This edition originally published: South Yarra, Vic.: Michelle Anderson Publishing, 2013.

This collection gives sustained attention to the literary dimensions of children’s poetry from the eighteenth century to the present. While reasserting the importance of well-known voices, such as those of Isaac Watts, William Blake, Lewis Carroll, Christina Rossetti, A. A. Milne, and Carol Ann Duffy, the contributors also reflect on the aesthetic significance of landmark works by less frequently celebrated figures such as Richard Johnson, Ann and Jane Taylor, Cecil Frances Alexander and Michael Rosen. Scholarly treatment of children’s poetry has tended to focus on its publication history rather than to explore what comprises – and why we delight in – its idiosyncratic pleasures. And yet arguments about how and why poetic language might appeal to the child are embroiled in the history of children’s poetry, whether in Isaac Watts emphasising the didactic efficacy of “like sounds,” William Blake and the Taylor sisters revelling in the beauty of semantic ambiguity, or the authors of nonsense verse jettisoning sense to thrill their readers with the sheer music of poetry. Alive to the ways in which recent debates both echo and repudiate those conducted in earlier periods, The Aesthetics of Children’s Poetry investigates the stylistic and formal means through which children’s poetry, in theory and in practice, negotiates the complicated demands we have made of it through the ages.

Connie has trouble with time. She always has to stop and think a minute: How old is she now? . . . Faith always seems to know, though her life is the same as Connie’s: back and forth to theater towns all over. The same dingy food, the same noisy sidewalks, the same cramped suites in the same hotels. . . Sometimes they go to school, sometimes not, though they always have books to read: big packets of books that Armand sends to them in every city. Armand is their parents’ lawyer, the only person they know who likes children. . . . Faith and Connie endured the same childhood as daughters of egocentric, semi-famous actors who can scarcely take care of themselves. But the two sisters could not be more different. Connie learned to beg for attention, clamor for approval, and fill the silence with words. Faith turned inward, shrinking from the tender emotions that make up an ordinary life. Despite their differences, the sisters came to rely on each other exclusively. But lately, after years of quiet connection, Faith and Connie seem to have lost the ties that once held them close. Faith has a home and two growing sons, but is still unable to fathom unconditional love. Connie, a flight attendant, is always searching, ever-expecting to find her true place in life at the end of each long flight. But a series of shocking, revelatory events will bring the sisters back to each other—and forever alter how they define love, fulfillment, and most importantly, family.