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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... begins the slow taming of the wild horse . Smoky gradually begins to respond to the singular smell and look of this two - legged creature and to trust his movements . The author does not trace the animal's growing trust through Smoky's ...
... begins with a distant omniscient point of view exercising godlike privileges not only of viewing the Black sharecropping family as a whole as they are balanced on the edge of tragedy , but of surveying a lonely landscape in which the ...
... begins at once , at the most thrilling moment , for the story is not told in the order that it might well have been in a first - person narrative , that is , from the beginning . Rather , it begins in medias res . This structure allows ...
Contents
Introduction | 3 |
Narrating Chaucer Grimm New England | 25 |
Finding the Narrative Voice through Dramatically | 32 |
Copyright | |
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