The Voice of the Narrator in Children's Literature: Insights from Writers and CriticsCharlott Otten, Gary D. Schmidt As Otten and Schmidt note in their preface, voice is a broad metaphor. Thus the 41 essays in this collection provide varied approaches, examining point of view, focus, selection of details, tone, and even illustrations as part of the narrative identity. Eight genres, including picture books, fantasy, realism, and biography, receive separate study in generally brief articles by writers and more substantial analyses by critics. . . . In her contribution, Jill Paton Walsh describes contemporary criticism as an `impenetrable thicket of technical terms.' In most cases, the critics here avoid jargon. They speak clearly, offering practical criticsm accessible to anyone seriously concerned about narrative technique in children's literature. Choice |
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... Wood most cherishes in his own voice as a writer . Young readers like this sort of silliness . For no other subject ( including Stevenson and , later , Twain , also " dual " in name and temperament ) , does Wood better sustain the ...
... Wood remains an objective com- mentator while at worst , a propagandist deriding Wells ' ideas or dispensing with them . It is revealing that Wood never tries to enter the mind of Wells , nor do we ever sense the subject's emotions ...
... Wood makes clear , responded to life with exaggerated feelings , extreme reactions . Spunkwater , Spunkwater ! A Life of Mark Twain ( 1968 ) begins with an animated mingling of opposites ( as several of Wood's bio- graphies do ) ...
Contents
Introduction | 3 |
Narrating Chaucer Grimm New England | 25 |
Finding the Narrative Voice through Dramatically | 32 |
Copyright | |
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