Exploring the ethical questions posed by, in, and about children’s literature, this collection examines the way texts intended for children raise questions of value, depict the moral development of their characters, and call into attention shared moral presuppositions. The essays in Part I look at various past attempts at conveying moral messages to children and interrogate their underlying assumptions. What visions of childhood were conveyed by explicit attempts to cultivate specific virtues in children? What unstated cultural assumptions were expressed by growing resistance to didacticism? How should we prepare children to respond to racism in their books and in their society? Part II takes up the ethical orientations of various classic and contemporary texts, including 'prosaic ethics' in the Hundred Acre Wood, moral discernment in Narnia, ethical recognition in the distant worlds traversed by L’Engle, and virtuous transgression in recent Anglo-American children’s literature and in the emerging children’s literature of 1960s Taiwan. Part III’s essays engage in ethical criticism of arguably problematic messages about our relationship to nonhuman animals, about war, and about prejudice. The final section considers how we respond to children’s literature with ethically focused essays exploring a range of ways in which child readers and adult authorities react to children’s literature. Even as children’s literature has evolved in opposition to its origins in didactic Sunday school tracts and moralizing fables, authors, parents, librarians, and scholars remain sensitive to the values conveyed to children through the texts they choose to share with them.

In this lively discussion Kim Reynolds looks at what children's literature is, why it is interesting, how it contributes to culture, and how it is studied as literature. Providing examples from across history and various types of children's literature, she introduces the key debates, developments, and people involved.

A collection of 26 fun, simple and original stories, each centering on a different positive value, for parents to read to their children.

This book allows philosophers, literary theorists, and education specialists to come together to offer a series of readings on works of children's literature. Each of their readings is focused on pairing a particular, popular picture book or a chapter book with philosophical texts or themes. The book has three sections--the first, on picturebooks; the second, on chapter books; and the third, on two sets of paired readings of two very popular picturebooks. By means of its three sections, the book sets forth as its goal to show how philosophy can be helpful in reappraising books aimed at children from early childhood on. Particularly in the third section, the book emphasizes how philosophy can help to multiply the type of interpretative stances that are possible when readers listen again to what they thought they knew so well. The kinds of questions this book raises are the following: How are children's books already anticipating or articulating philosophical problems and discussions? How does children's literature work by means of philosophical puzzles or language games? What do children's books reveal about the existential situation the child reader faces? In posing and answering these kinds of questions, the readings within the book thus intersect with recent, developing scholarship in children's literature studies as well as in the psychology and philosophy of childhood.

Featuring close readings of selected poetry, visual texts, short stories and novels published for children since 1945 from Naughty Amelia Jane to Watership Down, this is the first extensive study of the nature and form of ethical discourse in British children's literature. Ethics in British Children's Literature explores the extent to which contemporary writing for children might be considered philosophical, tackling ethical spheres relevant to and arising from books for young people, such as naughtiness, good and evil, family life, and environmental ethics. Rigorously engaging with influential moral philosophers, from Aristotle through Kant and Hegel, to Arno Leopold, Iris Murdoch, Mary Midgley, and Lars Svendsen, this book demonstrates the narrative strategies employed to engage young readers as moral agents.

This volume explores the relationship between representation, affect, and emotion in texts for children and young adults. It demonstrates how texts for young people function as tools for emotional socialisation, enculturation, and political persuasion. The collection provides an introduction to this emerging field and engages with the representation of emotions, ranging from shame, grief, and anguish to compassion and happiness, as psychological and embodied states and cultural constructs with ideological significance. It also explores the role of narrative empathy in relation to emotional socialisation and to the ethics of representation in relation to politics, social justice, and identity categories including gender, ethnicity, disability, and sexuality. Addressing a range of genres, including advice literature, novels, picture books, and film, this collection examines contemporary, historical, and canonical children’s and young adult literature to highlight the variety of approaches to emotion and affect in these texts and to consider the ways in which these approaches offer new perspectives on these texts. The individual chapters apply a variety of theoretical approaches and perspectives, including cognitive poetics, narratology, and poststructuralism, to the analysis of affect and emotion in children’s and young adult literature.

While banished to a dusty study one day "to think things over", a boy pulls a book off a shelf and with great reluctance begins to read. As the afternoon passes, the story nabs him and carries him away. Before long, this good little book becomes his loyal companion, accompanying him everywhere ... until, one day, the book is lost. Will this bad little boy get back his good little book? Will the good little book survive on its own without a proper jacket? A quirky, enchanting tale of literary love and loss -- and love found again -- that will win the heart of even the most reluctant reader.