Children’s literature

For the academic journal, see Children’s Literature (jour-

nal).
“Children’s book” redirects here. For the A. S. Byatt
novel, see The Children’s Book.
“Children’s story” redirects here. For the song, see
Children’s Story.
Children’s literature or juvenile literature includes

The Little Prince (1943) is one of the best-selling books ever

published.

a moral or religious message, has been aimed specifi-

cally at children. The late nineteenth and early twenti-
eth centuries became known as the “Golden Age of Chil-
dren’s Literature” as this period included the publication
of many books acknowledged today as classics.

1 Introduction
A mother reads to her children, depicted by Jessie Willcox Smith
in a cover illustration of a volume of fairy tales written in the There is no single or widely used definition of chil-
mid to late 19th century. dren’s literature.[1]:15–17 It can be broadly defined as any-
thing that children read[2] or more specifically defined
stories, books, magazines, and poems that are enjoyed by as fiction, non-fiction, poetry, or drama intended for and
children. Modern children’s literature is classified in two used by children and young people.[3][4]:xvii Nancy An-
different ways: genre or the intended age of the reader. derson, of the College of Education at the University of
Children’s literature can be traced to stories and songs, South Florida, defines children’s literature as “all books
part of a wider oral tradition, that adults shared with chil- written for children, excluding works such as comic
dren before publishing existed. The development of early books, joke books, cartoon books, and non-fiction works
children’s literature, before printing was invented, is dif- that are not intended to be read from front to back,
ficult to trace. Even after printing became widespread, such as dictionaries, encyclopedias, and other reference
many classic “children’s” tales were originally created for materials”.[5]
adults and later adapted for a younger audience. Since The International Companion Encyclopedia of Children’s
the 15th century, a large quantity of literature, often with Literature notes that “the boundaries of genre ... are not

1
2 2
fixed but blurred”.[1]:4 Sometimes, no agreement can be
reached about whether a given work is best categorized
as literature for adults or children. Some works defy easy
categorization. J.K. Rowling's Harry Potter series was
written and marketed for children, but it is also popu-
lar among adults. The series’ extreme popularity led The
New York Times to create a separate best-seller list for
children’s books.[6]
Despite the widespread association of children’s litera-
ture with picture books, spoken narratives existed before
printing, and the root of many children’s tales go back
to ancient storytellers.[7]:30 Seth Lerer, in the opening of
Children’s Literature: A Reader’s History from Aesop to
Harry Potter, says, “This book presents a history of what
children have heard and read ... The history I write of is
a history of reception.”[8]:2
2 History
Early children’s literature consisted of spoken stories,
songs, and poems that were used to educate, instruct, and
entertain children.[9] It was only in the 18th century, with
the development of the concept of childhood, that a sep-
arate genre of children’s literature began to emerge, with
its own divisions, expectations, and canon.[10]:x-xi
French historian Philippe Ariès argues in his 1962 book
Centuries of Childhood that the modern concept of child-
hood only emerged in recent times. He explains that
children were in the past not considered as greatly dif-
ferent from adults and were not given significantly dif-
ferent treatment.[11]:5 As evidence for this position, he
notes that, apart from instructional and didactic texts for
children written by clerics like the Venerable Bede and
Ælfric of Eynsham, there was a lack of any genuine lit-
erature aimed specifically at children before the 18th
century.[12][13]:11
Other scholars have qualified this viewpoint by noting
that there was a literature designed to convey the values,
attitudes, and information necessary for children within
their cultures,[14] such as the Play of Daniel from the 12th
century.[8]:46[15]:4 Pre-modern children’s literature, there-
fore, tended to be of a didactic and moralistic nature,
with the purpose of conveying conduct-related, educa-
tional and religious lessons.[15]:6–8
2.1 Antiquity and the Middle Ages
Every culture has its own mythology, unique fables, and
other traditional stories that are told for instruction and
entertainment.[1]:654 Early folk-type tales included the
Panchatantra from India, which was composed about 200
AD and may be “the world’s oldest collection of sto-
ries for children”.[1]:807[7]:301 Oral stories that would have
been enjoyed by children include the tale of The Asurik
Tree, which dates back at least 3,000 years in Persia.[16]
HISTORY
Iliad, Book VIII, lines 245–53, Greek manuscript, late 5th, early
6th centuries
In Imperial China, children attended public events with
their parents, where they would listen to the complicated
tales of professional storytellers. Children also watched
the plays performed at festivals and fairs. Though not
specifically intended for children, the elaborate cos-
tumes, acrobatics, and martial arts held even a young
child’s interest. The stories often explained the back-
ground behind the festival, covering folklore, history, and
politics. Storytelling may have reached its peak during
the Song Dynasty from 960-1279. This traditional litera-
ture was used for instruction in Chinese schools until the
20th century.[1]:830–831
Greek and Roman children would have enjoyed listen-
ing to stories such as the Odyssey, written by Homer, and
Aesop’s Fables by the eponymous Aesop.
Examples of medieval literature include Gesta Romano-
rum, the Roman fables of Avianus, the French Livre pour
l'enseignement de ses filles, and the Welsh Mabinogion.
In Ireland, many of the thousands of folk stories were
recorded in the 11th and 12th centuries. Written in Old
Irish on vellum, they began spreading through Europe, in-
fluencing other folk tales with stories of magic, witches,
and fairies.[7]:256[17]:10
2.2 Early-modern Europe
During the 17th century, the concept of childhood began
to emerge in Europe. Adults saw children as separate be-
ings, innocent and in need of protection and training by
the adults around them.[11]:6–7[17]:9 The English philoso-
pher John Locke developed his theory of the tabula rasa
in his 1690 An Essay Concerning Human Understanding.
In Locke’s philosophy, tabula rasa was the theory that the
(human) mind is at birth a “blank slate” without rules for
processing data, and that data is added and rules for pro-
cessing are formed solely by one’s sensory experiences. A
corollary of this doctrine was that the mind of the child
2.2 Early-modern Europe 3

was born blank, and that it was the duty of the parents to
imbue the child with correct notions. Locke himself em-
phasized the importance of providing children with “easy
pleasant books” to develop their minds rather than using
force to compel them; “children may be cozen'd into a
knowledge of the letters; be taught to read, without per-
ceiving it to be anything but a sport, and play themselves
into that which others are whipp'd for.” He also suggested
that picture books be created for children.
Another influence on this shift in attitudes came from
Puritanism, which stressed the importance of individual
salvation. Puritans were concerned with the spiritual wel-
fare of their children, and there was a large growth in
the publication of “good godly books” aimed squarely
at children.[9] Some of the most popular works were by
James Janeway, but the most enduring book from this
movement, still widely read today , was The Pilgrim’s
Progress (1678) by John Bunyan.
Chapbooks, pocket-sized pamphlets that were often
folded instead of being stitched,[7]:32 were published in
Britain; illustrated by woodblock printing, these inex-
pensive booklets reprinted popular ballads, historical re-
tellings, and folk tales. Though not specifically published
for children at this time, young people enjoyed the book-
lets as well.[17]:8 Johanna Bradley says, in From Chap-
books to Plum Cake, that chapbooks kept imaginative sto-
ries from being lost to readers under the strict Puritan in-
fluence of the time.[13]:17
Hornbooks also appeared in England during this time, An early Mexican hornbook pictured in Tuer’s History of the
teaching children basic information such as the alpha- Horn-Book, 1896.
bet and the Lord’s Prayer.[18] These were brought from
England to the American colonies in the mid-17th cen-
tury. The first such book was a catechism for children
written in verse by the Puritan John Cotton. Known as
Spiritual Milk for Boston Babes, it was published in 1646,
appearing both in England and Boston. Another early
book, The New England Primer, was in print by 1691 and The New England Primer
used in schools for 100 years. The primer begins, “In
Adam’s fall We sinned all ...”, and continues through the
alphabet. It also contained religious maxims, acronyms,
young women, became the first Swedish children’s book
spelling help and other educational items, all decorated
upon its 1591 publication.[1]:700, 706 Sweden published fa-
by woodcuts.[7]:35
bles and a children’s magazine by 1766.
In 1634, the Pentamerone from Italy became the first ma-
In Italy, Giovanni Francesco Straparola released The
jor published collection of European folk tales. Charles
Facetious Nights of Straparola in the 1550s. Called the
Perrault began recording fairy tales in France, publish-
first European storybook to contain fairy-tales, it even-
ing his first collection in 1697. They were not well re-
tually had 75 separate stories and written for an adult
ceived among the French literary society, who saw them
audience.[19] Giulio Cesare Croce also borrowed from
as only fit for old people and children. In 1658, Jan
stories children enjoyed for his books.[20]:757
Ámos Comenius in Bohemia published the informative
Russia's earliest children’s books, primers, appeared in
illustrated Orbis Pictus, for children under six learning to
the late 16th century. An early example is ABC-Book, an
read. It is considered to be the first picture book produced
specifically for children.[17]:7 alphabet book published by Ivan Fyodorov in 1571.[1]:765
The first picture book published in Russia, Karion Is-
The first Danish children’s book was The Child’s Mir-
tomin's The Illustrated Primer, appeared in 1694.[1]:765
ror by Niels Bredal in 1568, an adaptation of a Courtesy
Peter the Great's interest in modernizing his country
book by the Dutch priest Erasmus. A Pretty and Splen-
through Westernization helped Western children’s liter-
did Maiden’s Mirror, an adaptation of a German book for
ature dominate the field through the 18th century.[1]:765
4 2 HISTORY

Catherine the Great wrote allegories for children, and printings. He became Germany’s “outstanding and most
during her reign, Nikolai Novikov started the first juve- modern”[1]:736 writer for children. According to Hans-
nile magazine in Russia.[1]:765 Heino Ewers in The International Companion Encyclope-
dia of Children’s Literature, “It can be argued that from
this time, the history of European children’s literature was
2.3 Origins of the modern genre largely written in Germany.”[1]:737

The modern children’s book emerged in mid-18th-

century England.[21] A growing polite middle-class and
the influence of Lockean theories of childhood innocence
combined to create the beginnings of childhood as a con-
cept. A Little Pretty Pocket-Book, written and published
by John Newbery, is widely considered the first modern
children’s book, published in 1744. It was a landmark as
the first children’s publication aimed at giving enjoyment
to children,[22] containing a mixture of rhymes, picture
stories and games for pleasure.[23] Newbery believed that
play was a better enticement to children’s good behavior
than physical discipline,[24] and the child was to record
his or her behavior daily.
The book was child–sized with a brightly colored cover
that appealed to children—something new in the publish-
ing industry. Known as gift books, these early books be-
came the precursors to the toy books popular in the 19th
century.[25] Newbery was also adept at marketing this new
genre. According to the journal The Lion and the Uni-
corn, “Newbery’s genius was in developing the fairly new
product category, children’s books, through his frequent
advertisements ... and his clever ploy of introducing ad- Brothers Grimm, Wilhelm (left) and Jakob Grimm (right) from
an 1855 painting by Elisabeth Jerichau-Baumann
ditional titles and products into the body of his children’s
books.”[26][27]
The improvement in the quality of books for children, In the early 19th century, Danish author and poet Hans
as well as the diversity of topics he published, helped Christian Andersen traveled through Europe and gath-
make Newbery the leading producer of children’s books ered many well-known fairy tales.[31] He was followed by
in his time. He published his own books as well as those the Brothers Grimm, who preserved the traditional tales
by authors such as Samuel Johnson and Oliver Gold- told in Germany.[20]:184 They were so popular in their
smith;[28]:36[29] the latter may have written The History of home country that modern, realistic children’s literature
Little Goody Two-Shoes, Newbery’s most popular book. began to be looked down on there. This dislike of non-
traditional stories continued there until the beginning of
Another philosopher who influenced the development of
children’s literature was Jean-Jacques Rousseau, who ar- the next century.[1]:739–740 The Grimms’s contribution to
children’s literature goes beyond their collection of sto-
gued that children should be allowed to develop nat-
urally and joyously. His idea of appealing to a chil- ries, as great as that is. As professors, they had a scholarly
interest in the stories, striving to preserve them and their
dren’s natural interests took hold among writers for
children.[7]:41 Popular examples included Thomas Day's variations accurately, recording their sources.[7]:259
The History of Sandford and Merton, four volumes that A similar project was carried out by the Norwegian schol-
embody Rousseau’s theories. Furthermore, Maria and ars Peter Christen Asbjørnsen and Jørgen Moe, who
Richard Lovell Edgeworth's Practical Education: The collected Norwegian fairy tales and published them as
History of Harry and Lucy (1780) urged children to teachNorwegian Folktales, often referred to as Asbjørnsen and
themselves.[30] Moe. By compiling these stories, they preserved Nor-
Rousseau’s ideas also had great influence in Germany, way’s literary heritage
[7]:260
and helped create the Norwegian
especially on German Philanthropism, a movement con- written language.
cerned with reforming both education and literature for In Switzerland, Johann David Wyss published The Swiss
children. Its founder, Johann Bernhard Basedow, au- Family Robinson in 1812, with the aim of teaching chil-
thored Elementarwerk as a popular textbook for children dren about family values, good husbandry, the uses of the
that included many illustrations by Daniel Chodowiecki. natural world and self-reliance. The book became pop-
Another follower, Joachim Heinrich Campe, created an ular across Europe after it was translated into French by
adaptation of Robinson Crusoe that went into over 100 Isabelle de Montolieu.
2.5 Recent national traditions
2.4 Golden age
The shift to a modern genre of children’s literature oc-
curred in the mid-19th century, as the didacticism of a
previous age began to make way for more humorous,
child-oriented books, more attuned to the child’s imag-
ination. The availability of children’s literature greatly
increased as well, as paper and printing became widely
available and affordable, the population grew and liter-
acy rates improved.[1]:654–655
Tom Brown’s School Days by Thomas Hughes appeared
in 1857, and is considered to be the founding book in
the school story tradition.[32]:7–8 However, it was Lewis
Carroll's fantasy, Alice’s Adventures in Wonderland, pub-
lished in 1865 in England, that signaled the change in
writing style for children to an imaginative and empa-
thetic one. Regarded as the first “English masterpiece
written for children”[7]:44 and as a founding book in the
development of fantasy literature, its publication opened
the “First Golden Age” of children’s literature in Britain
and Europe that continued until the early 1900s.[32]:18
Another important book of that decade was The Water-
Babies, A Fairy Tale for a Land Baby, by Reverend
Charles Kingsley (1862), which became extremely popu-
lar in England, and remains a classic of British children’s
literature.
In 1883, Carlo Collodi wrote the first Italian fantasy
novel, The Adventures of Pinocchio, which was trans-
lated many times. In Britain, The Princess and the Goblin
and its sequel The Princess and Curdie, by George Mac-
Donald, appeared in 1872 and 1883, and the adventure
stories Treasure Island and Kidnapped, both by Robert
Louis Stevenson, were extremely popular in the 1880s.
Rudyard Kipling's The Jungle Book was first published
in 1894, and J. M. Barrie told the story of Peter Pan in
the novel Peter and Wendy in 1911. Johanna Spyri's two-
part novel Heidi was published in Switzerland in 1880
and 1881.[1]:749 In the US, children’s publishing entered a
period of growth after the American Civil War in 1865.
Boys’ book writer Oliver Optic published over 100 books.
In 1868, the “epoch-making book”[7]:45 Little Women, the
fictionalized autobiography of Louisa May Alcott, was
published. This "coming of age" story established the
genre of realistic family books in the United States. Mark
Twain released Tom Sawyer in 1876, and in 1880 another
bestseller, Uncle Remus: His Songs and His Sayings, a col-
lection of African American folk tales adapted and com-
piled by Joel Chandler Harris, appeared.[1]:478
2.5 Recent national traditions
2.5.1 China
The Chinese Revolution of 1911 and World War II
brought political and social change that revolutionized
children’s literature in China. Western science, tech-
nology, and literature became fashionable. China’s first
5
modern publishing firm, Commercial Press, established
several children’s magazines, which included Youth Mag-
azine, and Educational Pictures for Children.[1]:832–833
The first Chinese children’s writer was Sun Yuxiu, an
editor of Commercial Press, whose story The Kingdom
Without a Cat was written in the language of the time
instead of the classical style used previously. Yuxiu en-
couraged novelist Shen Dehong to write for children as
well. Dehong went on to rewrite 28 stories based on clas-
sical Chinese literature specifically for children. In 1932,
Zhang Tianyi published Big Lin and Little Lin, the first
full-length Chinese novel for children.[1]:833–834
The Chinese Revolution of 1949 changed children’s lit-
erature again. Many children’s writers were denounced,
but Tianyi and Ye Shengtao continued to write for chil-
dren and created works that aligned with Maoist ideology.
The 1976 death of Mao Zedong provoked more changes
sweep China. Many writers from the early part of the cen-
tury were brought back, and their work became available
again. In 1990, General Anthology of Modern Children’s
Literature of China, a fifteen-volume anthology of chil-
dren’s literature since the 1920s, was released.[1]:834–835
2.5.2 Europe
A line-up of the American second edition printings of The Hob-
bit.
Britain The Golden Age of Children’s Literature
ended with World War I in Great Britain and Europe, and
the period before World War II was much slower in chil-
dren’s publishing. The main exceptions in England were
the publications of Winnie-the-Pooh by A. A. Milne in
1926 and The Hobbit by J. R. R. Tolkien in 1937.[1]:682–683
T. H. White's sequence of Arthurian novels, The Once
and Future King, began with The Sword in the Stone, pub-
lished in 1938. In 1941, children’s paperback books were
first released in England under the Puffin Books imprint,
and their lower prices helped make book buying possible
for children during World War II.[1]:475–476
In the 1950s, the book market in Europe began recover-
ing from the effects of two world wars. In Britain, C. S.
Lewis published the first installment of The Chronicles of
Narnia series in 1950, Dodie Smith's The Hundred and
One Dalmatians was published in 1956, and Roald Dahl
6 2 HISTORY

wrote Charlie and the Chocolate Factory in 1964. Chil- 1914. Vasily Avenarius wrote fictionalized biographies
dren’s fantasy literature remained strong in Great Britain of important people like Nikolai Gogol and Alexander
throughout the 20th century. In Wales, the Welsh Joint Pushkin around the same time, and scientists wrote for
Education Committee and the Welsh Books Council en- books and magazines for children. Children’s magazines
couraged the publication of children’s books in the Welsh flourished, and by the end of the century there were
language as well as books in English about Wales. 61. Lidia Charskaya and Klavdiya Lukashevich contin-
In 1997, J. K. Rowling published the first book in the ued the popularity of girls’ fiction. Realism took a gloomy
Harry Potter series in England. Despite its huge success, turn by frequently showing the maltreatment of children
from lower classes. The most popular boys’ material
the children’s book market in Britain suffered at the end
of the century due to a difficult economy and competition was Sherlock Holmes, and similar stories from detective
magazines.[1]:768
from television and video games. However, picture books
continue to do well.[1]:687 The state took control of children’s literature during the
October Revolution. Maksim Gorky edited the first
children’s, Northern Lights, under Soviet rule. Peo-
Continental Europe The period from 1890 until ple often label the 1920s as the Golden Age of Chil-
World War I is considered the Golden Age of Children’s dren’s Literature in Russia.[1]:769 Samuil Marshak led
Literature in Scandinavia. Erik Werenskiold, Theodor that literary decade as the “founder of (Soviet) children’s
Kittelsen, and Dikken Zwilgmeyer were especially pop- literature”.[34]:193 As head of the children’s section of
ular, writing folk and fairy tales as well as realistic fic- the State Publishing House and editor of several chil-
tion. The 1859 translation into English by George Webbe dren’s magazines, Marshak exercised enormous influence
Dasent helped increase the stories’ influence.[1]:705 One by[34]:192–193 recruiting Boris Pasternak and Osip Mandel-
of the most influential and internationally most successful stam to write for children.
Scandinavian children’s books from this period is Selma
In 1932, professional writers in the Soviet Union formed
Lagerlöfs The Wonderful Adventures of Nils.
the USSR Union of Writers, which served as the writer’s
The interwar period saw a slow-down in output similar organization of the Communist Party. With a chil-
to Britain, although “one of the first mysteries written dren’s branch, the official oversight of the professional
specifically for children”, Emil and the Detectives by Erich organization brought children’s writers under the con-
Kästner, was published in Germany in 1930.[20]:315 trol of the state and the police. Communist princi-
The period during and following World War II became ples like collectivism and solidarity became important
the Classical Age of the picture book in Switzerland, with themes in children’s literature. Authors wrote biogra-
works by Alois Carigiet, Felix Hoffmann, and Hans Fis- phies about revolutionaries like Lenin and Pavlik Moro-
cher.[1]:683–685, 399, 692, 697, 750 1963 was the first year of zov. Alexander Belyayev, who wrote in the 1920s[1]:770 and
the Bologna Children’s Book Fair in Italy, which was de- 1930s, became Russia’s first science fiction writer.
scribed as “the most important international event ded- According to Ben Hellman in the International Compan-
icated to the children’s publishing”.[33] For four days it ion Encyclopedia of Children’s Literature, “war was to oc-
brings together writers, illustrators, publishers, and book cupy a prominent place in juvenile reading, partly com-
buyers from around the world.[33] pensating for the lack of adventure stories”, during the
Soviet Period.[1]:771 More political changes in Russia af-
ter World War II brought further change in children’s lit-
Russia and USSR In Russia, Russian fairy tales were erature. Today, the field is in a state of flux because some
introduced to children literature by Aleksandr Afanasyev older authors are being rediscovered and others are being
[1]:772
in his children’s edition of his eight-volume Russian Folk abandoned.
Tales in 1871. By the 1860s, literary realism and non-
fiction dominated children’s literature. More schools
2.5.3 India
were started, using books by writers like Konstantin
Ushinsky and Leo Tolstoy, whose Russian Reader in- Christian missionaries first established the Calcutta
cluded an assortment of stories, fairy tales, and fa- School-Book Society in the 19th century, creating a
bles. Books written specifically for girls developed separate genre for children’s literature in that coun-
in the 1870s and 1880s. Publisher and journalist try. Magazines and books for children in native lan-
Evgenia Tur wrote about the daughters of well-to-do guages soon appeared.[1]:808 In the latter half of the cen-
landowners, while Aleksandra Annenskaya's stories told tury, Raja Shivprasad wrote several well-known books in
of middle-class girls working to support themselves. Vera
Hindustani.[1]:810 A number of respected Bengali writ-
Zhelikhovsky, Elizaveta Kondrashova, and Nadezhda ers began producing Bengali literature for children in-
Lukhmanova also wrote for girls during this period.[1]:767
cluding Ishwar Chandra Vidyasagar, who translated some
Children’s non-fiction gained great importance in Rus- stories and wrote others himself. Nobel Prize winner
sia at the beginning of the century. A ten-volume chil- Rabindranath Tagore wrote plays, stories, and poems
dren’s encyclopedia was published between 1913 and for children, including one work illustrated by painter
2.5 Recent national traditions
The Crescent Moon by Rabindranath Tagore illus. by Nandalal
Bose, Macmillan 1913
Nandalal Bose. They worked from the end of the
19th century into the beginning of the 20th century.
Tagore’s work was later translated into English, with
Bose’s pictures.[1]:811 Behari Lal Puri was the earliest
writer for children in Punjabi. His stories were didactic
in nature.[1]:815
The first full-length children’s book was Khar Khar Ma-
hadev by Narain Dixit, which was serialized in one of
the popular children’s magazines in 1957. Other writers
include Premchand, and poet Sohan Lal Dwivedi.[1]:811
In 1919, Sukumar Ray wrote and illustrated nonsense
rhymes in the Bengali language, and children’s writer
and artist Abanindranath Tagore finished Barngtarbratn.
Bengali children’s literature flourished in the later part of
the twentieth century. Educator Gijubhai Badheka pub-
lished over 200 children’s books in the Gujarati language,
and many of them are still popular.[1]:812 In 1957, polit-
ical cartoonist K. Shankar Pillai founded the Children’s
Book Trust publishing company. The firm became
known for high quality children’s books, and many of
them were released in several languages. One of the most
distinguished writers is Pandit Krushna Chandra Kar in
Oriya literature, who wrote many good books for chil-
dren, including Pari Raija, Kuhuka Raija, Panchatantra,
and Adi Jugara Galpa Mala. He wrote biographies of
many historical personalities, such as Kapila Deva. In
7
1978, the firm organized a writers’ competition to en-
courage quality children’s writing. The following year,
the Children’s Book Trust began a writing workshop and
organized the First International Children’s Book Fair in
New Delhi.[1]:809 Children’s magazines, available in many
languages, were widespread throughout India during this
century.[1]:811–820
2.5.4 United States
The Story of Mankind by Hendrik van Loon, 1st Newbery Award
winner
One of the most famous books of American children’s
literature is L. Frank Baum's fantasy novel The Wonder-
ful Wizard of Oz, published in 1900. “By combining the
English fondness for word play with the American ap-
petite for outdoor adventure”, Connie Epstein in Inter-
national Companion Encyclopedia Of Children’s Litera-
ture says Baum “developed an original style and form that
stands alone”.[1]:479 Baum wrote thirteen more Oz novels,
and other writers continued the Oz series into the twenty-
first century.
Demand continued to grow in North America between
World War I and World War II, helped by the growth of
libraries in both Canada and the United States. Children’s
reading rooms in libraries, staffed by specially trained li-
brarians, helped create demand for classic juvenile books.
Reviews of children’s releases began appearing regularly
in Publishers Weekly and in The Bookman magazine be-
gan to regularly publish reviews of children’s releases, and
the first Children’s Book Week was launched in 1919. In
that same year, Louise Seaman Bechtel became the first
person to head a juvenile book publishing department in
the country. She was followed by May Massee in 1922,
and Alice Dalgliesh in 1934.[1]:479–480
The American Library Association began awarding the
Newbery Medal, the first children’s book award, in
1922.[35] The Caldecott Medal for illustration followed
in 1938.[36] The first book by Laura Ingalls Wilder about
her life on the American frontier, Little House in the Big
Woods appeared in 1932.[20]:471 In 1937 Dr. Seuss pub-
lished his first book, entitled, And to Think That I Saw It
8 4 ILLUSTRATION
on Mulberry Street. The young adult book market devel-
oped during this period, thanks to sports books by popu-
lar writer John R. Tunis', the novel Seventeenth Summer
by Maureen Daly, and the Sue Barton nurse book series
by Helen Dore Boylston.[37]:11
The already vigorous growth in children’s books be-
came a boom in the 1950s, and children’s publishing be-
[1]:481
came big business. In 1952, American journalist
E. B. White published Charlotte’s Web, which was de-
scribed as “one of the very few books for young children
that face, squarely, the subject of death”.[20]:467 Maurice
Sendak illustrated more than two dozen books during
the decade, which established him as an innovator in
[1]:481
book illustration. The Sputnik crisis that began in
1957, provided increased interest and government money
for schools and libraries to buy science and math books
and the non-fiction book market “seemed to materialize
[1]:482
overnight”.
3 Classification
Children’s literature can be divided into a number of cate-
gories, but it is most easily categorized according to genre
or the intended age of the reader.
A Tagore illustration of a Hindu myth
3.1 By genre
A literary genre is a category of literary compositions.
Genres may be determined by technique, tone, content,
or length. According to Anderson,[38] there are six cate-
gories of children’s literature (with some significant sub-
genres):
• Picture books, including concept books that teach
the alphabet or counting for example, pattern books,
and wordless books.
• Traditional literature, including folktales, which
convey the legends, customs, superstitions, and be-
liefs of people in previous civilizations. This genre
can be further broken into subgenres: myths, fables,
legends, and fairy tales
• Fiction, including fantasy, realistic fiction, and
historical fiction
• Non-fiction
• Biography and autobiography
• Poetry and verse.
3.2 By age category
The criteria for these divisions are vague, and books near
a borderline may be classified either way. Books for
younger children tend to be written in simple language,
use large print, and have many illustrations. Books for
older children use increasingly complex language, normal
print, and fewer (if any) illustrations. The categories with
an age range are listed below:
• Picture books, appropriate for pre-readers or chil-
dren ages 0–5.
• Early reader books, appropriate for children ages 5–
7. These books are often designed to help a child
build his or her reading skills.
• Chapter books, appropriate for children ages 7–12.
• Short chapter books, appropriate for children
ages 7–9.
• Longer chapter books, appropriate for chil-
dren ages 9–12.
• Young-adult fiction, appropriate for children ages
12–18.
4 Illustration
Pictures have always accompanied children’s
stories.[8]:320 A papyrus from Byzantine Egypt, shows
 9

A late 18th-century reprint of Orbis Pictus by Comenius, the first

children’s picture book.

illustrations accompanied by the story of Hercules'

labors.[39] Modern children’s books are illustrated in
a way that is rarely seen in adult literature, except
in graphic novels. Generally, artwork plays a greater
role in books intended for younger readers (especially
pre-literate children). Children’s picture books often
serve as an accessible source of high quality art for young
children. Even after children learn to read well enough
to enjoy a story without illustrations, they continue to
appreciate the occasional drawings found in chapter
books.
According to Joyce Whalley in The International Com-
panion Encyclopedia of Children’s Literature, “an illus-
trated book differs from a book with illustrations in that a
good illustrated book is one where the pictures enhance or
add depth to the text.”[1]:221 Using this definition, the first
illustrated children’s book is considered to be Orbis Pic-
tus which was published in 1658 by the Moravian author
Comenius. Acting as a kind of encyclopedia,Orbis Pictus
had a picture on every page, followed by the name of the
object in Latin and German. It was translated into En-
glish in 1659 and was used in homes and schools around
Europe and Great Britain for years.[1]:220
Early children’s books, such as Orbis Pictus, were il-
lustrated by woodcut, and many times the same im-
age was repeated in a number of books regardless of
how appropriate the illustration was for the story.[8]:322
Newer processes, including copper and steel engraving
were first used in the 1830s. One of the first
uses of Chromolithography (a way of making multi-
colored prints) in a children’s book was demonstrated in
Struwwelpeter, published in Germany in 1845. English il-
lustrator Walter Crane refined its use in children’s books
in the late 19th century.
Another method of creating illustrations for children’s
books was etching, used by George Cruikshank in the
1850s. By the 1860s, top artists were illustrating for chil-
dren, including Crane, Randolph Caldecott, Kate Green-
away, and John Tenniel. Most pictures were still black-
and-white, and many color pictures were hand colored,
Walter Crane’s chromolithograph illustration for The Frog
Prince, 1874.
often by children.[1]:224–226 The Essential Guide to Chil-
dren’s Books and Their Creators credits Caldecott with
“The concept of extending the meaning of text beyond
literal visualization”.[20]:350
Twentieth-century artists such as Kay Nielson, Edmund
Dulac, and Arthur Rackham produced illustrations that
are still reprinted today.[1]:224–227 Developments in print-
ing capabilities were reflected in children’s books. After
World War II, offset lithography became more refined,
and painter-style illustrations, such as Brian Wildsmith's
were common by the 1950s.[1]:233
5 Scholarship
Professional organizations, dedicated publications, indi-
vidual researchers and university courses conduct schol-
arship on children’s literature. Scholarship in children’s
literature is primarily conducted in three different disci-
plinary fields: literary studies/cultural studies (literature
and language departments and humanities), library and
information science, and education. (Wolf, et al., 2011).
Typically, children’s literature scholars from literature
departments in universities (English, German, Spanish,
etc. departments), cultural studies, or in the humanities
conduct literary analysis of books. This literary criti-
cism may focus on an author, a thematic or topical con-
cern, genre, period, or literary device and may address
issues from a variety of critical stances (poststructural,
postcolonial, New Criticism, psychoanalytic, new histori-
cism, etc.). Results of this type of research are typically
published as books or as articles in scholarly journals.
10 6 AWARDS

The field of Library and Information Science has a long
history of conducting research related to children’s liter-
ature.
Most educational researchers studying children’s litera-
ture explore issues related to the use of children’s litera-
ture in classroom settings. They may also study topics
such as home use, children’s out-of-school reading, or
parents’ use of children’s books. Teachers typically use
children’s literature to augment classroom instruction.
Prize for excellence in illustration. Other awards
are The Ceres Alabado Award for Outstanding
Contribution in Children’s Literature; the Gintong
Aklat Award (Golden Book Award); The Gawad
Komisyon para sa Kuwentong Pambata (Commis-
sion Award for Children’s Literature in Filipino) and
the National Book Award (given by the Manila Crit-
ics’ Circle) for Outstanding Production in Children’s
Books and young adult literature.

6 Awards
Many noted awards for children’s literature exist in vari-
ous countries:

• In Africa, The Golden Baobab Prize runs an annual

competition for African writers of Children’s sto-
ries. It is one of the few African literary awards that
recognizes writing for children and young adults.
The competition is the only pan-African writing
competition that recognizes promising African writ-
ers of children’s literature. Every year, the competi-
tion invites entries of unpublished African-inspired
stories written for an audience of 8- to 11-year-olds
(Category A) or 12- to 15-year-olds (Category B).
The writers who are aged 18 or below, are eligible
for the Rising Writer Prize.
• In Australia, the Children’s Book Council of Aus-
tralia runs a number of annual CBCA book awards
• In Canada, the Governor General’s Literary Award
for Children’s Literature and Illustration, in En-
glish and French, is established. A number of the
provinces’ school boards and library associations
also run popular “children’s choice” awards where Writer Astrid Lindgren, 1924
candidate books are read and championed by in-
dividual schools and classrooms. These include
the Blue Spruce (grades K-2) Silver Birch Express • In the United Kingdom and Commonwealth, the
(grades 3–4), Silver Birch (grades 5–6) Red Maple Carnegie Medal for writing and the Kate Greenaway
(grades 7–8) and White Pine (high school) in On- Medal for illustration, the Nestlé Smarties Book
tario. Programs in other provinces include The Red Prize, and the Guardian Award are a few notable
Cedar and Stellar Awards in BC, the Willow Awards awards.
in Saskatchewan, and the Manitoba Young Readers
• In the United States, the American Library Asso-
Choice Awards. IBBY Canada offers a number of
ciation Association for Library Service to Children
annual awards.
give the major awards. They include the Newbery
• In the Philippines, The Carlos Palanca Memorial Medal for writing, Michael L. Printz Award for
Award for Literature for short story literature in the writing for teens, Caldecott Medal for illustration,
English and Filipino languages (Maikling Kathang Golden Kite Award in various categories from the
Pambata) has been established since 1989. The SCBWI, Sibert Medal for informational, Theodor
Children’s Poetry in the English and Filipino lan- Seuss Geisel Award for beginning readers, Laura In-
guages has been established since 2009. The Pi- galls Wilder Medal for impact over time, Batchelder
lar Perez Medallion for Young Adult Literature was Award for works in translation, Coretta Scott King
awarded in 2001 and 2002. The Philippine Board on Award for work by an African-American writer, and
Books for Young People gives major awards, which the Belpre Medal for work by a Latino writer. Other
include the PBBY-Salanga Writers’ Prize for excel- notable awards are the National Book Award for
lence in writing and the PBBY-Alcala Illustrator’s Young People’s Literature and <3 the Orbis Pictus

Award for excellence in the writing of nonfiction for
children.
International awards also exist as forms of global recogni-
tion. These include the Hans Christian Andersen Award,
the Astrid Lindgren Memorial Award, Ilustrarte Bienale
for illustration, and the BolognaRagazzi Award for art
work and design.[40] Additionally, bloggers with exper-
tise on children’s and young adult books give a major se-
ries of online book awards called The Cybils Awards, or,
Children’s and Young Adult Bloggers’ Literary Awards.
7 See also
• Book talk
• Children’s literature criticism
• Disability in children’s literature
• International Children’s Digital Library
• Internet Archive’s Children’s Library
• Native Americans in children’s literature
• Young-adult literature
• Feminist children’s literature
Lists
• List of children’s book series
• List of children’s classic books
• List of children’s literature authors
• List of children’s non-fiction writers
• List of fairy tales
• List of illustrators
• List of publishers of children’s books
8 References
[1] Hunt, Peter (editor) (1996). International Companion En-
cyclopedia Of Children’s Literature. Taylor & Francis.
ISBN 978-0-203-16812-7.
[2] Nodelman, Perry (2008). The Hidden Adult: Defining
Children’s Literature. JHU. p. 4. ISBN 978-0-8018-
8980-6.
[3] Library of Congress. “Children’s Literature” (PDF). LI-
brary of Congress Collections Policy Statement. Library of
Congress. Retrieved 1 June 2013.
[4] Chevalier, Tracy (1989). Twentieth-Century Children’s
Writers. Chicago: St. James Press. ISBN 0-912289-95-3.
11
[5] Anderson 2006, p. 2.
[6] Smith, Dinitia (June 24, 2000). “The Times Plans a Chil-
dren’s Best-Seller List”. The New York Times. Retrieved
24 July 2012.
[7] Arbuthnot, May Hill (1964). Children and Books. United
States: Scott, Foresman.
[8] Lerer, Seth (2008). Children’s Literature: A Reader’s His-
tory, from Aesop to Harry Potter. University of Chicago.
[9] “To Instruct and Delight A History of Children’s Litera-
ture”. Randon History. Retrieved July 16, 2012.
[10] Nikolajeva, María (editor) (1995). Aspects and Issues in
the History of Children’s Literature. Greenwood. ISBN
978-0-313-29614-7.
[11] Shavit, Zohar (2009). Poetics of Children’s Literature.
University of Georgia Press. ISBN 978-0-8203-3481-3.
[12] McMunn, Meradith Tilbury; William Robert McMunn
(1972). “Children’s Literature in the Middle Ages”.
Children’s Literature 1: 21. doi:10.1353/chl.0.0064. Re-
trieved 17 July 2012.
[13] Bradley, Johanna (2007). From Chapbooks to Plumb
Cake: The History of Children’s Literature. ProQuest.
ISBN 978-0-549-34070-6.
[14] Wyile, Andrea Schwenke (editor) (2008). Considering
Children’s Literature: A Reader. Broadview. p. 46.
[15] Kline, Daniel T. (2003). Medieval Literature for Children.
Psychology Press. ISBN 978-0-8153-3312-8.
[16] Ghaeni, Zohreh. “Asurik Tree: The Oldest Children’s
Story in Persian History”. International Board on Books
for Young People. Retrieved 27 July 2012.
[17] Reynolds, Kimberley (2011). Children’s Literature: A
Very Short Introduction. Oxford University Press.
[18] The Columbia Encyclopedia: Children’s Literature.
Columbia University Press. 2009.
[19] Opie, Iona; Peter Opie (1974). The Classic Fairy Tales.
Oxford and New York: Oxford University Press. p. 20.
ISBN 0-19-211559-6{{inconsistent citations}}
[20] Silvey, Anita (editor) (2002). The Essential Guide to Chil-
dren’s Books and their Creators. New York: Houghton
Mifflin. ISBN 0-618-19082-1.
[21] “How the Newbery Award Got Its Name”.
[22] “Early Children’s Literature: From moralistic stories to
narratives of everyday life”.
[23] Marks, Diana F. (2006). Children’s Book Award Hand-
book. Westport, Conn: Libraries Unlimited. p. 201.
[24] Townsend, John Rowe. Written for Children. (1990).
New York: HarperCollins. ISBN 0-06-446125-4, pp.
15–16.
12
[25] Lundin, Anne H. (1994). “Victorian Horizons: The Re-
ception of Children’s Books in England and America,
1880–1900”. The Library Quarterly (The University of
Chicago Press) 64.
[26] Susina, Jan (June 1993). “Editor’s Note: Kiddie Lit(e):
The Dumbing Down of Children’s Literature”. The Lion
and the Unicorn 17 (1): v–vi. doi:10.1353/uni.0.0256.
Retrieved 30 July 2012.
[27] Rose, p. 218.
[28] Arbuthnot, May Hill (1964). Children and Books. Scott,
Foresman.
[29] Rose, p. 219.
[30] Leader, Zachary, Reading Blake’s Songs, p.3
[31] Elias Bredsdorff, Hans Christian Andersen: the story of
his life and work 1805–75, Phaidon (1975) ISBN 0-7148-
1636-1
[32] Knowles, Murray (1996). Language and Control in Chil-
dren’s Literature. Psychology Press. ISBN 978-0-203-
41975-5.
[33] “Italy | Bologna Children’s Book Fair”. Culture360. Re-
trieved 3 August 2012.
[34] Shrayer, Maxim (editor) (2007). An Anthology of Jewish-
Russian Literature: 1801–1953. M. E. Sharpe. ISBN 978-
0-7656-0521-4.
[35] “Newbery Awards”. Retrieved May 5, 2012.
[36] “Caldecott Medal Awards”. Retrieved May 5, 2012.
[37] Cart, Michael (2010). Young Adult Literature: From Ro-
mance to Realism. ALA Editions. ISBN 978-0-8389-
1045-0.
[38] Anderson 2006
[39] Cribiore, Raffaella, Gymnastics of the Mind, pg. 139
Princeton University, 2001, cited in Lerer, Seth, Chil-
dren’s Literature, pg. 22, University of Chicago, 2008.
[40] “Winners 2012: Fiction”. Bologna Children’s Book Fair.
BolognaFiere S.p.A. Retrieved July 23, 2012.
9 Further reading
• Reynolds, Kimberley (2011). Children’s Literature:
A Very Short Introduction. Oxford: Oxford Univer-
sity Press. ISBN 978-0-19-956024-0.
• Zipes, Jack, ed. (2006). The Oxford Encyclopedia
of Children’s Literature. Oxford: Oxford University
Press. ISBN 978-0-19-514656-1.
• Anderson, Nancy (2006). Elementary Children’s
Literature. Boston: Pearson Education. ISBN 0-
205-45229-9.
10 EXTERNAL LINKS
• Chapleau, Sebastien (2004). New Voices in Chil-
dren’s Literature Criticism. Lichfield: Pied Piper
Publishing. ISBN 978-0-9546384-4-3.
• Huck, Charlotte (2001). Children’s Literature in the
Elementary School, 7th ed. New York: McGraw-
Hill. ISBN 0-07-232228-4.
• Hunt, Peter (1991). Criticism, Theory, and Chil-
dren’s Literature. Oxford: Blackwell. ISBN 0-631-
16231-3.
• Lesnik-Oberstein, Karin (1996). “Defining Chil-
dren’s Literature and Childhood”. In Hunt, Pe-
ter (ed.). International Companion Encyclopedia of
Children’s Literature. London: Routledge. pp. 17–
31. ISBN 0-415-08856-9.
• Lesnik-Oberstein, Karin (1994). Children’s Liter-
ature: Criticism and the Fictional Child. Oxford:
Clarendon Press. ISBN 0-19-811998-4.
• Lesnik-Oberstein, Karin (2004). Children’s Liter-
ature: New Approaches. Basingstoke: Palgrave.
ISBN 1-4039-1738-8.
• Rose, Jacqueline (1984). The Case of Peter Pan
or the Impossibility of Children’s Fiction (1993 ed.).
Philadelphia: University of Pennsylvania Press.
ISBN 0-8122-1435-8.
• Wolf, Shelby (2010). Handbook of Research in
Children’s and Young Adult Literature. Cambridge:
Routledge. ISBN 978-0-415-96506-4.
10 External links
• International Children’s Digital Library Repository
of 2,827 children’s books in 48 languages viewable
over the Internet.
• National Children’s Literacy Website Children’s Lit-
eracy Tips and Resources for Parents, Grandpar-
ents, and child care staffs.
• Arne Nixon Center for the Study of Children’s Lit-
erature
• Children’s Literature Research Collections, at the
University of Minnesota
• Baldwin Digital Library of Children’s Literature
• Children’s eTexts at Project Gutenberg (more)
• International Board on Books for Young People
• The Society of Children’s Book Writers and Illus-
trators
• Children’s Literature Network
 13

• The Ball State University Digital Media Repository

Historic Children’s Book collection provides online
access to children’s books from the 20th and 19th
centuries.
• Stanford.eu

• Hathitrust.org
• AuthorAlerts.com

• FantasticFiction.com
• FictFact.com

• FictionDB.com

• International Companion Encyclopedia of Children’s

Literature.

• OrderOfBooks.com
• StopYoureKillingMe.com

• The Oxford Encyclopedia of Children’s Literature.

• Series Books for Girls . . . and a Few for Boys
14 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

11 Text and image sources, contributors, and licenses

11.1 Text
• Children’s literature Source: https://en.wikipedia.org/wiki/Children’{}s_literature?oldid=682954041 Contributors: Damian Yerrick,
Paul Drye, Mav, Wesley, Bryan Derksen, Tarquin, Malcolm Farmer, Ed Poor, Eclecticology, Danny, Rmhermen, Deb, SimonP, Ellmist,
DrBob, Imran, Branko, KF, Olivier, Mary Anne, Patrick, Dominus, Wapcaplet, Zanimum, Karada, Anonymous56789, Paul A, Eric119,
Ronz, Lupinoid, Varitek, Timwi, Andrewman327, SEWilco, Finlay McWalter, Robbot, Murray Langton, Altenmann, Seglea, Chris Roy,
FredR, Aniu~enwiki, Andrew Levine, Mervyn, Sheridan, Hadal, Smjg, Wikilibrarian, Zigger, Mark Richards, SheikYerBooty, Curps, Rick
Block, Jamesbow, Daibhid C, Coralys, Tagishsimon, Woggly, Andycjp, Piotrus, PDH, Tomandlu, Joyous!, Myles Callum, Klemen Koc-
jancic, Kate, Grstain, Lord Bodak, Rich Farmbrough, Kdammers, Pie4all88, Notinasnaid, Wadewitz, Pavel Vozenilek, Ratonyi~enwiki,
Deborah-jl, Kwamikagami, Art LaPella, Bobo192, .:Ajvol:., Angie Y., Kappa, Nsaa, Espoo, Jumbuck, Albrecht Conz, Atlant, Carbon Cary-
atid, Yamla, Mlessard, Chicopac, Dabbler, Tony Sidaway, Cmapm, Vallowe, Natalya, Pol098, Soniamiller, Bartash, Damhamos~enwiki,
Graham87, Sparkit, NickF, Rjwilmsi, George Burgess, Kinu, Quiddity, Rhodian, JYOuyang, Jay-W, Chobot, DVdm, Bgwhite, Icarus3,
Pigman, DE, LaszloWalrus, Fabulous Creature, Joel7687, Nick, Aaron Brenneman, Ngorongoro, Jpbowen, Dethomas, Natkeeran, Mysid,
Gadget850, Pegship, Sandstein, Nikkimaria, Pb30, RobotF, Kennylucius, ArielGold, Curpsbot-unicodify, GrinBot~enwiki, Kicking222,
SmackBot, MattieTK, Zuloon, Sandow, Cubs Fan, Reedy, Hydrogen Iodide, Edgar181, Hmains, Kevinalewis, Durova, Schmiteye, Chris
the speller, Keegan, MalafayaBot, SchfiftyThree, CyberSach, Colonies Chris, Kcordina, Jackohare, Minority2005, Jeremyb, Ligulembot,
Risssa, Skinnyweed, Spiritia, Ian Spackman, Butko, Rm w a vu, Ckatz, Mr. Vernon, Frokor, Mr Stephen, Yip1982, Hu12, Dead3y3,
Iridescent, Julien Foster, Funetikahl, Hikui87~enwiki, Courcelles, MarylandArtLover, Nydas, Zotdragon, Dycedarg, KentJ07, Amii, Cu-
mulus Clouds, ShelfSkewed, Beasty fr, MidkiffAries, Quadrius, Optimist on the run, Bmcln1, Thijs!bot, Fneep, Coelacan, Llihac12,
Einbierbitte, AgentPeppermint, Madinga~enwiki, RoboServien, Bmoss, AntiVandalBot, ErinHowarth, Blytonfan, LegitimateAndEven-
Compelling, Bailmoney27, SassyLee, Meyow, Robina Fox, Vickilp, Xeno, Sitethief, Dmodlin71, LittleOldMe, .anacondabot, Acroterion,
Magioladitis, Meredyth, AlphaPhoenixDown, AuburnPilot, Xn4, Doug Coldwell, Froid, Avicennasis, Bleh999, Boffob, Glen, Hannah-
goldstein, Warchef, Hdt83, Mermaid from the Baltic Sea, Moie23, A R King, RP88, Ajsinclair, Rettetast, R'n'B, CommonsDelinker, Sara-
jake, Tgeairn, J.delanoy, HoichitheEarless, Fred.e, Hajni, Vanished user 342562, Dahliarose, Spaceflower, Siraj88, Urythmic, Burzmali,
Stanto, Eric Schonblom, KGV, Aagtbdfoua, Hugo999, PeaceNT, VolkovBot, Sporti, Hpbiggestfan, Mercurywoodrose, Abtinb, 5monkeys,
Teachtopia, Broadbot, NicFr, Mr. Absurd, RiverStyx23, Billinghurst, Poseystar, Sesshomaru, Ghigna, Germaine01, SieBot, Ayewhanthe-
don, Yerpo, OKBot, Mrtoes, Rmajere092, Akarkera, Jacob.jose, Smilingreptile, JL-Bot, LarRan, YSSYguy, SlackerMom, ClueBot, The
Thing That Should Not Be, Mike Klaassen, Pottymouth5, VQuakr, Wek83, Brian84, Cirt, Pittsburgh Poet, Ejay, Alpha Ralpha Boule-
vard, Xxagile, Evrim22, N p holmes, Kars777, Thingg, Aitias, Horselover Frost, Mszajewski, DumZiBoT, Gregbr2000, Musiclistening,
XLinkBot, Strdst grl, Ayx~enwiki, Brothomeethees, Smfqchildlit, Mmray, Popeye12888, Nangelochildlit, Misschildlit, USFgirl, Childlit-
girls, Jmgrego2, DarbyBecky, ButterflyGirly25, Kenaibound1, CBailey114, EJESSECA, Addbot, Mrycik, Willking1979, Some jerk on the
Internet, Fivestarpub, Akaf0rey, Fgnievinski, Aneely2, Litgroupat2, NjardarBot, Sbjohnson, Ibbyrw, MrOllie, Gonarthouse, Download,
Howdoyoudo08, FluffyWhiteCat, Tassedethe, AwOc, Tide rolls, Emvn, Jarble, Tomtrainboy1991, Quantumobserver, Tafton, Narayan,
Ben Ben, Legobot, Luckas-bot, Yobot, Pink!Teen, DS5000, Victoriaearle, KamikazeBot, Theornamentalist, AnomieBOT, Alex contribut-
ing, Csigabi, Bluerasberry, Citation bot, Darth Newdar, GB fan, LilHelpa, Obersachsebot, Xqbot, Capricorn42, Maddie!, Lbowen61403,
J04n, Miesianiacal, Thissideupweb, Omnipaedista, Wteale, Shirik, Supmblaz, Asulikeit, Green Cardamom, FrescoBot, The Black Void,
MeddlingScribe, Jersey92, Brysl, Brianalee94, Jiří Janíček, Pinethicket, Yutsi, Île flottante, On The Edges, TobeBot, Trappist the monk,
Sumeshnnair, Čermi, Lotje, TayyabSaeed, JackFreeman190, AmyzzXX, RjwilmsiBot, AverageSparrow, EmausBot, Zollerriia, Riley Hicks,
Derrico83, Madshark66, J.A.R. Huygebaert, Litlandcom, Wikipelli, Listmeister, ZéroBot, Erianna, Ehodge60, TyA, Noodleki, RyanTay-
lor1987, Calvert2010, Greer Mao, Lussum, Aaronmead, Woodlandways, ClueBot NG, Ellora12, Gilderien, Byrd34, Cbrowne99, Grace-
tupelo, Helpful Pixie Bot, , Luzell63, Maggielibr, OttawaAC, Iamthecheese44, Imthebombliketicktick, TheBookFairy, Ratanbhat-
tacharjee, FatWhite&Nerdi2000, Peru Serv, Tlqk56, GrampsSydney, RudolfRed, Wvptv, ChrisGualtieri, Thomas Taylor86, Normfal-
con, OwusuCitadel, Dexbot, Mogism, Thine Antique Pen (public), Herve Reex, HullIntegrity, Epicgenius, Salil.kar, Captain Conundrum,
Youngeditz, Kmhutch3, A.sky245, Amw24, Jimrichard1024, Haminoon, Kharkiv07, Echis1985, Anc123, Zariane, Katiemariefunk, Anuli-
jessy, Hengyi8899, Leo1818, Carlos Rojas77, Shinebright5522, Monkbot, Mathematics & Geometry, KH-1, Coolabahapple, KasparBot,
Hlhudson23, AnkitGoyal5466 and Anonymous: 314

11.2 Images
• File:Aforadam.png Source: https://upload.wikimedia.org/wikipedia/commons/d/d7/Aforadam.png License: Public domain Contributors:
This file was copied from http://www.common-place.org/vol-02/no-03/school/. This site got the picture from The American Antiquarian
Society. The original picture was published in the 1727 version of the New England Primer. Original artist: New England Primer
• File:Astrid_Lindgren_1924.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/6c/Astrid_Lindgren_1924.jpg License:
Public domain Contributors: ? Original artist: ?
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
• File:Crane_frog4.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/67/Crane_frog4.jpg License: Public domain Contrib-
utors: http://web.utk.edu/ Original artist: Walter Crane
• File:Edit-clear.svg Source: https://upload.wikimedia.org/wikipedia/en/f/f2/Edit-clear.svg License: Public domain Contributors: The
Tango! Desktop Project. Original artist:
The people from the Tango! project. And according to the meta-data in the file, specifically: “Andreas Nilsson, and Jakub Steiner (although
minimally).”
• File:Fairy_Tales_(Boston_Public_Library).jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/ca/Fairy_Tales_
%28Boston_Public_Library%29.jpg License: Public domain Contributors: Flickr: Fairy Tales Original artist: Smith, Jessie Willcox,
1863-1935 (artist); L. Prang & Co. (publisher)
• File:Grimm.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/ff/Grimm.jpg License: Public domain Contributors: http:
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