Childrens books are thus inevitably didactic

Naomi MitchisonRichard Church, P. The impingement of a world of legend and ancient, unsleeping magic upon the real world is the basic theme of the remarkable novels of Alan Garner. This new English school, stressing conscientious scholarship, realism, honesty, social awareness, and general disdain for mere swash and buckle, produced work that completely eclipsed the rusty tradition of Marryat and George Alfred Henty.

Fiction about foreign lands boasted at least one modern American master in Meindert De Jong, whose most sensitive work was drawn from recollections of his Dutch early childhood. Nonetheless, its story and characters apparently carry, like Pinocchio, an enduring, near-universal appeal for children.

There was the Anglo-Saxon theologian and historian the Venerable Bede, with his textbook on natural science, De natura rerum. Great nonsense versehowever, had to await the coming of a genius, Edward Learwhose Book of Nonsense was partly the product of an emergent and not easily explainable Victorian feeling for levity and partly the issue of a fruitfully neurotic personality, finding relief for its frustrations in the noncontingent world of the absurd and the free laughter of children.

It involved a clockwork mouse, his attached son, and an unforgettable assortment of terribly real, humanized animals. Some writers, such as Thomas Day, with his long-lived Sandford and Merton, were avowedly Rousseauist. Nesbit provided a classic, and P. For any book of interest to adults, publishers constructed a corresponding one scaled to child size.

But there is something in it, for all its doctrinaire moralism, that lends it permanent appeal: It reworks many of the motives of traditional romance and fantasy, including the Quest, but is essentially a structure, conceivably but not inevitably allegorical, of sheer invention on a staggering scale.

Locke thinks little of the natural youthful inclination to poetry: The Wonderful Wizard of Oz is vulnerable to attacks on its prose style, incarnating mediocrity. The standard adventure story too seemed to be dying out, though excellent examples, such as The Cave U. But they have made it their own.

As with How to Read Donald Duckonce you look at it and shrug An Edwardian children's book that ends with the reimposition by force of the traditional squirearchical social order on the upstart lower orders as represented by Weasels, Stoats and Ferrets.

White, illustrated by Garth Williams. Germany and Austria A. He precipitated a controversy the echoes of which are still audible. The entire series, painting an unforgettable picture of pioneer life, is a masterpiece of sensitive recollection and clean, effortless prose.

Richardswhose collected rhymes in Tirra Lirra will almost bear comparison with those of Edward Lear. Seuss, including his one-syllable revolution The Cat in the Hat But original literature did not flourish.

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Childrens books are thus inevitably didactic