Fairy tale

[53] Harry Velten, "The Influences of Charles Perrault's Contes de ma Mre L'oie on German Folklore", p. 962, Jack Zipes, ed., The Great Fairy
Tale Tradition: From Straparola and Basile to the Brothers Grimm.
[54] Velten, pp. 96667.
[55] Calvino, Italian Folktales, p. xxi.
[56] Zipes, When Dreams Came True: Classical Fairy Tales and Their Tradition, p. 1.
[57] Lewis Seifert, "The Marvelous in Context: The Place of the Contes de Fes in Late Seventeenth Century France", Jack Zipes, ed., The Great
Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p. 913.
[58] Seifert, p. 915.
[59] Zipes, When Dreams Came True: Classical Fairy Tales and Their Tradition, p. 47.
[60] Maria Tatar, The Hard Facts of the Grimms' Fairy Tales, p. 19, ISBN 0-691-06722-8.
[61] Tatar, The Hard Facts of the Grimms' Fairy Tales, p. 20.
[62] Tatar, The Hard Facts of the Grimms' Fairy Tales, p. 32.
[63] Byatt, pp. xlii-xliv.
[64] Tolkien, p. 31.
[65] K. M. Briggs, The Fairies in English Tradition and Literature, pp. 181182, University of Chicago Press, London, 1967.
[66] http:/ / www. victorianweb. org/ authors/ dickens/ pva/ pva239. html
[67] Jack Zipes, The Brothers Grimm: From Enchanted Forests to the Modern World, p. 48, ISBN 0-312-29380-1.
[68] Grant and Clute, "Cinema", p. 196.
[69] Patrick Drazen, Anime Explosion!: The What? Why? & Wow! of Japanese Animation, pp. 4344, ISBN 1-880656-72-8.
[70] wolf, Eric James The Art of Storytelling Show Interview Jack Zipes Are Fairy tales still useful to Children? (http:/ / www.
artofstorytellingshow. com/ 2008/ 06/ 29/ jack-zipes-fairy-tales/ )
[71] Zipes, When Dreams Came True: Classical Fairy Tales and Their Tradition and so on!, pp. 2425.
[72] Grant and Clute, "Fairytale," p. 333.
[73] Martin, p. 41.
[74] Helen Pilinovsky, "Donkeyskin, Deerskin, Allerleirauh: The Reality of the Fairy Tale" (http:/ / www. endicott-studio. com/ rdrm/ fordnky.
html)
[75] Briggs, p. 195.
[76] Zipes, The Brothers Grimm: From Enchanted Forests to the Modern World, pp. 25152.
[77] D. Ward, Optimizing Bi-Modal Signal to Noise Ratios: A Fairy Tale (http:/ / www. dau. mil/ pubs/ dam/ 09_10_2005/ ward_so05.
pdf)PDF(304KB), Defense AT&L, Sept/Oct 2005.
[78] Children's Literature: An Illustrated History edited by Peter Hunt. Oxford University Press, 1995. ISBN 0-19-212320-3
[79] Diana Waggoner, The Hills of Faraway: A Guide to Fantasy, pp. 2223, 0-689-10846-X.
[80] Grant and Clute, "Commedia Dell'Arte", p. 219.
[81] Grant and Clute, "Commedia Dell'Arte", p. 745.
[82] James Graham, "Baba Yaga in Film" (http:/ / www. endicott-studio. com/ crossroads/ crBabaYagaF. html)
[83] Richard Scheib, Review of Labyrinth (http:/ / www. moria. co. nz/ fantasy/ labyrinth. htm)
[84] Drazen, p. 264.
[85] Terri Windling, "Beauty and the Beast" (http:/ / www. endicott-studio. com/ rdrm/ forbewty. html)
[86] Terri Windling, "The Path of Needles or Pins: Little Red Riding Hood" (http:/ / www. endicott-studio. com/ rdrm/ rrPathNeedles. html)
[87] Drazen, p. 38.
[88] Spelling, Ian (2006-12-25). "Guillermo del Toro and Ivana Baquero escape from a civil war into the fairytale land of Pan's Labyrinth" (http:/
/ web. archive. org/ web/ 20070707173614/ http:/ / www. scifi. com/ sfw/ interviews/ sfw14471. html). Science Fiction Weekly. Archived
from the original (http:/ / www. scifi. com/ sfw/ interviews/ sfw14471. html) on July 7, 2007. . Retrieved 2007-07-14.
[89] "Festival Highlights: 2008 Edinburgh International Film Festival" (http:/ / www. variety. com/ index. asp?layout=festivals&
jump=features& id=3168& articleid=VR1117987482). Variety. 2008-06-13. . Retrieved 2010-04-28.
[90] Tolkien, p. 18.
[91] Propp, Morphology of the Folk Tale.
[92] Propp, pp. 89.
[93] Propp, p. 74.
[94] Propp, p. 39.
[95] Propp, pp. 8182.
[96] Propp, pp. 8081.
[97] Christopher Vogler, The Writer's Journey: Mythic Structure for Writers, 2nd edition, p. 30, ISBN 0-941188-70-1.
[98] Vladimir Propp's Theories (http:/ / www. brown. edu/ Courses/ FR0133/ Fairytale_Generator/ propp. html)
[99] Tatar, The Hard Facts of the Grimms' Fairy Tales, p. 52.
[100] Bettleheim Bruno (1991). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Penguin. ISBN978-0140137279.
[101] Alan Dundes, "Interpreting Little Red Riding Hood Psychoanalytically", pp. 1819, James M. McGlathery, ed., The Brothers Grimm and
Folktale, ISBN 0-252-01549-5.
[102] Tatar, The Hard Facts of the Grimms' Fairy Tales, p. 46.

28

Fairy tale

29

[103] Zipes, The Brothers Grimm: From Enchanted Forests to the Modern World, p. 48.
[104] Marina Warner, From the Beast to the Blonde: On Fairy Tales And Their Tellers, p. 213. ISBN 0-374-15901-7.

References
Antti Aarne and Stith Thompson: The Types of the Folktale: A Classification and Bibliography (Helsinki, 1961)
Thompson, Stith, The Folktale.
Heidi Anne Heiner, "The Quest for the Earliest Fairy Tales: Searching for the Earliest Versions of European Fairy
Tales with Commentary on English Translations" (http://www.surlalunefairytales.com/introduction/
earliesttales.html)
Heidi Anne Heiner, "Fairy Tale Timeline" (http://www.surlalunefairytales.com/introduction/timeline.html)
Carrassi, Vito, "Il fairy tale nella tradizione narrativa irlandese. Un itinerario storico e culturale", Bari 2008.

External links
Cabinet des Fees (http://www.cabinet-des-fees.com/) - An Online Journal of Fairy Tale Fiction
Fables (http://www.lefavole.org/en/) - Collection and guide to fables and Fairy Tales for children
Once Upon a Time (http://www.folkstory.com/articles/onceupon.html) - How Fairy Tales Shape Our Lives,
by Jonathan Young, Ph.D.
Once Upon A Time: Historical and Illustrated Fairy Tales. Special Collections, University of Colorado Boulder
(http://libcudl.colorado.edu:8180/luna/servlet/UCBOULDERCB1~53~53)
CiffCiaff (http://www.ciffciaff.org/en) - Multilanguage fairy tales collection

Picture book
A picture book combines visual and verbal narratives in a book
format, most often aimed at young children. The images in picture
books use a range of media such as oil paints, acrylics, watercolor and
pencil.Two of the earliest books with something like the format picture
books still retain now were Heinrich Hoffmann's Struwwelpeter from
1845 and Beatrix Potter's The Tale of Peter Rabbit from 1902. Some of
the best-known picture books are Robert McCloskey's Make Way for
Ducklings, Dr. Seuss' The Cat In The Hat, and Maurice Sendak's
Where the Wild Things Are. The Caldecott Medal (established 1938)
and Kate Greenaway Medal (established 1955) are awarded annually
for illustrations in children's literature. From the mid-1960s several
children's literature awards include a category for picture books.
Peter Rabbit with his family, from The Tale of
Peter Rabbit by Beatrix Potter, 1902

Picture book

30

Characteristics
Any book that pairs a narrative format with pictures can be categorized
as a picture book. "In the best picturebooks, the illustrations are as
much a part of the experience with the book as the written text."[1]
Picture books are most often aimed at young children, and while some
may have very basic language especially designed to help children
develop their reading skills, most are written with vocabulary a child
can understand but not necessarily read. For this reason, picture books
tend to have two functions in the lives of children: they are first read to
young children by adults, and then children read them themselves once
they begin to learn to read.

A child with an illustrated book of Three Billy

Goats Gruff

There are several subgenres among picture books including concept

books, nursery rhymes, toy books, alphabet books and early readers. Picture books also cover a wide variety of
themes and are also published with content aimed at older children or even adults. Tibet: Through the Red Box by
Peter Sis is one example of a picture book aimed at an adult audience. Board books are picture books published on a
hard cardboard. Board books are often intended for small children to use and play with. Cardboard is used for the
cover as well as the pages, and is intended to be more durable. Pop-up books employ paper engineering to make
parts of the page pop up or stand up when pages are opened. More broadly books using similar techniques are known
as movable books. The Wheels on the Bus by Paul O. Zelinsky is one example of a bestseller pop-up picture book.
Often the author and illustrator are two different people. Once an editor in a publishing house has accepted a
manuscript for a text from an author, the editor selects an illustrator.

Early picture books

Orbis Pictus from 1658 by John Amos Comenius was the earliest
illustrated book specifically for children. It is something of a children's
encyclopedia and is illustrated by woodcuts.[2] A Little Pretty
Pocket-Book from 1744 by John Newbery was the earliest illustrated
storybook marketed as pleasure reading in English.[3] The German
children's book Struwwelpeter (literally "Shaggy-Peter") from 1845 by
Heinrich Hoffmann was one of the earliest examples of modern
picturebook design. Collections of Fairy tales from early nineteenth
century, like those by the Brothers Grimm or Hans Christian Andersen
A reprint of the 1658 illustrated Orbis Pictus
were sparsely illustrated, but beginning in the middle of the century,
collections were published with images by illustrators like Gustave Dor, George Cruikshank,[4] Vilhelm Pedersen,
Ivan Bilibin and John Bauer. Andrew Lang's twelve Fairy Books published between 1889 and 1910 were illustrated
by among others Henry J. Ford and Lancelot Speed. Lewis Carroll's Alice's Adventures in Wonderland, illustrated by
John Tenniel in 1866 was one of the first highly successful entertainment books for children.

Picture book

31
Toy books were introduced in the latter half of the 19th century, small
paperbound books with art dominating the text. These had a larger proportion of
pictures to words than earlier books, and many of their pictures were in color.[5]
The best of these were illustrated by the triumvirate of English illustrators
Randolph Caldecott, Walter Crane, and Kate Greenaway whose association with
colour printer and wood engraver Edmund Evans produced books of great
quality.[6] In the late 19th and early 20th century a small number of American
and British artists made their living illustrating children's books, like Rose
O'Neill, Arthur Rackham, Cicely Mary Barker, Willy Pogany, Edmund Dulac,
W. Heath Robinson, Howard Pyle, or Charles Robinson. Generally, these
illustrated books had eight to twelve pages of illustrated pictures or plates
accompanying a classic children's storybook.

Alice from Lewis Carroll's Alice's

Adventures in Wonderland,
illustration by John Tenniel, 1866

Beatrix Potter's The Tale of Peter Rabbit was published in 1902 to immediate
success. Peter Rabbit was Potter's first of many The Tale of..., including The Tale
of Squirrel Nutkin, The Tale of Benjamin Bunny, The Tale of Tom Kitten, and The
Tale of Jemima Puddle-Duck, to name but a few which were published in the
years leading up to 1910. Swedish author Elsa Beskow wrote and illustrated
some 40 children's stories and picture books between 18971952. Andrew Lang's
twelve Fairy Books published between 1889 and 1910 were illustrated by among
others Henry J. Ford and Lancelot Speed. In the US, illustrated stories for
children appeared in magazines like Ladies Home Journal, Good Housekeeping,
Cosmopolitan, Woman's Home Companion intended for mothers to read to their
Cover of Babes in the Wood,
children. Some cheap periodicals appealing to the juvenile reader started to
illustrated by Randolph Caldecott
appear in the early 20th century, often with uncredited illustrations. Helen
Bannerman's Little Black Sambo was published in 1899, and went through
numerous printings and versions during the first decade of the 20th century. Little Black Sambo was part of a series
of small-format books called The Dumpy Books for Children, published by British publisher Grant Richards
between 1897 and 1904.

Picture book

32

Early to mid 20th century

L. Frank Baum's The Wonderful Wizard of Oz was published in 1900, and Baum
created a number of other successful Oz-oriented books in the period from 1904
to 1920. In 1910, American illustrator and author Rose O'Neill's first childrens
book was published, The Kewpies and Dottie Darling. More books in the Kewpie
series followed: The Kewpies Their Book in 1912 and The Kewpie Primer 1916.
In 1918, Johnny Gruelle wrote and illustrated Raggedy Ann and in 1920 followed
up with Raggedy Andy Stories. Other Gruelle books included Beloved Belinda,
Eddie Elephant, and Friendly Fairies.
In 1913, Cupples & Leon published a series of 15 All About books, emulating the
form and size of the Beatrix Potter books, All About Peter Rabbit, All About The
Three Bears, All About Mother Goose, and All About Little Red Hen. The latter,
along with several others, was illustrated by Johnny Gruelle. Wanda Gg's
Millions of Cats was published in 1928 and became the first picture book to
receive a Newbery Medal runner-up award. Wanda Gg followed with The
Funny Thing in 1929, Snippy and Snappy in 1931, and then The ABC Bunny in
1933, which garnered her a second Newbery runner-up award.

Title page from The Wonderful

Wizard of Oz by L. Frank Baum from
1900

In 1931, Jean de Brunhoff's first Babar book, The Story Of Babar was published
in France, followed by The Travels of Babar then Babar The King. In 1930,
Marjorie Flack authored and illustrated Angus and the Ducks, followed in 1931
by Angus And The Cats, then in 1932, Angus Lost. Flack authored another book
in 1933, The Story about Ping, illustrated by Kurt Wiese. The Elson Basic
Reader was published in 1930 and introduced the public to Dick and Jane. In
1930 The Little Engine That Could was published, illustrated by Lois Lenski. In
1954 it was illustrated anew by George and Doris Hauman. It spawned an entire
line of books and related paraphernalia and coined the refrain "I think I can! I
think I can!". In 1936, Munro Leaf's The Story of Ferdinand was published,
illustrated by Robert Lawson. Ferdinand was the first picture book to crossover
Babar by Jean de Brunhoff, from
into pop culture. Walt Disney produced an animated feature film along with
1931
corresponding merchandising materials. In 1938 to Dorothy Lathrop was
awarded the first Caldecott Medal for her illustrations in Animals of the Bible,
written by Helen Dean Fish. Thomas Handforth won the second Caldecott Medal in 1939, for Mei Li, which he also
wrote. Ludwig Bemelmans' Madeline was published in 1939 and was selected as a Caldecott Medal runner-up, today
known as a Caldecott Honor book.
In 1942, Simon & Schuster began publishing the Little Golden Books, a series of inexpensive, well illustrated, high
quality children's books. The eighth book in the series, The Poky Little Puppy, is the top selling children's book of all
time.[7] Many of the books were bestsellers[8] including The Poky Little Puppy, Tootle, Scuffy the Tugboat, The Little
Red Hen. Several of the illustrators for the Little Golden Books later became staples within the picture book
industry. Corinne Malvern, Tibor Gergely, Gustaf Tenggren, Feodor Rojankovsky, Richard Scarry, Eloise Wilkin,
and Garth Williams. In 1947 Goodnight Moon written by Margaret Wise Brown and illustrated by Clement Hurd
was published. By 1955, such picture book classics as Make Way for Ducklings, The Little House, Curious George,
and Eloise, had all been published. In 1955 the first book was published in the Miffy series by Dutch author and
illustrator Dick Bruna.
In 1937, Dr. Seuss (Theodor Seuss Geisel,) at the time a successful graphic artist and humorist, published his first
book for children, And to Think That I Saw It on Mulberry Street. It was immediately successful, and Seuss followed

Picture book
up with The 500 Hats of Bartholomew Cubbins in 1938, followed by The King's Stilts in 1939, and Horton Hatches
the Egg in 1940, all published by Random House. From 1947 to 1956 Seuss had twelve children's picture books
published. Dr. Seuss created The Cat in the Hat in reaction to a Life magazine article by John Hersey in lamenting
the unrealistic children in school primers books. Seuss rigidly limited himself to a small set of words from an
elementary school vocabulary list, then crafted a story based upon two randomly selected wordscat and hat. Up
until the mid-1950s, there was a degree of separation between illustrated educational books and illustrated picture
books. That changed with The Cat in the Hat in 1957.
Because of the success of The Cat In The Hat an independent publishing company was formed, called Beginner
Books. The second book in the series was nearly as popular, The Cat in the Hat Comes Back, published in 1958.
Other books in the series were Sam and the Firefly (1958), Green Eggs and Ham (1960), Are You My Mother?
(1960), Go, Dog. Go! (1961), Hop on Pop (1963), and Fox in Socks (1965). Creators in the Beginner Book series
were Stan and Jan Berenstain, P. D. Eastman, Roy McKie, and Helen Palmer Geisel (Seuss' wife). The Beginner
Books dominated the children's picture book market of the 1960s.
Between 1957 and 1960 Harper & Brothers published a series of sixteen "I Can Read" books. Little Bear was the
first of the series. Written by Else Holmelund Minarik and illustrated by a then relatively unknown Maurice Sendak,
the two collaborated on three other "I Can Read" books over the next three years. From 1958 to 1960, Syd Hoff
wrote and illustrated four "I Can Read" books: Danny and the Dinosaur, Sammy The Seal, Julius, and Oliver.

Mid to late 20th century

In 1949 American writer and illustrator Richard Scarry began his career working on the Little Golden Books series.
His Best Word Book Ever from 1963 has sold 4 million copies. In total Scarry wrote and illustrated more than 250
books and more than 100 million of his books have been sold worldwide.[9] In 1963, Where The Wild Things Are by
American writer and illustrator Maurice Sendak was published. It has been adapted into other media several times,
including an animated short in 1973, a 1980 opera, and, in 2009, a live-action feature film adaptation directed by
Spike Jonze. By 2008 it had sold over 19 million copies worldwide.[10] American illustrator and author Gyo
Fujikawa created more than 50 books between 1963 and 1990. Her work has been translated into 17 languages and
published in 22 countries. Her most popular books, Babies and Baby Animals, have sold over 1.7 million copies in
the U.S.[11] Fujikawa is recognized for being the earliest mainstream illustrator of picture books to include children
of many races in her work.[12] [13] [14]
Most of the Moomin books by Finnish author Tove Jansson were novels, but several Moomin picture books were
also published between 1952 and 1980, like Who Will Comfort Toffle? (1960) and The Dangerous Journey (1977).
The Barbapapa series of books by Annette Tison and Talus Taylor was published in France in the 1970s. They
feature the shapeshifting pink blob Barbapapa and his numerous colorful children. The Mr. Men series of 40-some
books by English author and illustrated Roger Hargreaves started in 1971. The Snowman by Raymond Briggs was
published in Britain in 1978 and was entirely wordless. It was made into an Oscar nominated animated cartoon that
has been shown every year since on British television.
Japanese author and illustrator Mitsumasa Anno has published a number of picture books beginning in 1968 with
Mysterious Pictures. In his "Journey" books a tiny character travels through depictions of the culture of various
countries. Everyone Poops was first published in Japan in 1977, written and illustrated by the prolific children's
author Tar Gomi. It has been translated into several languages. Australian author Margaret Wild has written more
than 40 books since 1984 and won several awards. In 1987 the first book was published in the Where's Wally?
(known as Where's Waldo? in the United States and Canada) series by the British illustrator Martin Handford. The
books were translated into many languages and the franchise also spawned a TV series, a comic strip and a series of
video games. Since 1989 over 20 books have been created in the Elmer the Patchwork Elephant series by the British
author David McKee. They have been translated in 40 languages and adapted into a children's TV series.

33

Picture book

Awards
In 1938, the American Library Association (ALA) began presenting annually the Caldecott Medal to the most
distinguished children's book illustration published in the year. The Caldecott Medal was established as a sister
award to the ALA's Newbery Medal, which was awarded to a children's books "for the most distinguished American
children's book published the previous year" and presented annually beginning in 1922. During the mid-forties to
early-fifties honorees included Marcia Brown, Barbara Cooney, Roger Duvoisin, Berta and Elmer Hader, Robert
Lawson, Robert McCloskey, Dr. Seuss, Maurice Sendak, Ingri and Edgar Parin d'Aulaire, Leo Politi, Tasha Tudor,
and Leonard Weisgard.
The Kate Greenaway Medal was established in the United Kingdom in 1955 in honour of the children's illustrator,
Kate Greenaway. The medal is given annually to an outstanding work of illustration in children's literature. It is
awarded by Chartered Institute of Library and Information Professionals (CILIP). Since 1965 the Deutscher
Jugendliteraturpreis (German Youth literature prize) includes a category for picture books. The Danish Hans
Christian Andersen Award for Illustration has been awarded since 1966. The Boston Globe-Horn Book Award, first
presented in 1967, includes a category for picture books. In 2006, the ALA started awarding the Geisel Award,
named after Dr. Seuss, to the most distinguished beginning reader book. The award is presented to both the author
and illustrator, in "literary and artistic achievements to engage children in reading."

References
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9]

Kiefer, 156
Hunt, p. 217
Hunt, p. 668
Hunt, p. 221
Whalley, p.
Hunt, p. 674
according to a 2001 list of bestselling children's hardback books compiled by Publishers Weekly.
Four of the top eight books on the Publishers Weekly list are Little Golden Books.
New York Times obituary of Richard Scarry (http:/ / query. nytimes. com/ gst/ fullpage.
html?res=9D04E0D91030F930A35756C0A962958260)
[10] Thornton, Matthew (February 4, 2008) "Wild Things All Over" (http:/ / www. publishersweekly. com/ article/ CA6528120. html).
Publishers Weekly
[11] Publishers Weekly (http:/ / www. publishersweekly. com/ article/ CA186995. html). Retrieved 23 April 2007.
[12] Gyo Fujikawa, a Children's Illustrator Forging the Way, Dr. Andrea Wyman. Versed, Sept. 2005. (http:/ / ala. org/ ala/ aboutala/ offices/
diversity/ versed/ versedbackissues/ september2005a/ fujikawa. cfm) URL accessed 21 July 2009.
[13] Penguin Group Diversity. (http:/ / us. penguingroup. com/ static/ html/ aboutus/ youngreaders/ grosset. html) URL accessed 23 April 2007.
[14] Ask Art:Gyo Fujikawa. (http:/ / www. askart. com/ AskART/ F/ gyo_fujikawa/ gyo_fujikawa. aspx) URL accessed 23 April 2007.

Source
Kiefer, Barbara Z. (2010). Charlotte Huck's Children's Literature.New York, McGraw-Hill. ISBN
978-0-07-337856-5
Ray, Gordon Norton (1991). The Illustrator and the book in England from 1790 to 1914 (http://books.google.
com/books?id=HsTU8eWtej8C&pg=PA154&lpg=PA154&dq=edmund+evans+printer#v=onepage&
q=edmund evans printer&f=false). New York: Dover. ISBN0-486-26955-8. Retrieved 2010-02-28.
Hunt, Peter; Sheila Ray (1996). International Companion Encyclopedia of Children's Literature (http://books.
google.com/books?id=XqaTzQBVDCAC&pg=PA465&dq="edmund+evans"#v=onepage&q="edmund
evans"&f=false). London: Routledge. ISBN0-203-16812-7. Retrieved 2010-03-01.
Zielinski, Linda & Stan; "Children's Picturebook Price Guide", Chap. 1: Today's Golden Era Of Picturebooks;
Flying Moose Books; 2006. ISBN 0977939405

34

Picture book

External links
Children's Picture Book Database (http://www.lib.muohio.edu/pictbks/) at Miami University

Chapter book
A chapter book is a story book intended for intermediate readers, generally age 7-10.[1] [2] Unlike picture books for
younger readers, a chapter book tells the story primarily through prose, rather than pictures. Unlike books for older
readers, chapter books contain plentiful illustrations. The name refers to the fact that the stories are usually divided
into short chapters, which provide children with opportunities to stop and resume reading if their attention spans are
not long enough to finish the book in one sitting. Chapter books are usually works of fiction of moderate length and
complexity.
The New York Times Best Seller list of Children's Chapter Books has included books with intended audience age
ranges from 6 to 14 and up.[3] This may reflect a straightforward interpretation of "chapter books" as those books
directed at children that are long enough to include chapters. However, some publishers such as Scholastic
Corporation and Harper Collins include the phrase "chapter book" in series titles aimed specifically at younger
readers, including the I Can Read! series and the Magic School Bus series.

References
[1] http:/ / www. findmeanauthor. com/ childrens_fiction_genre. htm
[2] Loer, Stephanie (2001-04-29). "Chapter Books Lead Young Readers from Pictures to Novels". Boston Globe.
[3] Taylor, Ihsan. "Hardcover" (http:/ / www. nytimes. com/ best-sellers-books/ 2011-01-02/ chapter-books/ list. html). The New York Times. .

Young-adult fiction
Young-adult fiction or young adult literature (often abbreviated as YA),[1] [2] also juvenile fiction, is fiction
written for, published for, or marketed to adolescents and young adults, roughly ages 14 to 21.[3] The Young Adult
Library Services (YALSA) of the American Library Association (ALA) defines a young adult as "someone between
the ages of twelve and eighteen". Young adult novels have also been defined as texts written for the ages of twelve
and up. Authors and readers of young adult (YA) novels often define the genre as "literature written for ages ranging
from ten years up to the age of twenty" (Cole). Another suggestion for the definition is that Young Adult Literature
is any text being read by adolescents, though this definition is still somewhat controversial.
Accordingly, the terms young-adult novel, juvenile novel, young-adult book, etc. refer to the works in the YA
category.
Although YA literature shares the fundamental elements of character, plot, setting, theme, and style common to other
genres of fiction, theme and style are often subordinated to the more tangible basic narrative elements such as plot,
setting, and character, which appeal more readily to younger readers. The vast majority of YA stories portray an
adolescent as the protagonist, rather than an adult or a child
It is generally agreed that Young Adult Literature is literature written for adolescent readers, and in some cases
published by adolescent writers. The subject matter and story lines are typically consistent with the age and
experience of the main character, but beyond that YA stories span the entire spectrum of fiction genres. Themes in
YA stories often focus on the challenges of youth, so much so that the entire age category is sometimes referred to as
problem novels or coming of age novels.[4] Writing styles of YA stories range widely, from the richness of literary
style to the clarity and speed of the unobtrusive and even free verse.

35

Young-adult fiction

History of young-adult fiction

Sarah Trimmer
The first recognition of young adults as a distinct group was by Sarah Trimmer, who in 1802 described "young
adulthood" as lasting from ages 14 to 21.[3] In her self-founded children's literature periodical, The Guardian of
Education, Trimmer introduced the terms "Books for Children" (for those under fourteen) and "Books for Young
Persons" (for those between fourteen and twenty-one), establishing terms of reference for young adult literature that
remain in use today.[3] However, nineteenth-century publishers did not specifically market to young readers, and
adolescent culture did not exist in a modern sense.

The Beginning
Beginning in the 1920s, it was said that "this was the first time when it became clear that the young were a separate
generation" (Cart 43); but multiple novels that fit into the YA category had been published long before. In the
nineteenth century there are several early examples that appealed to young readers (Garland 1998, p.6) including
The Swiss Family Robinson (1812), Waverley (1814), Oliver Twist (1838), The Count of Monte Cristo (1844), Tom
Brown's Schooldays (1857), Great Expectations (1860), Alice in Wonderland (1865), The Adventures of Tom Sawyer
(1876), Adventures of Huckleberry Finn (1884), Kidnapped (1886), The Jungle Book (1894) and Moonfleet (1898).
A few other novels that were published around the turn of the century include Treasure Island, by Robert Louis
Stevenson, Heidi, by Johanna Spyri, and Black Beauty by Anna Sewell. In 1937 The Hobbit, by J. R. R. Tolkien, was
published, and Betty Smith's A Tree Grows in Brooklyn (1943) also is a beloved by adolescents today. Some claim
that the first real young adult novel was The Catcher in the Rye by J. D. Salinger, and that it opened up a whole new
eye to what types of texts adolescent readers read. Following this novel, other classic texts such as Harper Lee's, To
Kill a Mockingbird; Maya Angelou's novel, I Know Why the Caged Bird Sings; and Toni Morrison's, The Bluest Eye
all entered the genre of Young Adult Literature as well, along with many others.

Mid-Century
In the 1950s, shortly before the advent of modern publishing for the teen romance market, two novels drew the
attention of adolescent readers: The Catcher in the Rye (1951), and Lord of the Flies (1954). Unlike more-recent
fiction classified as YA, these two were written with an adult audience in mind.[5]
The modern classification of young-adult fiction originated during the 1950s and 1960s, especially after the
publication of S.E. Hinton's The Outsiders. This book focused on a group of teens not yet represented and instead of
having the nostalgic tone that was typical in young adult books written by adults, it displayed a truer, darker side of
young adult life because it was written by a young adult.
As the decades moved on, the stormy sixties became the era "when the 'under 30' generation became a subject of
popular concern, and that research on adolescence began to emerge. It would also be the decade when literature for
adolescents could be said to have come into its own" (Cart 43). For this reason others adopt The Outsiders, published
in 1967 by S. E. Hinton who at the time was only a teenager, as the initiator of the adolescent literature genre. This
book sparked talk about what adolescents face, and that adolescents can produce books that they can relate to. 1967
was the year when a multitude of YA books began to be seen, and ever since YA lit has grown into a thriving,
popular genre. In the 1970s, what has become to be known as the "fab five" were published. "For the record, the fab
five are: I Know Why the Caged Bird Sings by Maya Angelou; The Friends by Rosa Guy; The Bell Jar by Sylvia
Plath; Bless the Beasts and Children by Glendon Swarthout; and Deathwatch by Robb White" (Cart 77).

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Young-adult fiction

70's and 80's

As publishers began to focus on the emerging adolescent market, booksellers and libraries, in turn, began creating
YA sections distinct from either children's literature or novels written for adults. The 1970s to the mid-1980s have
been described as the golden age of young-adult fictionwhen challenging novels began speaking directly to the
interests of the identified adolescent market.[3]
In the 1980s: "the 1980s contained a large amount of Young Adult publications which pushed the threshold of topics
that adolescents faced such as rape, suicide, parental death, and murder. Also in the 1980s, "teenagers seemed to
want to read about something closer to their daily lives-romance novels were revived" (Cart 99). In the 1990s,
Young Adult Literature pushed adolescent issues even further by including topics such as, drinking, sexuality, drug
use, identity, beauty, and even teen pregnancy" (Lubar). Also in the 1990s, it seemed as though the era of Young
Adult Literature was going to lose steam but "due in part to an increase in the number of teenagers in the 1990s the
field matured, blossomed, and came into its own with the better written, more serious, and more varied young adult
books published during the last two decades" (Tomlinson and Lynch-Brown 5).

Marketing
Teens have also become more and more marketable to text publications, bookstores have begun dedicating entire
sections of their bookshelves to "teen" and "young adult" novels and texts, and movies are now produced more often
that portray popular young adult texts with adolescent protagonists. As the genre continues to become more popular,
and authors continue to publish texts that adolescents can relate to, Young Adult Literature will continue to be read
and supported by adolescent and adult readers alike.
Examples of other novels that predate the young-adult classification, but that are now frequently presented alongside
YA novels are (Garland 1998, p.6):

Rebecca of Sunnybrook Farm (1903)

Anne of Green Gables (1908)
The Secret Garden (1909)
The Yearling (1938)
My Friend Flicka (1941)
Johnny Tremain (1943)
The Outsiders (1967)
The Pigman (1968)

Notable authors
V.C. Andrews (19231986): American author of several popular gothic horror family sagas for teenagers;
examples include Flowers in the Attic and Melody.
Laurie Halse Anderson: American author of both fiction and non-fiction. Some of her more well known novels
include Speak, Fever 1793, Catalyst, Prom, Twisted, and Wintergirls. Anderson is a Margret A. Edwards Award
[6]
recipient.
Clive Barker Although not usually a young adult writer, "Abarat" was written for a young adult audience and is
considered one of his most important works.
David Belbin (born 1958): English author. His novels include Love Lessons and Denial.
Tim Bowler (born 1953): English author. His novels include River Boy and Frozen Fire.
Judy Blume (born 1938): American author; wrote teen classics Are You There God? It's Me, Margaret. and
Forever.

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