SIXTH EDITION CHILDREN’S BOOKS - Pearson
SIXTHEDITIONCHILDREN’S BOOKSin CHILDREN’S HANDSAn Introduction to Their LiteratureA01 TEMP8684 06 SE FM.indd 14/12/18 12:05 PM
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SIXTHEDITIONCHILDREN’S BOOKSin CHILDREN’S HANDSAn Introduction to Their LiteratureCharles TempleHobart and William Smith CollegesMiriam MartinezUniversity of Texas at San AntonioJunko YokotaNational Louis University (Emeritus)330 Hudson Street, NY NY 10013A01 TEMP8684 06 SE FM.indd 34/12/18 12:05 PM
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To the memories of my late wife Frances Temple and my inspiringclassmate Bill Teale; in gratitude to Kent Brown, Jr., and the HighlightsFoundation for their support of quality children’s literature; andin celebration of Reno and Frankie.—C.T.To Sky, Emma, Annabelle, Elia, and Alyssa with thanks for theopportunities to share stories with you.—M.M.To the International Youth Library and the Stippis, from whomI have learned much.—J.Y.A01 TEMP8684 06 SE FM.indd 54/12/18 12:05 PM
ABOUTthe AUTHORSThis book grew out of the collaboration of three teacher-friends who are joined by a love ofgood stories, amazing facts, lively poetry, an appreciation of cultural diversity, and a sense ofawe at the power of good books to open children’s minds and make them more wholesomeindividuals. Source: Kevin Colton, Hobartand William Smith CollegesCharles Temple is a guitar-and banjo-picking storyteller, poet, and sometime children’sauthor who teaches courses in children’s literature, storytelling, writing for children,literacy, and international education at Hobart and William Smith Colleges in Geneva,New York. He has written many books in the fields of literacy and children’s literature.Internationally, he serves as an advisor to projects in Tajikistan, Liberia, and Sierra Leonehelping authors and illustrators produce books for children, and helping teachers teachwith them, with the support from CODE of Canada, USAID, and the World Bank. Heco-chairs the International Literacy Association’s Special Interest Group on Literacy inDeveloping Countries, and serves on the board of Storytellers in Higher Education, anaffiliate of the National Storytelling Network.Miriam Martinez teaches children’s literature and literacy courses at the University ofTexas at San Antonio. She is actively involved in the Children’s Literature Assembly, theNational Council of Teachers of English, the International Literacy Association, and theLiteracy Research Association. Her research and publications have focused on the natureof children’s literary meaning-making, children’s responses to literature, and their understanding of various literary genres and formats. She also conducts content analyses ofchildren’s books.Junko Yokota is director of the Center for Teaching through Children’s Books and isprofessor emeritus at National Louis University in Chicago. She held research fellowshipsat the International Youth Library, and the Staatsbibliothek in Berlin, and a Fulbrightat the University of Wrocław in Poland. She served on the Caldecott, Newbery, Batchelder, Pura Belpré, and Ezra Jack Keats committees and on the Bologna, Nami, and HansChristian Andersen Juries. Her research focuses on picturebooks, and multicultural andinternational literature.For more teaching ideas related to Children’s Books in Children’s Hands, the authorsinvite you to see the companion volume to this book—Martinez, Yokota, and Temple(2017), Thinking and Learning Through Children’s Literature, published by Rowmanand Littlefield.viA01 TEMP8684 06 SE FM.indd 64/12/18 12:05 PM
CONTENTS viiBRIEF CONTENTS1234567891011Children’s Books in Children’s Hands1Literary Elements in Works for ChildrenPicturebooks2347Literature Representing Diverse PerspectivesInternational LiteraturePoetry for Children121141Traditional Literature177Modern Fantasy and Science FictionContemporary Realistic FictionHistorical s Book Awards317viiA01 TEMP8684 06 SE FM.indd 74/12/18 12:05 PM
viii CONTENTSCONTENTSPrefacexv1 Children’s Books in Children’s Hands1What Are Good Books for Children? 3What Are Good Books for Each Child? 3 ISSUE TO CONSIDER 1.1: Children’s Books Are Nice, ButAre They Educational? 4 How About Just So-So Books? 5What Is Children’s Literature? 5Qualities of Children’s Literature 6 Qualities of Outstanding Children’s Literature 8Children’s Books and Childhood 9Children in the Middle Ages 9 Children in Puritan Times 9 ASK THE CRITIC . . . BetsyHearne 10 Children in the Enlightenment 11 The “Golden Age of Children’sLiterature” 12 Contemporary Children’s Books 13The Genres of Children’s Literature 14Bending Genres/Shifting Formats: An Introduction 14Children’s Books and English L anguage Learners 15Censorship: Which Books Will Make it into Children’s Hands? 16Resources for Children’s Books 17 ISSUETO CONSIDER: Censorship of Children’s Books 18EXPERIENCES FOR FURTHER LEARNING 20REFERENCES 202 Literary Elements in Works for Children23The Artistry of Literary Elements 24Genres: The “Rules of the Game” 24Bending Genres, Shifting Formats 25Settings: How Do Authors Create Times and Places? 25Settings in Folktales and Fairy Tales 27 Settings in Realistic Fiction 27 ASK THEEDITOR . . . Cheryl Klein 28 Settings as Important Features in Themselves 29Characterization: How Do P eople Emerge from the Page? 29Characters: What They Do 30 Characters: How They Relate to Others 30 Characters: WhatThey Think and Feel 30 Characters: What They Say and How They Say It 30 Characters:The Roles They Play in the Plot 31 Characters: As the Author Describes Them 31 RoundCharacters and Flat Characters 32 Round Characters Undergo Changes 32Plots: How Do Stories Happen? 32Plots and Conflicts 33 Plot Structures 33 Recurring Plots 34 Episodes: Stories WithinStories 35 Layered Stories: The Code of Actions and the Code of Revelation 36Themes: How Do Stories Convey Meaning? 37Explicit and Implicit Themes 37 Reading Against the Grain 38 ISSUETO CONSIDER: Are Themes Really There? 37viiiA01 TEMP8684 06 SE FM.indd 84/12/18 12:05 PM
CONTENTS ixThe Stance of the Implied Reader 39Identifying with Characters 39 Taking the Intended Moral Stance 39 Filling in the Gaps 40Point of View40Stories in the First Person 41 Stories in the Second Person 41 Stories in the Third Person 41Style41Words 42 Images 42 Metaphors 42 Voice, Tone, and Mood 43 Intertextuality 43Visual Literacy 44 FORENGLISH LANGUAGE LEARNERS 44EXPERIENCES FOR FURTHER LEARNING 44RESOURCES AND REFERENCES 453 Picturebooks47What Are Picturebooks? 48The Evolution of Picturebooks 48The Development of the Concept of the Picturebook 48 Changes in Printing andTechnology 49 Authors and Illustrators Who Have Defined the Field 51Categories of Picturebooks 53Early Childhood Books 53 FOR ENGLISH LANGUAGE LEARNERS 56 Wordless Books 56 Picturebooks with Minimal Text 56 Books for Beginning Readers 57 Picture Storybooks 58Visual Literacy 59Elements of Design 59Appreciating the Artistic Craft of the Picturebook 60Artistic Media 60 Artistic Style 64How Picture Storybooks Work 67Book Design 67 ISSUE TO CONSIDER: Should Teachers Take the Time to Teach Students How toInterpret and “Read” the Illustrations in Picturebooks? 70 Picture/Text Relationships 71 Visual Representations of Literary Elements 71Criteria for Evaluating Picturebooks 73 ASKTHE AUTHOR/ASK THE ILLUSTRATOR: Jon Scieszka and Lane Smith 75EXPERIENCES FOR FURTHER LEARNING 76RECOMMENDED BOOKS 76RESOURCES 83CHILDREN’S BOOKS REFERENCED 84REFERENCES 844 Literature Representing Diverse Perspectives85Diverse Perspectives in the United States 86 ASKTHE AUTHOR: Alma Flor Ada87The Role of Schools in Presenting M ultiple Perspectives 88Literature’s Potential for Influencing the Reader’s Perspective 89What Is Multicultural Literature? 89A01 TEMP8684 06 SE FM.indd 94/12/18 12:05 PM
x CONTENTSThe Value of Multicultural Literature 90Identifying Multicultural Books 91Culturally Generic Books 92 Culturally Specific Books 92Evolution of Multicultural Literature 92Issues Related to Multicultural Literature 94Cultural Authenticity 95 Perspective: Insider or Outsider 95 ISSUE TO CONSIDER: How MuchArtistic License Should Be Given to Illustrators as They Create Images of a Culture? 96 ASK THE AUTHOR: Julius Lester 97 Stereotyping and Other Unacceptable Depictions of Cultural Groups 97 Identification of Cultural Groups 98Criteria for Evaluating and Selecting Multicultural Literature 100Do the Author and Illustrator Present Authentic Perspectives? 100 Is the Culture PortrayedMultidimensionally? 101 Are Cultural Details Naturally Integrated? 102 Are DetailsAccurate and Is the Interpretation Current? 102 Is Language Used Authentically? 102 Is the Collection Balanced? 103Awards for Multicultural Literature 104The Coretta Scott King Award 105 The Pura Belpré Award 105 Tomás Rivera MexicanAmerican Children’s Book Award 105 The Américas Book Award for Children’s and YoungAdult Literature 106 The Asian Pacific American Award for Literature 106 The AmericanIndian Youth Literature Award 107 The Jane Addams Children’s Book Award 107Educators’ Roles in Presenting Multiple and Diverse Perspectives 108Understanding Diverse Perspectives through Adult Literature 108 Understanding DiversePerspectives through Professional Literature 108 Helping Children Gain Diverse Perspectives 109EXPERIENCES FOR FURTHER LEARNING 109RECOMMENDED BOOKS 109Other Cultural Groups 115RESOURCES 118REFERENCES 1195 International Literature ISSUE121TO CONSIDER: Why Take the Extra Effort to Find International Books? 122What Is International Literature? 122Evolution of International Literature 123Issues Related to I nternational Literature 125Criteria for Evaluating International Literature 126Authors and Illustrators of International Literature 129Authors from Past Decades 129 FEATURED ILLUSTRATOR/AUTHOR: Mitsumasa Anno 129TO CONSIDER: Featured Author: Ana Maria Machado 130 ASK THE AUTHOR: BeverleyNaidoo 132 ISSUEAwards for International Literature 133The Hans Christian Andersen Award 133 The Astrid Lindgren Memorial Award 133 The Mildred Batchelder Award 133 The White Ravens List 134 Other InternationalBook Awards 134 Outstanding International Books for Children 134EXPERIENCES FOR FURTHER LEARNING 135RECOMMENDED BOOKS 135RESOURCES 140REFERENCES 140A01 TEMP8684 06 SE FM.indd 104/12/18 12:05 PM
CONTENTS xi6 Poetry for Children141What Is Poetry? 142 ASKTHE POETRY ADVOCATES 143The Evolution of Children’s Poetry 144Early Poetry for Children 144 More Sympathetic Voices 144 Contemporary Poetry forChildren 146Categories of Poetry For Children 147Mother Goose Rhymes and Other Rhymes of the Nursery 147 WHY DO WE CALL THEM“MOTHER GOOSE” RHYMES? 147 Jump Rope and Counting-Out Rhymes 148 Folk SongsPopular Among Children 149 Lyric or Expressive Poems 149 Narrative Poems 150 ASK THE POET . . . Naomi Shihab Nye 151 Nonsense Verse 151 Form Poems: Limericks 152 BENDING GENRES/SHIFTING F ORMATS 152 Form Poems: Haiku 153 ISSUE TO CONSIDER:Should We Distinguish Between “Poems” and “Rhymes”? 154 Concrete Poems 154 Dialogue Poems and Poems for Two Voices 155 Free Verse 156 Poetry Collections 157Elements of Poetry 157Sounds 157 Images 160 Comparisons 160 Forms 161 Insight 162Children’s Preferences in Poetry 163FOR SELECTING POETRY FOR CHILDREN 163 ISSUE TO CONSIDER: How Can We KeepChildren’s Liking for Poetry Alive? 164 POETRY AND ENGLISH LANGUAGE LEARNERS 165 CRITERIAMajor Children’s Poets and their Works 165 ASKTHE POET . . . Nikki Grimes 167EXPERIENCES FOR FURTHER LEARNING 168RECOMMENDED BOOKS 168RESOURCES 173REFERENCES 174Poets Who Contributed to This Chapter 1757 Traditional Literature177What Is Traditional Literature? 178The Value of Traditional Literature 178The Evolution of Traditional Literature 179Categories of Traditional Literature 180 FORENGLISH LANGUAGE LEARNERS 181Folk Literature from Many Cultures 182Folktales from Italy 182 Folktales from France 183 Folktales from Germany 184 Folktales from Wales, Ireland, Scotland, and England 184 Folktales from Russia 185 Folktales from Norway 186 Folktales from the United States 186 ASK THE RETELLER . . .Joseph Bruchac 187 Folktales from Latin America 187 Folktales from Africa 188 Folktales from the Jewish Diaspora 188 Folktales from the Middle East 189 Folktalesfrom Asia 189 Myths from the Classical World 190 Religious Tales 191 ISSUE TOCONSIDER: Religious Stories in Public Schools? 191Bending Genres/Shifting Formats 192How Traditional Literature Works 193Openings and Closings 193 Settings 194 Characters 194 Themes 195 Plots 195 The Hero Cycle 196A01 TEMP8684 06 SE FM.indd 114/12/18 12:05 PM
xii CONTENTSCriteria for Evaluating Traditional Literature 198 ASKTHE STORYTELLER . . . Fran Stallings 199Traditional Literature and Storytelling 199EXPERIENCES FOR FURTHER LEARNING 200RECOMMENDED BOOKS 201REFERENCES 2058 Modern Fantasy and Science FictionWhat Is Modern Fantasy? What Is S cience Fiction?207208Definition of Modern Fantasy 208 Definition of Science Fiction 209 Distinction BetweenFantasy and Science Fiction 209The Evolution of Modern Fantasy 209Categories of Modern Fantasy 212GENRES/SHIFTING F ORMATS 212 Personified Animals 212 PersonifiedToys 213 Outlandish Characters and Situations 214 Magical Powers 215 ExtraordinaryWorlds 216 Supernatural Elements 216 Time Slips 217 High Fantasy 218 FOR ENGLISH LANGUAGE LEARNERS 219 BENDINGHow Fantasy Works219Setting 220 Character 220 Plot 220 Theme 221Criteria for Evaluating Modern Fantasy 221 ASKTHE AUTHOR . . . Bruce Coville 222Other Notable Writers of Modern Fantasy 222 ASKTHE AUTHOR . . . Jane Yolen 223The Evolution of Science Fiction 224Categories of Science Fiction 225Projecting Scientific Principles 225 Utopian and Dystopian Societies 226 SurvivingEnvironmental Catastrophes 226 Science Fantasies 227How Science Fiction Works ISSUE227TO CONSIDER: Can Reading Fantasy Be Inappropriate for Children? 228Criteria for Evaluating Science Fiction 228EXPERIENCES FOR FURTHER LEARNING 229RECOMMENDED BOOKS: FANTASY 229RECOMMENDED BOOKS: SCIENCE FICTION 235RESOURCES 236REFERENCES 2369 Contemporary Realistic Fiction237What is Contemporary Realistic Fiction? 238The Value of Contemporary Realistic Fiction 238 FEATURE:BENDING GENRES, SHIFTING FORMATS 239The Evolution of Realistic Fiction 239The 19th Century 240 The 20th Century 240 From New Realism to Diverse Perspectives 241A01 TEMP8684 06 SE FM.indd 124/12/18 12:05 PM
CONTENTS xiiiCategories of Contemporary Realistic Fiction 242Books About Self-Discovery and Growing Up 242Outside the Mainstream 243 ISSUETO CONSIDER: Growing up in a CultureFor English Language Learners— Series Books in Readers’ Lives 244Books About Families and Family Diversity 244 Books About Interpersonal Relations 245 Books About School 245 Books About Sports 246 Books About Nature and Animals 246 Books About Survival 247 Books About Mental, Physical, Emotional, and Other Challenges 248 Books About Moral Dilemmas and Moral Responsibility 248 Books About Social Diversityand Society 249 Books About Aging, Death, and Dying 250 FEATURE: OUT OF PRINT BUTLOOK IN YOUR LIBRARY 251 Mystery and Suspense Books 251 Humorous Books 251 Series Books 252How Contemporary Realistic Fiction Works 253Setting 253 Plot 253 Theme 253 Character 253 Point of View 254Criteria for Evaluating Realistic Fiction 254EXPERIENCES FOR FURTHER LEARNING 255RECOMMENDED BOOKS 255RESOURCES 260REFERENCES 26110 Historical FictionWhat Is Historical Fiction?263264Time Periods Emphasized in Historical Fiction 264 Value of Historical Fiction 265CONSIDER: Does Historical Fiction Have a Place in the Study of History? 266The Evolution of Historical Fiction ISSUETO266Style 266 Historical Perspective 267 Subject Matter 267 Picturebooks 268 BENDING ASK THE AUTHOR . . . Deborah Wiles 269 FOR ENGLISHGENRES/SHIFTING FORMATS 268LANGUAGE LEARNERS 270Categories of Historical Fiction270Fictionalized Memoirs 270 Fictionalized Family History 271 Fiction Based on Research 271 FOR ENGLISH LANGUAGE LEARNERS 272How Historical Fiction Works273Setting 273 Plot 275 Character 276 Theme 277Criteria for Evaluating Historical Fiction 277EXPERIENCES FOR FURTHER LEARNING 277RECOMMENDED BOOKS 278RESOURCES AND REFERENCES 28311 Nonfiction285What Is Nonfiction? 286Value of Nonfiction 286 Topics Addressed in Nonfiction 287 Formats of Nonfiction 288The Evolution of Nonfiction289THE AUTHOR AND ILLUSTRATOR: Candace Fleming and Eric Rohmann, C reators of Giant ISSUE TO CONSIDER: Is It Acceptable to Fictionalize Nonfiction? 292 BENDINGGENRES/ SHIFTING FORMATS: N ONFICTION AND B IOGRAPHY 292 ASKSquid 290A01 TEMP8684 06 SE FM.indd 134/12/18 12:05 PM
xiv CONTENTSCategories of Nonfiction293Factual Nonfiction 293 Interpretive Nonfiction 293 Nonfiction of Inquiry 294How Nonfiction Works295Structure 295 Organizational and Support Tools 297 Style 297 Graphic and VisualFeatures 298Criteria for Evaluating NonfictionWhat Is Biography? 299299Value of Biography 300The Evolution of Biography 301Categories of Biography 303Partial Biographies 303 Complete Biographies 303 Collective Biographies 303 Autobiographies and Memoirs 304 Picturebook Biographies 304How Biography Works 305Characterization 305 Structure 305 Visuals 306 Organizational and Support Tools 306Criteria for Evaluating Biography 306 FORENGLISH LANGUAGE LEARNERS 306EXPERIENCES FOR FURTHER LEARNING 307RECOMMENDED BOOKS 307RESOURCES 315REFERENCES 315Appendix Children’s Book Awards317Name/Title Index 000Subject Index 000CreditsA01 TEMP8684 06 SE FM.indd 140004/12/18 12:05 PM
PREFACEWelcome to—wow!—the sixth edition of Children’s Books in Children’s Hands. It isour happy task in these pages and chapters to acquaint you with the best and mostrecent books for children, in many genres. We will share ideas for discussing thosebooks and analyzing them with young people, too.We understand that as a teacher-in-training or a practicing teacher, you mayfeel pulled in many directions these days. Our urging you to put good books intochildren’s hands is competing with many other voices, especially those demandingthat you help children meet rigorous new standards for reading skills. Is knowingchildren’s literature still relevant in this era of intense accountability? Of course it is.Children need to learn how to read, but there are many values to reading—not justknowing how to read but reading—that teachers cannot overlook, because they arevital to children’s education and to their well-being.Having the habit of reading good books helps children better understand otherpeople and themselves. It takes them into the lives of people from other neighborhoods in the United States, from other parts of the world, and from other times. Itgives them bigger vocabularies, boosts their world knowledge, and even gives themmeasurably higher intelligence than those who know how to read but don’t. It givesthem deeper knowledge of things from the real world worth knowing. It excitestheir curiosity and furnishes their imaginations. And it gives them a ready source ofenjoyment and inspiration that will last them all their lives.It is a generous and nurturing act to put good children’s books into children’shands, and to create meaningful experiences with those books. It is our honor andpleasure to help you make the most of it.New to This EditionThey haven’t been replaced by drones yet, so the friendly drivers for UPS, USPS,and Fed Ex can still easily find their way to our houses in Upstate New York,San Antonio, and Chicago as they have every day for decades delivering newchildren’s books. “New to this edition” most importantly are the new books weare reviewing and presenting—dozens of new titles and many new authors ineach chapter. Just as in previous editions, at the end of each chapter there are hundreds ofannotations of newer titles for children in Children’s Books in Children’s Hands,Sixth Edition, with a strong emphasis on books from many cultural groups. New Teaching Ideas populate each chapter, along with the best of the tried andtrue. Newly updated “Top Shelf” lists of books are included in each chapter. Traditional genres of children’s books are being challenged and reworked in exciting ways, and our presentation is updated to reflect changes in the genreswith a new feature called “Bending Genres/Shifting Formats” that highlightsways contemporary authors and illustrators are blurring the lines between traditional categories of children’s books. The needs of English Language Learners are addressed in many places in thebook. English Language Learners are now found in classrooms in most states,and constitute more than one student in ten. There are entire chapters on Multicultural Books and International Books, andboth are updated from the last edition. xvA01 TEMP8684 06 SE FM.indd 154/12/18 12:05 PM
xvi PREFACEThe chapter on Traditional Literature has been updated with special emphasison storytelling in the school and the classroom, as a bridge to having childrenappreciate children’s books. We have as a new feature an interview with a notedmulticultural storyteller. The chapter on Poetry is brimming with new poems from contemporary poetsto show examples of features of children’s poetry, thanks to a collaboration withnoted children’s poet and anthologist Janet Wong. The chapter on Nonfiction emphasizes the notable artistry of recent nonfictionpicture books. The artistry of nonfiction picturebooks is highlighted through a new“Ask the Author and Illustrator” feature that engages the reader in an in-depthexploration of how the award-winning book Giant Squid was crafted. The chapter on Historical Fiction features more international historical fictionalong with many newly published historical fiction titles. There is new emphasison using the internet as a tool to support readers of historical fiction by bringingto life settings far removed from readers in terms of both time and place. How This Book Is OrganizedPART 1 “Understanding Literature and the Child Reader” orients the reader to thestudy of children’s literature and gives the critic’s perspective. Chapter 1, “ Children’sBooks in Children’s Hands,” introduces children’s literature as a distinct category anddiscusses the genres of children’s books as well as their qualities. Chapter 2, “LiteraryElements in Works for Children,” introduces a set of literary concepts with which toapproach children’s books, describing how plots are organized, how characters aredrawn, and how themes are developed. Chapter 3, “Picture Books,” focuses on howart and text combine to form unique works. Chapter 4, “ Literature RepresentingDiverse Perspectives,” reflects this book’s strong emphasis on multicultural literature.It investigates the ways various cultural groups are depicted in children’s literature,highlights the progress that has been made in publishing children’s books that represent various cultural groups more extensively and fairly, surveys the multiculturalbooks that are available, and sets out guidelines for selecting high-quality multicultural books for children. Chapter 5, “International Literature,” introduces booksthat come to us from other parts of the world. It investigates international children’sliterature, surveys the international books that are available, and sets out guidelinesfor selecting high-quality international books for children.PART 2 “Exploring the Genres of Children’s Literature” surveys the books thathave been written for children, type by type or genre by genre. Each of the chaptersin this part outlines the historical development of a particular genre, examines theliterary qualities that distinguish the genre and the reading demands those qualitiesplace on the child, reviews outstanding examples of works from the genre, andsets out criteria for selecting good works in the genre. Each chapter closes with an extensive annotated list of recommended books in the genre. Chapter 6, “Poetry forChildren,” surveys the genre from nursery rhymes to contemporary multiculturalpoetry for children. Chapter 7, “Traditional Literature,” looks at folk literaturefrom many times and cultures, with a new emphasis on storytelling. Chapter 8,“Modern Fantasy and Science Fiction,” considers the artistry that enables readersto enter h ypothetical worlds. Chapter 9, “Contemporary Realistic Fiction,” looksat ways a uthors create believable books that are set in the “here and now” and thataddress the wide- ranging problems and delights of today’s children. Books set intimes that may be many generations removed from our own are discussed in Chapter10, “ Historical Fiction,” which also explains the current emphasis on meticulous accuracy in this genre. Chapter 11, “Nonfiction” surveys a growing area of children’sliterature in which talented writers present the real world and its people to youngreaders in skillfully focused works that can be as riveting as fiction.A01 TEMP8684 06 SE FM.indd 164/12/18 12:05 PM
PREFACE xviiPedagogical Enrichment and Featuresof This BookThe richly illustrated sixth edition is packed with practical applications and uniquepedagogical features:3CHILDREN’S BOOKS IN CHILDREN’S HANDSTEACHING IDEA 1.11.1“Teaching Ideas” providevaluable, practical lessonsand activities for sharing literature with children inthe classroom.ASK THE CHILDREN!Have a conversation with a group of children about children’s books. Ask these questions in aconversational way:1. How do you know a book is a children’s book?2. What are three of your favorite children’s books?3. What makes them good—that is, if you met someone who was going to write a book forchildren, what advice would you give her or him to make it a good book?4. How do you feel after you’ve read a really good book? What are you thinking about?Note carefully what the children say. Is there a difference in what children of different agesadmire in books? How do their criteria for good children’s books compare with those set outin this chapter?TECHNOLOGYin PRACTICE 10.2Good children’s books serve children inother ways, too. Goodbooks give chil“Technologyin Practice”dren reference points for understanding their own experiences, lessons that may lastteachingtipsineacha lifetime. Good books may make children proud of and knowledgeable about theirreflectcollecown culture, and can open windows onto chapterother cultures.As we ouralreadysaw, goodbooks educate the imagination, as children stretch to visualize what it would be liketiveexperiencewiththeto walk in the shoes of a character in a book.intersection of electronicsand print, and provideactivities for the classroom utilizing new mediatechnology (e.g., howtomotivationcreate aandstudentbookGood books may give children much of theeventhe concepts they need to learn to read andalso the database).models thatreferralAll great things that have happened in the world, happened first of all in someone’sSetting is a critical detail in many works of historical fiction such as I Lived on Butterly Hill by Marjorieimagination, and the aspect of the world of tomorrow depends largely on the extentAgosín, which is set in Valparaiso, Chile. Celeste, the story’s main character, loves her home locatedofthe powerof imaginationof thosehigh on a hill overlooking the harbor. Descriptions of bright
Children’s Books and Childhood 9. Children in the Middle Ages 9 Children in Puritan Times 9 ASK THE CRITIC . . . Betsy Hearne. 10 Children in the Enlightenment 11 The “Golden Age of Children’s Literature” 12 Contemporary Children’s Books 13. The Genres of Children’s
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Trinity has a dynamic, creative and successful Sixth Form. Housed in the Carliol Building, the Sixth Form Centre provides an ideal learning environment for young adults. The Sixth Form is a separate area and operates like a ‘college within a school.’ With around 300 students, Trinity Sixth Form is one of the largest
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Sixth Form Open Evening Subject Information for Courses September 2021 . HOLCOMBE GRAMMAR SCHOOL SIXTH FORM SUBJECT ENTRY REQUIREMENTS 2021/2022 . Sixth Form students also run extra-curricular clubs and support primary school children at New Horizons Children’s Academy, as well as other non-trust primary schools in the local .
Unit 5: American Revolution . 2 A m e r i c a n R e v o l u t i o n Political and Economic Relationships between Great Britain and the Colonies England became Great Britain in the early 1700s, and it was throughout this century that the British colonies in America grew and prospered. The growth of the colonies made it more and more difficult for Great Britain to remain in control. King .
