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Second, the child survives in many adults. For the most part, the adjective imaginative is to be felt as preceding it. It comprises that vast, expanding territory recognizably staked out for a junior audience, which does not mean that it is not also intended for seniors.
Adults admittedly make up part of its population: To it may be added five colonies or dependencies: The broadest of the excluded categories is that of unblushingly commercial and harmlessly transient writing, including comic books, much of which, though it may please young readers, and often for good reasons, is for the purposes of this article notable only for its sociohistorical, rather than literary, importance.
Second, all books of systematic instruction are barred except those sparse examples e. Third, excluded from discussion is much high literature that was not originally intended for children: Except for a handful of such books, the bright pages of which still rain influence or which possess artistic merit, this literature should be viewed from its socioeducational-commercial aspect.
It is independent to the degree that, while it must meet many of the standards of adult literature, it has also developed aesthetic criteria of its own by which it may be judged.
According to some of its finest practitioners, it is independent, too, as the only existing literary medium enabling certain things to be said that would otherwise remain unsaid or unsayable.
The nature of its audience sets it apart; it is often read, especially by children younger than 12, in a manner suggesting trance, distinct from that of adult reading.
Universally diffused among literate peoples, it offers a rich array of genrestypes, and themes, some resembling grown-up progenitors, many peculiar to itself. Other measures of its maturity include an extensive body notably in GermanyItalySwedenJapan, and the United States of commentary, scholarship, criticismhistory, biographyand bibliography, along with the beginnings of an aesthetic theory or philosophy of composition.
Finally, one might note its power to engender its own institutions: Some general features and forces The discovery of the child A self-aware literature flows from a recognition of its proper subject matter.
Dolittle, parents, or the corner grocer. That writers did not detect this lively cosmos for two and a half millennia is one of the curiosities of literature. At any moment there has always been a numerous, physically visible, and audible company of children.
Whether this sizable minority, appraised as literary raw material, could be as rewarding as the adult majority was never asked.
The chief, though not the only, reason is improbably simple: In preliterate societies he was and is viewed in the light of his social, economic, and religious relationship to the tribe or clan. Though he may be nurtured in all tenderness, he is thought of not as himself but as a pre-adult, which is but one of his many forms.
So, too, in ancient Greece and Rome the child, dressed in the modified adult costume that with appropriate changes of fashion remained his fate for centuries to come, was conceived as a miniature adult.
His importance lay not in himself but in what Aristotle would have called his final cause: A girl child was a seedbed of future citizen-warriors. Hence classical literature either does not see the child at all or misconstrues him. They are stage props. Throughout the Middle Ages and far into the late Renaissance the child remained, as it were, terra incognita.
The family, young and old, was a kind of homogenized mix.* UPDATED JUNE * You can't get published without an agent, and you can't get an agent without being published - or so the adage goes.
Thankfully, there are still a few children's book publishers who are happy to wade through the 'slush pile', that teetering tower of manuscripts we imagine fill up a.
From power-hungry sheep to power-hungry tigers, by way of ghosts, E.E. Cummings, and the unseen Dr. Seuss. "A person's a person, no matter how small," Theodor Seuss Geisel, a.k.a.
Dr. Seuss, would say. "Children want the same things we want.
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Discover how children's author Roald Dahl came to write the kids' classics Charlie and the Chocolate Factory and James and the Giant Peach, among other famous works, at leslutinsduphoenix.com