literature with children in 2. What are three of your favorite children’s books? CHARACTERS their own. But we believe that multiple viewpoints serve students best. If only the classroom. 3. What makes them good—that is, if you met someone who was going to write a book for male, white, able-bodied characters are presented in a curriculum, then female children, what advice would you give her or him to make it a good book? Aneesa Lee and the Weav- 4. How do you feel after you’ve read a really good book? What are you thinking about? er’s Gift by Nikki Grimes. students, children of ethnic diversity, students with disabilities, and children with Note carefully what the children say. Is there a difference in what children of different ages Illustrated by Ashley learning exceptionalities are likely to feel that the school day is not planned with admire in books? How do their criteria for good children’s books compare with those set out them in mind. They may even feel that their place in society in general is question- in this chapter? Bryan black is brown is tan by able. Although strides have been made in creating anti-bias curriculums that pro- Arnold Adoff. Illustrated mote social justice, more work is needed. Schools can be instrumental in providing Good children’s books serve children in“Technology other ways, too. Good in Practice” books give chil- opportunities for students to read and discuss material from multiple viewpoints. dren reference points for understanding their own experiences, lessons that may last by Emily Arnold McCully teaching tips in each Such discussions are important in developing attitudes of open-mindedness about TECHNOLOGY a lifetime. Good books may make children proud of and knowledgeable about their Habibi by Naomi Shihab own culture, and can open windows onto chapterother cultures. reflect As we ouralready collec saw, good- in PRACTICE 10. 2 Nye diversity. books educate the imagination, as childrentive stretch experience to visualize what with it would the be like to walk in the shoes of a character in a book. I Love Saturdays y Identity plays a powerful role in student engagement and learning, yet in urban intersection of electronics ILLUSTRATION 1. 2 Sara All great things that have happened in the world, happened first of all in someone’s Pennypacker’s Pax takes read- settings, what children read in schools often does not match their sense of selves. Setting is a critical detail in many works of historical ction such as I Lived on Butterly Hill by Marjorie domingos by Alma Flor imagination, and the aspect of the world of tomorrow depends largely on the extent ers inside the perspective of a Agosín, which is set in Valparaiso, Chile. Celeste, the story’s main character, loves her home located and print, and provide In of the power of imagination of those who are just now learning to read. That is fox,Ada. and tells Illustrated a story about aby Elivia More Mirrors in the Classroom: Using Urban Children’s Literature to Increase high on a hill overlooking the harbor. Descriptions of brightly colored buildings perched on steep hills activities for the class- friendship between a boy and and funicular lifts that traverse the hills overlooking a sparklingwhy harbor children paint must a picture have of books, a unique and city why. there must be people . . . who really care Savadier Literacy, Fleming, Catapano, Thompson, Carrillo, and Ruvalcaba (2016) make a the fox. (Book cover of Pax ). Students will likely bene t from a Google search for photographswhat of kind Valparaiso of books, a W orldare Heritageput into site the. children’rooms hands. utilizing (Astrid Lindgren new , author media of Pippi Longstocking , from her acceptance speech for the Hans Christian Balzerand Molly BraBannay. ky by Alice case for urban schools to seek, identify, and include as core literature the kinds of Andersen Award in 1958) technology (e.g., how McGill. Illustrated by books that allow urban children to see themselves authentically. Culturally Relevant to create a student book Good books may give children much of the motivation and even Chris Soentpiet Teaching ( Ladson-Billings, 1995 ), also known as Culturally Responsive Teaching the concepts they need to learn to read andreferral also the database).models that show them how to write. Good books offer children delight, mys- ( Gay, 2010 ), begins with culturally relevant materials. tery, charm, an experience of awe, and companionship. Good books invite children to play with language. Good picture books cultivate “Top Shelf” book lists in children’s visual literacy and their aesthetic sense. Good books nur- every chapter list our best Ask t he ture children’s appreciation of the author’s craft. Author . . . Jane Yolen picks of titles that exem- plify a particular concept discussed in the chapter What do you say to those who criti- What I look for in fantasy books is a cize your choice to write and publish What Are Good Booksstrong for storyline, a character who changes (e.g., Humorous Picture fantasy books for children? Children? and grows, and wonderful chewy prose. Books, Multicultural I think that fantasy books speak I am not interested in generic sword and Audiobooks). to reality heart to heart. They For are the student of children’s literature, theresorcery, is much but toin learn.invention, Let’s imagination, metaphoric shorthand. Noidentify one some key questions here and relateand thema prose to stylethe upcoming that sings. I have read a reading them—children or adults—chapters , where you will find answers. lot of fantasy novels in my life. So I want is fooled into believing them word to be surprised, delighted, and have the for word; that is, the reader does W nothat Are Good Books for Eaclittleh hairsChild? on the back of my neck stand believe in the actuality of dragons, up with recognition, just as I do when I unicorns, flying horses. But Answeringthese that question requires that weread develop a poem some by criteriaEmily Dickinson.for A fan- stories are like points on a map,quality act- in children’s books. tasy book should force me to confront ing as a guide to life as we actually my real world with the imagined world. live it by showing us life as it could Jane Yolen , who has been referred to be lived. as “America’s Hans Christian Andersen” For those folks who are afraid of fantasy books, and the “Twentieth-Century Aesop” because of her seeing Satan where none exists, I tell them that they many fairy tales and fantasy stories, is the author do not understand the role of metaphor in literature. of over 170 books for children and adults. Her pro- But if they persist in seeing devils and the hand of hell fessional book T ouch Magic: Fantasy, Faerie and in these stories, I cannot change their minds. And I Folklore in the Literature of Childhood (2000) is do not try to. considered a classic reference in the field.

Each chapter includes an “Ask the Author” (or Illustrator, Editor, or Educator) box, in which a prominent children’s author, illustrator, editor, or educator responds to a question related to the chapter content.

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Can Reading Fantasy Be Inappropriate for Children? F antasy literature has often been the subject of controversy. Traw (1996) found that the presence of magic, witchcraft, and Some adults do not consider children capable of distinguish- animism caused the most concern. Traw found that even the ing between reality and fantasy, even though school curricula slightest hint of the supernatural caused a book to appear on often state (and psychological studies hold) that children in the list of censored materials. For example, a reference to Hal- “Issue to Consider” boxes in the primary grades should be able to make that distinction. loween or a story about a city witch and a country witch might each chapter present a highly Others worry that fantasy is a genre that allows an escape get the work into trouble. from reality and that reading works of fantasy takes time M ichael Tunnell (1994) writes about fantasy and censor- debated issue in children’s away from more important kinds of reading that children ship as the “double-edged sword.” He believes that “fantasy literature. need to be doing. Still others complain that fantasy liter- is fundamentally the most important kind of story to share ature is inappropriate for children because it refers to the with [children].” He also believes that “children vicariously supernatural. vent frustrations in healthy ways by subconsciously identifying In recent years, some parents and others in various com- with . . . heroes.” In addition, Tunnell believes that fantasy munities have opposed the reading of fantasy literature in gives children “a sense of hope about their ultimate abilities to schools and called for censorship of certain types of books. succeed in the world.” In his experiences with such groups, school administrator Rick What do you think?

EXPERIENCES FOR FURTHER LEARNING

“Experiences for Further 1. Reread the vignettes on page 4 . Can you think of books 4. Interview three teachers of the elementary grades. Ask Learning” are end-of- that served you in each of those ways when you were a them how many different ways they use children’s books child? Are there other ways in which books appealed to with their students. Compare their answers with the chapter activities that you? Compare your answers with those of your classmates. vignettes found on page 4 . help readers deepen their 2. Choose a children’s book. Evaluate it according to the cri- 5. Find a school librarian or a children’s librarian who has teria of a good children’s book set out on pages 8 – 9 . How worked in the field for 30 years or more. Ask her or him own understanding of the does it fare? Are there other criteria of excellence that you to talk about the ways in which books for children have chapter content. would propose? changed, children’s interests have changed, and parents’ 3. This chapter stated that children’s books have changed concerns about their children’s reading materials have throughout history, roughly as views of childhood changed—and how these issues have remained the same. changed. What trends do you see at work in society that Prepare a two-column list of ways in which children’s may change children’s literature in the next 20 years? books have remained the same and ways in which they What qualities or values would you expect to remain the have changed. Share your list with your peers. same in children’s literature?

RECOMMENDED BOOKS

* indicates a picturebook; I indicates interest level (P = African and African American preschool, YA = young adult) *Adoff, Arnold, ed. My Black Me: A Beginning Book of Multicultural literature and literature portraying various Black Poetry . Dutton, 1974/1994. This anthology opens types of diversity can be found throughout this text book . with Adoff’s words “This book of Black is for you.” These lists represent a sampling of recommended books. In Poets such as Langston Hughes, Lucille Clifton, Nikki particular, Chapter 9 , “Contemporary Realistic Fiction,” Giovanni, and Imamu Amiri Baraka contributed to the includes titles that depict realistic portrayals of people of di- anthology. (I: 9–YA) versity. A list of recommended books can be found at the end of that chapter.

Each chapter concludes with extensive lists of “Recommended Books” that offer publication data, a brief annotation, and interest level by age for every book listed. These lists have been extensively updated for the sixth edition with scores of new entries.

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Supplements to Aid Teachers and Students Students and instructors will find these supplements invaluable: Instructor’s Manual and Test Bank provides a variety of instructional tools, including chapter overviews, “pre-reading” directions, questions for class dis- cussion, classroom activities, and extending the reading assignments, plus mul- tiple choice and essay questions. (Available for download from the Instructor Resource Center at http://www.pearsonhighered.com/irc.)

Acknowledgments The authors gratefully acknowledge the generosity of publishers who have given permission to use illustrations and quotations from their books. We are thankful to Janet Wong and Sylvia Vardell, valiant promoters of poetry for children, for their contributions to this book. We are thankful for the book communities to which we belong, the committees we serve, and the professional friends with whom we have many intense conversa- tions about books—for this is how we learn, how we refine our own thinking, and how we prepare to write this book.

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