Kate Greenaway

Total Page:16

File Type:pdf, Size:1020Kb

Kate Greenaway B O O K N O T E S Cases along the walls: Jacob (1785-1863) and Wilhelm illustrator, Edward Burne-Jones. Burne- (1786-1859) Grimm Jones provided eighty-seven illustrations Kate Greenaway (1846-1901) Jacob and Wilhelm Grimm studied law, for the Kelmscott Chaucer though Morris Kate Greenaway, the daughter of a mas- but in 1806, at the ages of twenty-one and himself designed twenty-six large initial ter engraver and a talented seamstress, is twenty-two respectively, they started collect- words, the border foliage, and the type one of the most well-known and beloved ing folktales. Both brothers became librar- ornaments. The edition consisted of 425 author/illustrators of modern times. ians and began publishing their collection copies, thirteen on vellum and the rest on Greenaway was influenced by her parents of folktales in 1812. Over the course of their handmade heavy linen paper. This book but also by William Morris and his return lives, they added tales and published six was the masterpiece of Morris’ Kelmscott to medieval sources of inspiration. She additional editions of their first collection. Press. A paper copy originally sold for £20, rose to great success by bringing some- The Grimm brothers’ published works are a very high cost at the time. thing of the style of the mid-nineteenth considered by many to be the best known century Pre-Raphaelite painters to her and most influential German-language Charles Dickens (1812-1870) captivating stories of childhood. books ever written. Dickens was a prolific nineteenth-century During her career in England from the Though editions that came later softened author whose serialized books made him 1870s to the 1890s, Greenaway produced the somewhat frightening and cruel stories, famous internationally. He is most noted more than 150 books. John Ruskin, the the Grimms’ tales were and remain a reflec- for his realistic portraits of industrialized giant of nineteenth-century art criticism, tion of pre-modern central European life society and for the unforgettable characters advised her to devote herself to painting. and society. he created. But perhaps because of her own memory His stories, as in both the Museum’s of a happy childhood, the need to support William Morris (1834-1896) first editions of Bleak House and Martin herself, and her astonishing popularity, and Kelmscott Press Chuzzlewit, often were accompanied by she chose to build her career on children’s If the Arts and Crafts movement could be illustrations by “Phiz” Browne. books. attributed to a single founder, that individual The vase on exhibit is one of a whole Her first book, Under the Window, was would be William Morris. His rejection of line of Weller pottery called “Dickensware” published in 1879 and sold 20,000 cop- Victorian design and his rebellion against and depicts Mr. Pecksniff, a hypocritical ies almost immediately. It was quickly industrial culture could not have been more architect to whom Martin Chuzzlewit is reprinted in an edition of 70,000. Her first complete or more inspiring to kindred spir- apprenticed. It was made about a half-cen- almanack in 1883 sold more than 90,000 its all over Europe and America. tury after Dickens’ book was published and copies. As a result, Greenaway’s designs As part of his return to the beauty of attests to the author’s enduring popularity began appearing on wallpaper, scarves, the handcrafted, Morris founded Kelmscott – which continues even today. fashions, dolls, and plates such as the Press in 1891. By its end in 1898, Kelmscott one included in this exhibition from the had produced fifty-three titles and more Kenneth Grahame (1859-1932) Museum’s collection. than 18,000 books. Setting out to surpass Kenneth Grahame’s The Wind in the The Language of Flowers, which may be the highest standards of past bookmaking, Willows, with its endearing adventures of Greenaway’s finest book, was published in Morris based his work on medieval sources Mole, Rat, Badger, and Toad, appeared 1884, and half of its first edition of 19,500 and paid exquisite attention to the paper, in 1908 and is the book for which the went to America. All her books were typefaces, colors, visual harmonies, and Scottish author is most beloved and reissued in 1900, and subsequent editions textures. remembered. But Wind and the Willows is continue to be published today as classic The Morse’s six leaves from Kelmscott’s only part of his legacy in children’s litera- literature that is at home in every child’s Works of Geoffrey Chaucer are testament ture. Earlier, Grahame had produced The library. to his success and prove the justice of his Golden Age, a collection of short stories Olympian reputation and that of his chief about a group of children. These were previously published sketches that he had tion at The Metropolitan Museum of Art in Mary Dow Brine (1816-1913) written as a diversion while pursuing a New York until May. Mary Dow Brine, a native of New York, successful career at the Bank of England. is most famous for her inspirational poem, Illustrated by Maxfield Parrish, The Cases in the center: “Somebody’s Mother.” But for the Morse, Golden Age was published by John Lane, she is most noteworthy for My Boy and the publisher of The Yellow Book, after it The Sunbonnet Babies’ Primer I or On the Road to Slumberland, a collec- was rejected by an American publisher. Eulalie Osgood Grover (1873-1958) tion of twelve poems and lullabies. The “The cover of this first edition is filled with book was illustrated by Dora Wheeler, The Yellow Book (1894-1897) the optimism of the story and its time. The the daughter of Candace Wheeler, a The Yellow Book was conceived as a new gentle curves are typical of those found in partner in Louis C. Tiffany’s Associated type of journal that would bring the new French Art Nouveau; the shapes have the Artists group, and even more importantly, art of the late-nineteenth century to the innocence of the babies themselves. The the book was one of the very few that public. The color yellow represented a author lived in Winter Park. The book deals Tiffany published. rebellion against Victorian colors by its with the world a child sees, and it sold over The Morse acquired this rare book in nature and because of its reputation as the one million copies. 2006, and its acquisition brought to an color of “naughty” French novels. One Today’s world smiles at the naiveté of end the long search initiated years ago by of the most important periodicals of the these quaint characters who helped its Hugh McKean. 1890s, The Yellow Book marked the first grandparents learn to read. We read the serious attempt to market high culture to Sunbonnet Babies in Miss Anderson’s class in Walter Crane (1845-1915) mass audiences in England and America. College Hill, Pennsylvania, before the First Although Walter Crane was a successful This avant-garde quarterly journal was World War. We probably were isolated from painter represented in the Royal Academy, published only from 1894 to 1897. The the grimy side of things. But, then, no one he is most remembered as an illustra- Morse collection includes the full run of ever waited in the alley to sell us “crack,” tor. This reputation as one of the leading thirteen volumes. and the only alcohol we ever got was in a illustrators of his day rests on his contri- The Yellow Book featured work by syrup guaranteed to cure catarrh. butions to books on the one hand and to Aubrey Beardsley, who was its first art The Sunbonnet Babies are no longer in posters, pamphlets, and other propaganda editor, but it also included the work of schools. They are where they belong—in a for the advancement of socialism – a non- more conservative artists such as Kenneth museum where they will be cared for. They violent variety, it should be noted – on Grahame, author of The Wind in the are out of print and out of date. Alcohol the other. Willows and The Golden Age, the latter is recognized as a serious problem in some Crane, like his close friend William of which is represented in this exhibi- grade schools, and today’s children see a dif- Morris, the leader of the Arts and Crafts tion. The Yellow Book also published a ferent reality from that of a century ago. movement in England, sought to reform wide variety of writers including William We have cleared away the stuffiness of design and to promote social justice in his Butler Yeats and H.G. Wells. Noteworthy the world that produced books like The own time. was the inclusion of poetry and fiction Sunbonnet Babies’ Primer. But we are not at The Museum’s Crane books are espe- by women. all certain the world doesn’t need a little cially beautiful and fine examples of his But The Yellow Book’s emphasis was stuffiness.” floral work, his interpretations of nature, always on the modern and the aesthetic. and his interest in English medieval During its short life, it was regarded as – Hugh F. McKean (1908-1995) sources of inspiration. the epitome of style in English art and Director of the Morse Museum literature. From its founding in 1942 until his death Frank Brangwyn (1867-1956) Aubrey Beardsley (1872-1898), Frank Brangwyn, artist, painter, engraver, Laurence Housman (1865-1959), and and designer, illustrated The Girl and the Oscar Wilde (1854-1900) Faun. The son of a Welsh architect work- Aubrey Beardsley, Laurence Housman ing in Belgium, where he was born, (brother of the poet A.
Recommended publications
  • The Pictured Child in Victorian Philanthropy 1869-1908 Heather
    The pictured child in Victorian philanthropy 1869-1908 HeatherParis April 2001 Submitted for the award of PhD Awarding body: University of Central Lancashire Total numberof volumes:2 Volume I of 2 Abstract This study sets out to investigate the nature of the Victorian child's standing in society using pictorial means. It takes the view that the picture, or visual image, has something important to tell us about attitudes towards childhood, and how children were regarded as a group, between 1869 and 1908. As a piece of scholarship, it is situated between the disciplines of art history and social history. Little work has been done on the child's visual representation, and its contribution to the historical record. The rich visual material that forms part of the archive of Victorian philanthropy in general, and temperance in particular, remains largely untapped. The study is a response to this scholarly neglect, with the uses made by charity of the pictured child forming its central site of inquiry. Philanthropic images of childhood will be set in their pictorial context by reference to their appearance in other parts of the public domain. The history of the relationship between adults and children has been called `age relations' by one historian. This study will apply general and specific practical approaches, drawn from critical visual techniques, to age relations, leading to an interpretation of how Victorian childhood was pictured for its audiences. Images will be approached as pictorial puzzles, and priority will be given to those solutions which formed part of the historical record. The main analytical tool to be usedis adoptedfrom critical theory's notion of the metapicture.
    [Show full text]
  • Making Amusement the Vehicle of Instruction’: Key Developments in the Nursery Reading Market 1783-1900
    1 ‘Making amusement the vehicle of instruction’: Key Developments in the Nursery Reading Market 1783-1900 PhD Thesis submitted by Lesley Jane Delaney UCL Department of English Literature and Language 2012 SIGNED DECLARATION 2 I, Lesley Jane Delaney confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ––––––––––––––––––––––––––––––––––––––– ABSTRACT 3 ABSTRACT During the course of the nineteenth century children’s early reading experience was radically transformed; late eighteenth-century children were expected to cut their teeth on morally improving texts, while Victorian children learned to read more playfully through colourful picturebooks. This thesis explores the reasons for this paradigm change through a study of the key developments in children’s publishing from 1783 to 1900. Successively examining an amateur author, a commercial publisher, an innovative editor, and a brilliant illustrator with a strong interest in progressive theories of education, the thesis is alive to the multiplicity of influences on children’s reading over the century. Chapter One outlines the scope of the study. Chapter Two focuses on Ellenor Fenn’s graded dialogues, Cobwebs to catch flies (1783), initially marketed as part of a reading scheme, which remained in print for more than 120 years. Fenn’s highly original method of teaching reading through real stories, with its emphasis on simple words, large type, and high-quality pictures, laid the foundations for modern nursery books. Chapter Three examines John Harris, who issued a ground- breaking series of colour-illustrated rhyming stories and educational books in the 1810s, marketed as ‘Harris’s Cabinet of Amusement and Instruction’.
    [Show full text]
  • Fretam Inventory 030#17270D
    ALKEN, Henry. Ideas, Accidental and Incidental To Hunting and Other Sports. London: Thomas M'Lean, n.d.[1826-1830]. First edition, early issue, with plates watermarked 1831-32. Upright folio. Engraved title and forty-two hand colored soft- ground etchings with interleaves. Full forest green crushed morocco for Hatchards of London (stamp-signed) by either Riviere or Sangorski and Sutcliffe (ca. 1940). Occasional mild spots to margins not affecting imagery. A neat professional repair to closed margin tear. Otherwise, a beautiful copy of the most desirable edition. DB 02149. $16,500 DJB-2 ALKEN, Henry. Scraps From the Sketch-Book of Henry Alken. Engraved by Himself. London: Thomas M'Lean, 1825. Third edition (plates still dated 1820), preceded by those of 1821 and 1823, and equally scarce. Tall octavo. Title leaf and forty- two hand-colored engraved plates, twelve with multiple images. Contemporary half crimson morocco over paper boards. Red leather title label lettered in gilt to upper board. Small bookplate to front free-endpaper. DB 01902. $2,750 DJB-2 ALKEN, Henry. Specimens of Riding Near London. Drawn from Life. London: Published by Thomas M'Lean,. Repository of Wit and Humour, No. 26, Haymarket, 1823. Second edition. Oblong folio (8 3/4 x 12 3/4 in; 222 x 323 mm). Printed title and eighteen hand-colored engraved plates. Late nineteenth century half red roan over red cloth boards, ruled in gilt. Rectangular red roan gilt lettering label, bordered in gilt on front board. Spine with two raised bands, paneled and lettered in gilt. Clean tear in the inside margin of the seventeenth plate (just touching image) expertly and almost invisibly repaired.
    [Show full text]
  • Going/Or Eternity: a Child's Garden of Verses
    Going/or Eternity: A Child's Garden of Verses • Elizabeth Waterston • Resume: Dans cet article, Elizabeth Waterston tente d'expliquer la fortune litteraire du recueil de poemes de Robert Louis Stevenson, A Child's Garden of Verses, dont Ie succes reste encore tres vifde nos jours. D'apres elle, plusieurs auteurs ont tout simplement oublie I'influence marquante que ces poemes ont exerce sur leur premiere jeunesse. Summary: Elizabeth Waterston discusses the reasons for the continued popularity of Robert Louis Stevenson's A Child's Garden of Verses, and suggests that many writers have forgotten the strength of the poems' influence on their pre-school days. TA T hen Robert Louis Stevenson rhymed "children" with "bewildering" r V in the trial edition of his verses for children, his friend Sidney Colvin objected. "A Cockney rhyme," he jotted into the margin of the little book titled Penny Whistles.1 Stevenson responded with his own marginal jotting, "Good enough for me.... These are rhymes, jingles; I don't go for eternity." Whether or not he thought he was in the race for immortality when he published his little rhymes, A Child's Garden of Verses, first published in 1885, has proved to have great survival power. It is still available in all sorts of editions, vari- ously illustrated, and is still a preeminent choice of educators as well as of parents and care-givers. It is a book for children too young to express an opinion of its charms; but many of us re-open it as adults to discover just how deeply it has sunk into our pores.
    [Show full text]
  • Exhibition Guide
    Exhibition Guide February 7, 2019 Contents Illumination to Illustration: Art of the Book ......................................................................................................................... - 2 - Illumination ............................................................................................................................................................................. - 3 - Woodcuts ............................................................................................................................................................................... - 6 - Engravings/Etchings ........................................................................................................................................................... - 10 - Illustration ............................................................................................................................................................................. - 13 - Photography ........................................................................................................................................................................ - 16 - Fine Art Press ...................................................................................................................................................................... - 19 - Children’s ............................................................................................................................................................................. - 24 - Graphic Novels
    [Show full text]
  • Appendix B: a Literary Heritage I
    Appendix B: A Literary Heritage I. Suggested Authors, Illustrators, and Works from the Ancient World to the Late Twentieth Century All American students should acquire knowledge of a range of literary works reflecting a common literary heritage that goes back thousands of years to the ancient world. In addition, all students should become familiar with some of the outstanding works in the rich body of literature that is their particular heritage in the English- speaking world, which includes the first literature in the world created just for children, whose authors viewed childhood as a special period in life. The suggestions below constitute a core list of those authors, illustrators, or works that comprise the literary and intellectual capital drawn on by those in this country or elsewhere who write in English, whether for novels, poems, nonfiction, newspapers, or public speeches. The next section of this document contains a second list of suggested contemporary authors and illustrators—including the many excellent writers and illustrators of children’s books of recent years—and highlights authors and works from around the world. In planning a curriculum, it is important to balance depth with breadth. As teachers in schools and districts work with this curriculum Framework to develop literature units, they will often combine literary and informational works from the two lists into thematic units. Exemplary curriculum is always evolving—we urge districts to take initiative to create programs meeting the needs of their students. The lists of suggested authors, illustrators, and works are organized by grade clusters: pre-K–2, 3–4, 5–8, and 9– 12.
    [Show full text]
  • The Annual Report of the Library Company of Philadelphia for the Year 2010
    THE ANNUAL REPORT OF THE LIBRARY COMPANY OF PHILADELPHIA FOR THE YEAR 2010 PHILADELPHIA: The Library Company of Philadelphia 1314 Locust Street Philadelphia, Pennsylvania 19107 2011 as of December 31, 2010 President Beatrice W. B. Garvan Vice President B. Robert DeMento Secretary Helen S. Weary Treasurer Robert J. Christian Trustees Lois Green Brodsky Gordon M. Marshall Harry S. Cherken, Jr. Martha Hamilton Morris Robert J. Christian Stacy Slattery Richards B. Robert DeMento James R. Roebuck, Jr. Davida T. Deutsch Howell K. Rosenberg Beatrice W. B. Garvan Carol E. Soltis Autumn Adkins Graves Peter Stallybrass William H. Helfand John C. Tuten Charles B. Landreth Ignatius C. Wang Elizabeth P. McLean Helen S. Weary Trustees Emeriti Peter A. Benoliel Charles E. Rosenberg Roger S. Hillas William H. Scheide David W. Maxey Seymour I. Toll Susan O. Montgomery Michael Zinman Director John C. Van Horne James N. Green Librarian Rachel D’Agostino Curator of Printed Books Alfred Dallasta Chief of Maintenance and Security Ruth Hughes Chief Cataloger Cornelia S. King Chief of Reference Phillip S. Lapsansky Curator of African Americana Cathy Matson Director, Program in Early American Economy and Society Jennifer W. Rosner Chief of Conservation Nicole Scalessa Information Technology Manager Sarah J. Weatherwax Curator of Prints & Photographs Front Cover: Mother Goose’s Melodies, the Only Pure Edition (New York and Boston, ca. 1854). Gift of Michael Zinman. TABLE OF CONTENTS REPORT OF THE PRESIDENT 4 REPORT OF THE TREASURER 8 REPORT OF THE DIRECTOR 10 REPORT OF THE LIBRARIAN 12 THE MICHAEL ZINMAN COLLECTION OF Early 30 AMERICAN CHILDREN’S BOOKS WOMAN’S HISTORY: Teachers AND Students IN AND 51 OUT OF THE Classroom RIGHT LIVING BY THE BOOK: A GIFT OF Mothers’ 59 Manuals from CHARLES E.
    [Show full text]
  • First Grade Summer Reading List
    First Grade Summer Reading List Anthologies: • A Kate Greenaway Family Treasury by Kate Greenaway • Aesop’s Fables illustrated by Thomas Bewick • Alan Garner’s Fairy Tales of Gold by Alan Garner • Best-Loved Fairy Tales by Walter Crane • Caldecott’s Favorite Nursery Rhymes by Randolph Caldecott • Child’s Garden of Verses by Robert Louis Stevenson, illustrated by Jessie Willcox Smith • Child’s Treasury of Poems by Mark Daniel • Children’s Treasury of Virtues by William Bennett, illustrated by Michael Hague, and others in the series • Fables by Arnold Lobel • Fairy Tales by Hans Christiansen illustrated by Peedersen and Frolich • Favorite Poems of Childhood by Philip Smith • Great Children’s Stories: The Classic Volland Edition, illus. by F. Richardson • Happy Prince and Other Fairy Tales by Oscar Wilde • How Many Spots Does a Leopard Have? and Other Tales, retold by Julius Lester • In a Circle Long Ago: A Treasury of Native Lore from North America, retold by Nancy Van Laan • James Herriot’s Treasury for Children by James Herriot • Johnny Appleseed, poem by Reeve Lindbergh, illustrated by Kathy Jakobsen • Let’s Play: Traditional Games of Childhood, Camilla Gryski • Moral Tales by Maria Edgeworth • Mother Goose’s Melodies (Facsimile of the Munroe and Francis “Copyright 1833” Version) • My Favorite Story Book by W. G. Vande Hulst RA • Nonsense Poems and others by Edward Lear RA • Now We Are Six by A. A. Milne RA • Nursery and Mother Goose Rhymes by Marguerite de Angeli • Once On A Time by A. A. Milne RA • Over the River and Through the Wood, by Lydia Maria Child, illustrated by Brinton Turkle • Paddington Treasury, by Michael Bond • Parent’s Assistant by Maria Edgeworth RA • Pleasant Field Mouse Storybook by Jan Wahl • Poems to Read to the Very Young by Josette Frank • Prince Rabbit by A.
    [Show full text]
  • Robert Louis Stevenson, 1850-1894
    Robert Louis Stevenson, 1850-1894 ARCHIVED ONLINE EXHIBIT Originally exhibited summer 1994-spring 1995 Thomas Cooper Library, University of South Carolina Text by Patrick Scott & Roger Mortimer, with assistance from Bruce Bowlin Archived October 13, 2013 TABLE OF CONTENTS Archived Online Exhibit ................................................................................................................................. 1 Introduction .................................................................................................................................................. 2 Early Life in Edinburgh .................................................................................................................................. 3 Travel Writing................................................................................................................................................ 8 The Fiction of Adventure ............................................................................................................................ 10 Stevenson as Poet and Essayist .................................................................................................................. 13 Stevenson and Henley ................................................................................................................................ 17 Sensation and Collaboration ....................................................................................................................... 19 In the South Seas .......................................................................................................................................
    [Show full text]
  • Edmund Evans Collection
    EDMUND EVANS COLLECTION Edmund Evans collection ................................................................................................... 4 Biographical sketch ......................................................................................................... 4 Scope and content ........................................................................................................... 4 Custodial history ............................................................................................................. 5 Related material in the Osborne Collection .................................................................... 5 Series and Items .................................................................................................................. 6 Series 1: The Alphabet of Flowers for Good Children .................................................. 6 The Alphabet of Flowers/for Good Children .............................................................. 6 A for anemones… ....................................................................................................... 6 B for the blue-bell… ................................................................................................... 6 C for convolvulus… .................................................................................................... 6 D is the daisy… ........................................................................................................... 6 E is the eglantine briar… ...........................................................................................
    [Show full text]
  • Caroline Arscott Word Count Without Footnotes 7, 062 Without Footnotes, 8, 484 with Footnotes
    Caroline Arscott word count without footnotes 7, 062 without footnotes, 8, 484 with footnotes ABSTRACT Caroline Arscott, ‘William Morris’s tapestry: metamorphosis and prophecy in The Woodpecker’. This essay discusses William Morris’s adoption of tapestry in the 1880s in terms of its allegorisation of the losses and gains of both historical and biological processes. The processes of tapestry itself, the movement of the shuttle and positioning of the weft and the gradual building up of the image are considered in relation to the prophetic mode deployed by Morris in the verses written on his tapestries published in his Poems By the Way of 1891. The essay centres on the example of the tapestry The Woodpecker (exhibited 1888) where Morris’s woodpecker motif refers to the story of Picus from Ovid’s Metamorphoses. The context of metamorphosis leads to a discussion of the woodpecker’s significance in that Victorian revisiting of metamorphosis, Charles Darwin’s theory of evolution. This is contextualised by a discussion of other Victorian theorisations of evolution and the evolutionary emergence of consciousness. The essay discusses the morphology of form and the sequence of substitutions involved in sexual selection: the move from a reliance on the power of song to a recourse to instrumental music, and then a further move to the use of coloured display in creatures seeking an advantage in courtship. The declarative and the tacit aspects of Morris’s tapestry are addressed in order to assess the potential for the elaboration of grand themes in a form of art that seemingly abjures the grandiose theatre of human action.
    [Show full text]
  • Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
    DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays.
    [Show full text]