The Voice of the Narrator in Children's Literature: Insights from Writers and Critics
Charlotte F. Otten, Gary D. Schmidt
Greenwood Press, 1989 - Literary Criticism - 414 pages
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
Although children's literature is now a recognized branch of English and American literature, much of the criticism of it has focused on teaching methodology, history, and basic exposition. Since children's books are no less a part of the literary tradition than adult books, there is room for new approaches to children's literature. While the importance of the voice of the narrator is emerging in criticism of adult fiction, poetry, and nonfiction, little has been written about this subject in children's literature. Examining the voice of the narrator can identify hitherto unexplored and unrecognized aspects of children's literature.
The essays in this collection were contributed by noted authors and critics. Their inquiry is divided into eight genres--the illustrated book, folk literature and myth, fantasy, realism, poetry, historical fiction, biography, and informational books--and each genre is discussed in terms of the authorial voice and the critical voice. Each of the essays works toward an understanding of how the voice of the narrator functions in a given work or in the larger corpus of an author's work. The result is not only a greater understanding of how specific authors shape their material and how authors use voice for particular effects, but also how the narrator differs functionally from one genre to the next. This unique essay collection is particularly suited for use in children's literature courses. Because the contributors are some of the most significant authors and critics in children's literature in English, it should also be part of any academic library's holdings in the criticism of children's literature in particular and literary criticism in general.
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We know it when we hear it . I use the word “ hear ” deliberately , for we hear
literature as clearly as we hear music . The narrative voice , unique and personal
, is an audible fingerprint . Some quick and random samples : Hast thou given ...
When I hear a poem I feel it through my whole body , especially in my throat , in
the pit of my stomach , and in my extremities : toes twitter , fingers start feathering
. It ' s like a shot of adrenalin or a whiff of pure oxygen . The techniques used in ...
If we reflect a moment , we recall that the word was first spoken and to hear it is
the prelude to seeing it ; in fact , to hear is to see and to see in this sense is to
understand . Writing that can be heard offers us " language lined with flesh , ” as ...
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William Kureleks Persona
Narrative Voice and Narrative View in Beatrix
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