Written For Children By Individuals English Literature Essay

The majority of children's literature posted today is written for children by people. Since an adult is, by description, no longer a child, the adult writer must rely on their past encounters and imagination to write from a child's perspective. In this essay I will discuss children's authors' portrayal of children's perceptions of, and perspectives on the earth, and assess whether this portrayal is "inevitably incomplete", and whether being incomplete necessarily helps it be flawed.

Children's literature, like the idea of years as a child itself, has developed, and continues to evolve as time passes. Inside the eighteenth century, literature for children was mainly didactic. Before this, childhood was not considered to be split to adulthood - children were simply small adults. However, attitudes started to change during the seventeenth and eighteenth ages. John Locke's Some Thoughts Concerning Education (1693) performed a pivotal role in this change. Locke advised that children would be more encouraged to read if catalogs were enjoyable as well as instructive. In response, creators began writing catalogs that, whilst still mostly didactic, were also engaging. The field of children's literature today includes catalogs which may have been specifically written for a child audience and literature that children themselves have chosen. In some instances, for example regarding fairy stories and folktales, the text messages were not in the beginning targeted at young viewers; on the other side, numerous books that were written for and liked by children in the seventeenth and eighteenth centuries, are actually considered historical children's literature, and read generally by adults. Literature for children will commonly symbolize the context and values of the culture in which it was written, frequently making assumptions about the behaviour and reactions of the child-reader and the child-protagonist. As a result, the issues brought up in children's books are often those that concern adults as opposed to the children themselves. This may sometimes bring about the adult author supplying a poor representation of any child's point of view on a specific issue.

John Locke's ideas are presumably still regarded today, since a lot of modern children's books is still in a few ways didactic. This didacticism however, seems to have evolved into a problem for the moral and emotional development of children - the emphasis is on learning to be a 'good' person. A Bildungsroman, commonly recognized by several topical and thematic elements (Iversen), is a genre of novel that emphasizes this development. The genre improved from folklore, and narrates the protagonist's maturation. There is usually reduction or unhappiness early on in the story that induces the youngster to leave home, followed by an extended and demanding voyage, often practically as well as figuratively, prior to the youngster matures into a self-aware, socially liable young adult. Structurally, Bildungsroman will most likely favour dialogue between characters over extensive storyline development, in so doing, centering the reader's attention firmly on the protagonist. Because the protagonist is having a voyage of self-discovery, it therefore employs that the article writer would depict the child's worldview as incomplete. This would permit the writer to demonstrate the protagonist's development of an entire worldview during the period of his/her maturation.

Whilst Bildungsroman is customarily a term used for German books, and having a male protagonist, the genre has encouraged numerous works including similar elements. Spin of Thunder, Hear My Cry, published in 1976 and winner of the Newbery Medal in 1977, is set in Mississippi during the Great Despair. Cassie is 9 years old, and beginning to recognize that her life is completely different to the life span of white children. During the course of the novel, she begins to comprehend the reason why behind this, and whilst she does not necessarily have to accept these reasons, she must find a way to live a life with it whilst keeping yourself true to herself. Taylor demonstrates the constraints on Cassie's protection under the law as a dark child with the behavior of those around her.

Early in the book, Cassie appears to be a usually happy child, despite her dad being away, and despite suffering trivial issues like using her "Sunday dress" (Taylor 1) on the first day of university. However, during the period of the first chapter, we see Little Man get deliberately covered in "a scarlet haze" (Taylor 12) by the institution bus having the white children; we meet Jeremy, a white young man, who is bullied for endeavoring to be friends with Cassie and her brothers; and most horrifically, we learn that "some white men needed a match to" (Taylor 8) Mr. Berry and his nephews. Each one of these incidents is recounted simply, through the eyes of a child who is apparently used to such occasions. What's clear however, is the fact that the children do not fully understand why these exact things happen; the children, particularly the youthful ones, are very na‡ve regarding the factors behind such events. Among the earliest examples of this naivety is Little Man's reaction to his new publication. Mary and David Logan coach their children to be indie and to respect themselves. This notion of self-respect is abruptly reversed when Little Man realizes that not only is his 'new' e book not new, but so "inadequate" that it is considered only suited to a "nigra" (Taylor 26). The children's reactions distinction clearly with that of Miss Crocker, and Cassie is bewildered by her teacher's insufficient response - "Miss Crocker did not even really know what I was talking about. She had looked at the webpage and had known nothing at all. " (Taylor 28) Taylor's direct comparison in this incident, between a child's perspective and an adult's, illustrates Cassie and Little Man's inexperience with the truth of the tough world beyond their safe family world. This inexperience shows an imperfect view of the world where they live.

The distinction between Cassie's direct speech, which includes phonetic spelling and colloquial grammar, and her more standard narrator's tone of voice appears to suggest that it is an more aged Cassie perhaps looking again on the occasions of her earlier youth. The first-person narrative means that the reader feels associated with the personas and in the situations, and makes their discoveries step-by-step as Cassie will. This focalization creates a fascinating puzzle when looking at adult and child readers, since an adult reader will be more alert to the meanings of a few of what and situations, whereas a child reader, like the kid protagonist, will be unaware for their junior and inexperience. In a few respects therefore, any history with a child protagonist will produce an incomplete point of view of the world, since children lack the experience for an entire perspective on the world around them.

The characters, and the audience, are immersed in a genuine world created by Taylor through her detailed information of specific places and events; her illustrative use of weather throughout the publication, beginning with the charm to thunder in the subject, and stopping with the rain that released the open fire; and her exact historical environment. With these techniques, Taylor really helps to develop Cassie's worldview over the course of the book, as she realizes the level of racism in her world and the effects it can have. She learns through personal humiliation through the event with the new institution catalogs and the occurrence in Strawberry, and in seeing the consequences of T. J. 's flaws, that life for dark-colored people is unfair. Cassie admits by the end, "What had occurred to T. J. in the night I did so not understand" (Taylor 305), which appears to support the idea that Taylor has displayed Cassie's perspectives on the planet as imperfect. However, Cassie's honesty regarding her insufficient understanding could claim that while her point of view is incomplete, it isn't automatically flawed, since although she recognizes she doesn't understand what happened to T. J. , she understands that unlike the elements, "it would not complete" (Taylor 305).

The world that Taylor constructs for her characters is a tough and violent one predicated on the author's own activities. Unlike in Tom's Midnight Garden and Swallows and Amazons, there is no escape into the creativeness for Cassie. Tom's garden allows him to escape from the confines of his aunt and uncle's level and gives him an opportunity at flexibility. Pearce's information of the garden are stunning, and the details she uses to spell it out objects including the grandfather clock make them reasonable to the audience. The grandfather clock can be an important sign in the story, providing a aesthetic link between the past and the present, and representing the nature and duration of time, that are such prominent designs in Tom's Midnight Garden. Tom discusses the idea of time with his uncle in his attempt to understand how can visit the garden of the past and just why time passes in a different way when he's there. The talk between adult and child illustrates the differences in their behaviour to the realm of the fantastic - Tom is wanting to comprehend time but realizes that in this case it doesn't follow any mathematical rules, while Uncle Alan is merely able to see the definite numerical explanations. Tom's ideas on the type of their time develop over the course of the story, and it is his perceptions that appear more accurate than those of his uncle, who appears to lack the broad-mindedness of a child.

The lack of understanding between Tom and his uncle is mirrored in the relationship between Hatty and her aunt. As an orphan, Hatty must live with her aunt and cousins, but comforts herself with the dream to be a princess; ""I am placed here a prisoner. I am a Princess in disguise. " (Pearce 73) Such a dream is unmistakeably childlike, and suggests that Hatty is also trying to escape her world - while Tom escapes from his isolation in to the garden, Hatty escapes her parentless world into her fantasy world. Such a need to flee could claim that both Hatty's and Tom's worlds seem, at least to the character types themselves, to be incomplete - Tom is missing his brother and his home, and Hatty is missing her parents.

Imagination also performs a visible role in Swallows and Amazons. The novel has two levels; the realistic setting and occurrences of the novel, and the fantastical elements of the children's imaginations. Ransome uses this combo of realism and fantasy to build up the character types of his protagonists. "Wild Feline Island" (Ransome 120) is not far from where the children's mother is remaining so she is in a position to visit them often, nevertheless they are mostly kept to fend for themselves; pitching their tents, preparing food, map-reading and sailing. The children's freedom enables those to live their dream tasks as explorers, even going so far as include men and women in their dream, with individuals considered 'natives', Adam Turner becoming Captain Flint, and their mother becoming either Queen Elizabeth or Man Friday; "Robinson Crusoe and Man Friday then kissed the other person as if they were pretending to be Titty and mom. " (Ransome 218) Through their escapades as real children and imaginary pirates, the kids learn valuable skills to get ready them for adulthood. John and Susan learn to take responsibility because of their youthful siblings, and Titty and Roger learn the value of friends and family, and the value of honesty; "the kids can play and develop within known restrictions. " (Hunt 180)

The get older difference between the children illustrates the contrasts between their perspectives on the planet. John, as the eldest, is obviously the most liable, and while he is fully involved in the children's dream world, he's the most logical about the real world. This sense of responsibility is shown in his recommendations to his dad, by taking his literature to the island, by quoting him when the kids are in trouble - "Even daddy used to say, 'Never be ashamed to reef a little fishing boat in the dark'" (Ransome 255) - and in his realization that one day they will all increase up; "I will be going to sea some day therefore will Roger. " (Ransome 408) John understands that the fun that they've acquired won't go on for ever, and that when he and Roger increase up they will follow their dad into the Navy. John's point of view on the world could therefore be referred to as mature and realistic.

While there are a number of samples in the chosen text messages that can either support or oppose the claim that 'children's perceptions of, and perspectives on, the planet around them tend to be symbolized by children's authors as inevitably imperfect and for that reason flawed', it is not clear why this is the case. The article writer could be representing the child's view this way intentionally, believing that since children don't have the life experience of a grown-up, that their view is incomplete, or, it could be unintentional, on the writer's part, and even inevitable, since it could be argued that an adult writer can never accurately signify a child's view. Philippa Pearce stated that "A man can never totally free himself of the kid he was previously, which ghost-figure haunts him in this curious action of writing catalogs for children" (Pearce), but how reliable is this 'ghost-figure'? Children's authors write their child characters based on their own perceptions of years as a child, and, since they are no more children, one has to wonder if, as opposed to the child protagonist's perceptions of and perceptions on the entire world being imperfect, it is in fact the adult author's ability to represent them.

Portraying a kid protagonist's perspectives as limited or incomplete would lend the narrative a certain realism, since children don't possess the number of life experience or knowledge than parents do. A kid in a world of individuals is very susceptible, with that said, children do have at least one advantages - they see the world in a far more simplistic way. This may often means a child may see the difference between right and wrong more obviously or is more astute in problem solving, in doing so allowing him/her to be more heroic. In fantasy stories, restricting a child's perspective would be specifically important, since doing this would start a 'realm of possibility' that may not be as available to an adult. In Tom's Midnight Garden, for example, if Tom had been an adult, he would perhaps not have had the opportunity to enter your garden.

Whether it can be an author's objective to portray a child's perspective as incomplete, or whether it's in reality simply unavoidable for an adult writer to do so, it is my opinion that children's perceptions of, and perspectives on, the entire world around them are often represented by children's writers as inevitably incomplete. A grown-up can't read as a child, however they can still enjoy children's stories; likewise a kid can't start to see the world as a grown-up, nevertheless they can still start to see the world, albeit an imperfect perspective of it.


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