John Joseph Haley, Jr. (August 10, 1898 – June 6, 1979) was an American stage, radio, and film actor best known for his portrayal of the Tin Man in The Wizard of Oz (1939.)

Sandra Scoppettone is an American author whose career spans the 1960s through the 2000s. She is known for her mystery and young adult books.

Young adult literature

• Trying Hard to Hear You (1974)
• The Late Great Me (1976)
• Happy Endings Are All Alike (1978)
• Long Time Between Kisses (1982)
• Playing Murder (1985)

A free motif is one that further emphasizes on a potential point and adds to the story, but are not necessary to the story. 

Example: Clocks in HP 3

A bound motif is one that is necessary for telling a story. 

Example: Fear in HP 3

Story refers to the events that must be narrated

the term plot refers to the arrangement of those events as they are told.

Analogy: 

a film that shifts the action of the fiction forward in time or otherwise changes it essential context; analogy goes further than shifting a scene or playing with the end, and must transplant the whole scenario so that the little of the original is identifiable. 

Commentary

Where an original is taken and either purposely or inadvertently altered in some respect. 

Transposition

 A novel directly given on screen.

Dark Is Rising sequence 

The Book of Three 1964
The Black Cauldron 1965
The Castle of Llyr 1966
Taran Wanderer 1967
The High King 1969

• Boys read for info rather than plot (diagrams, pictures, and how-to)
• Boys can read 'girls' books like Little House and enjoy the detailed descriptions of how-to
• Librarians and teachers often look down on boy humor or non fiction & their distain seeps through to the boys who crave those things
• Kathleen Odean wrote the Great Books for girls and same for boys
• market  continues to cater to the idea that boys and girls read differently
• 19th century adult magazines like the Atlantic Monthly were far more receptive to boys books than to girls' books (Clark). 

• As children age books for girls and young women begin to be seen as 'lightweight' and not worthy of of serious study
• More domestically centered (hearth and home)
• Favored the sunny redeeming orphan
• Read for plot 
• emphasis on relationships (family,motherhood, and sisterhood)
• Disliked and dismissed by such influential critics as Henry James
• authors of girl books often lost respect in the academy

• Gary Paulson
• Robert Cormier
• Mark Twain

• Louisa May Alcott
• Frances Hodgson Burnett
• L. M. Montgomery

Criteria

• Interpretation of the theme or concept
• presentation of accuracy
• clarity and organization of information
• development of plot
• delineation of characters
• delineation of setting 
• appropriation of style

1985 Medal Winner: Saint George and the Dragon, illustrated by Trina Schart Hyman; text: retold by Margaret Hodges (Little, Brown)

1963 Medal Winner: The Snowy Day by Ezra Jack Keats (Viking)
Honor Books:

• Forever (1975) Judy Blume
• The Adventures of Huck Finn (1884) Mark Twain
• His Dark Materials (1995-2000)
• The Chocolate War 1974 Robert Cormier
• The Giver 1993 Lois Lowry

• Sex
• Profanity
• Racism

• Boy in his innocence, makes grown-ups see the error of his ways.
• He is usually about 12 the perfect age for boyhood
• There are no adults around. The boy and his friends or siblings have full agency.
• He is innocent--adult readers can catch on to things he can't understand.
• Basically, the cult of the Boy is a celebration of wishful perpetual boyhood.
• Wordsworth convinced and entire century (and beyond) that children were perfect;thus, to stay in that state of perfectness was a delightful fantasy. 

Perfect example is J.M. Barrie's Peter Pan

• Lecturer of German language and fairy tale critic. Heavily influenced by Marxist criticism
•  Trials and Tribulations of Little Red Riding Hood. 
• Beauty and the Beast and other Classic French Fairy Tales 
• Don't bet on the Prince
• Why Fairy Tales Stick
• Fairy tale as myth/Myth as fairy tale

• Bildungsroman-- innocent child becomes a wiser teenager
• Quest Theme
• Two Symbols: Sarah's Mtn & flag pole

• Teach a moral lesson
• Librarians have huge influence
• accepting death, coming-of-age, relationships (parents, grandparents, peers)
• chosen for literary quality--not popularity, or whether or not the majority of children will read them
• '20s, privileged nonfiction and realistic
• ALA is org. that chooses Newbery. One of many awards given by ALA

• Interpretation of the them or concept
• Presentation of information including accuracy, clarity and organization
• development of a plot
• Delineation of characters
• Delineation of setting
• Appropriateness of style

2009: The Graveyard Book (Neil Gaiman)

1999: Holes (Louis Sachar)

1995: Walk Two Moons (Sharon Creech)

1994: The Giver (Lois Lowry)

1985: The Hero and the Crown (Robin McKinley)

1978: Bridge to Terabithia (Katherine Paterson)

1977: Roll of thunder Here, My Cry (Mildred D. Taylor)

1975: M.C. Higgins the Great (Virginia Hamilton)

• 2006: The Princess Academy (Shannon Hale)
• 1998: Ella Enchanted (Gail Carson Levine)
• 1988: Hatchet (Gary Paulson)
• 1983: The Blue Sword (Robin McKinley)
• 1974: The Dark is Rising (Susan Cooper)

• Characters may be bereft of positive adult role-models
• Protagonists may feel sense of alienation (from adults, other children, world around them
• Lack of role-models causes them to create and defend their own system of values
• Characters are often lower class
• Realistic language: Profanity, dialect, poor grammar

Because these novels are patterned after the lives of adolescents, often their plots and characters mirror more closely our students' lives more than traditional texts, which distance the reader because they occur in an unfamiliar time or setting or a written in a more formal style.

The impact of YA novels is strong because they tend to deal with issues that are immediately relevant to adolescents and to use a style that is so accessible that it bypasses the need for translation by the intellect into emotional imagery. 

What then is the naturalistic writer for children to do? Can he present the child with evil as an insoluble problem... to give the child a  picture of... gas chambers... or famines or the cruelties of a psychotic parent, and say, 'well, baby, this is how it is, what are you going to make of it'--that is surely unethical. If you suggest that there is a 'solution' to these monstrous facts, you are lying to the child. If you insist that there isn't, you are overwhelming him with a load he's not strong enough yet to carry. 

--Ursual Le Guin

1999: Monster (Walter Dean Myers)

1981: Homecoming (Cynthia Voigt)

1994: Walk Two Moons(Sharon Creech)

1976: Roll of Thunder, Hear my Cry (Mildred D. Taylor)

1977: Bridge to Terabithia (Katherine Patterson)

• Good Books, Bad Books--and Who Decides Why (1995) (Naser Yusefi)
• An Illustrated History of Children's Lit (1995) (Peter Hunt)
• In '20s according to Hunt's IHCL realistic stories and non-fiction were privileged
• In '60s, '70s, '80s during era of social change in US, African-American and female centered stores were privileged.
• 1990s reflect society: them=interdependence of people. also diversity and environment

• From 1874-1914, originated "Cult of the Child". Late Victorian/Edwardian believed that children were 'purer' than adults, free from social obligations, almost amoral. 
• Distinguishing factor: child is often alone. Sweet, pure, and glorious thing. Books made a virtue of sad necessity (being away at school [A Little Princess], being deprived of a parent [Story of the Treasure Seekers]
• Even when in the presence of adults, marked difference between the two. Innocence and purity of child or children can bring about a moral change in depraved adults (Little Lord Fauntleroy). 
• Age when periodicals and "series" books by publishers like Edward Stratemyer. This was a time when major writers wrote minor works. 

• Most if not all of children's lit was religious in nature in the 17th century
• Peter Hunt points out that early stories were based on traditional tales that would appeal all age groups, or were didactic, ie religious
• Emphasis in 18th century was on learning lessons and doing ones duty. In the Governess, the children seem to go through life passing from one classroom to another. Girls talk of their mothers and aunts who instilled moral lessons in them. At school, they are presided over by Miss Jenny and Mrs. Teachum, who in turn is doing her own duty, carrying on all that she learned from her deceased husband.
• Children of the 18th century are essentially sinful beings. They need to be taught so that they will become responsible, god-fearing adults. Institutionalized education is of the utmost importance. 
• 19th century, Wordsworth's praise of the child encouraged people to see children in a new light: 'trailing clouds of glory.' Children began to be perceived as naturally pure. Rather than dampening one's passions, a child should learn to balance them --and sometimes, passion is even good. Characters in children's books also act on their feelings rather than repressing them for the sake of rules: your heart will tell you what's right; not some rule (Tom Brown, Huck Finn). 
• Both Jane Eyre and Jo March learn to strike that balance. Alcott did not originally intend for Jo to marry. 
• Institutionalized education came to be distrusted. Henry David Thoreau notoriously quit teaching because he refused to engage in corporal punishment. In Little Women, Amy March is pulled from school.
• Towards the end of the 19th century, the Cult of the child is in full bloom. The child is purely innocent, presented in her most pure form when she is completely free from the influence of adults. Alice's adventures take place entirely on her own; Huck is accompanied by Jim, a 'childish' adult. Wendy darling and her brothers leave the adult world for a world of childish fantasy. Most of the adults in these narratives are presented as negative adversaries. 

• In both settings, child protagonists tend to remain separate from adults. 
• In pre-WWII children's lit, children function as catalysts for moral change in adults. Cedric Errol, Mary Lennox, and Oswald Bastable all encourage the adults in their lives to be less prideful, to be better parents, or to simply live more truthfully. The pastoral setting links children with the Romantic image of the piping shepherd and the little lamb-- as Blake and Wordsworth first did at the beginning of the 19th cent. Children are more isolated; they they do not come into contact with other cultures or social classes save fleetingly. 
• In early post WWII war children's literature, children remain isolated from adults; they no longer function as moral guiding lights. Adults are frightening oppressive presence in the protagonists' lives, or else they are totally absent. The urban setting forces all classes and cultures together, forcing confrontation [the Outsiders]. Bonds between friends become all important. Occasionally, this bond will be expressed between a child and an animal instead [Sounder, the Black Stallion].
• The urban setting puts child characters/readers in contact with unexplored 'foreign' cultures. 
• U.S. was becoming a more urban society: in 1920 the population living in cities passed 50% for the first time. (Peter Hunt, Illustrated hist.) 

Holocaust: Devil's Arithmatic (Jane Yolen) (1988); Number the Stars 1990 (Lois Lowry)

Homosexuality: The God Box (2007) Alex Sanchez, Boy Meets Boy (2003) David Leviathan, I'll Get there. It Better be Worth the Trip (1969) John Donovan, The Heart Has its reasons (Michael Cart, Christine A. Jenkins) Pages 144 deals directly with Sanchez and Leviathan. According to Cart and Jenkins, BmB is the first "feel good gay novel for teens." Leviathan's novel contains elements of Magical realism and is set in a town where being gay is totally accepted. "The humor agilely skirts the cliff's edge of whimsy without ever toppling over into preciousness" (145). "This is one of the most important gay novels since Annie on my Mind and represents a near revolution in social attitudes and the publishing of GLBTQ books. 

• Peter Hunt points out that if we judge children's litertue onthe same basis and crteria that we judge adult lit, than by definition it will be lesser.
• Clark explains that 'children's lit' as a genre did not emerge until early to mid-20th, when 'highbrow' critics and writers were seeking to establish their own works as separate from the mass-produced, higher-seling works. Previously authors would write for both adults and childre, sometimes both at once (as Twain claimed to do--suppored by William Dean Howells, who encouraged that writers be aware of their innocent female audience.
• Clark also points out that the genre is now a literary 'ghetto' as critics and other authors seek to separate themselves from its populists clutches. The NY times children's bestseller ist was created specifically to get HP off the main list.
• Hunt makes the point that because children's literature is so 'marginalized' it is free to be enjoyed by all--critics, literati, teachers, librarians, and children--and it's this under te radar status that makes it almost to define. No one group 'owns' this disipline.

• Hunt points out that pannings are usually fundamentally Christian in origin. Adult books that get widely red by children books are also banned (Huck fin, Catcher in the Rye) though BL clark woud dispute labeling these as 'adult' books. Additinally, books that explicityly discuss sexuality (Judy Blume's Forever) are frequently banned, but hence become wildy popular among teens.
• The Ala hosts a celebration of banned books called Baned Book Week
• Parents frequently express outrage over books they themselves have not read. Frequently books that are sometimes classified as 'aduld' are not considred acceptable for chidlren. Teachers express discomfort discussing difficult concepts with stdents (example racism). The prevailing belief exists that children's minds are too innocent to comprehend such issues, or that exposure to such issues will corrupt teen thinking and behavior.
  
• The aproachhas been to present texts carefully to students, to provide guidance when needand and to 'selectivly censor' that is, only offer difficult texts advanced students. This is a contrversial techniques.

• Forever (1975) Judy Blume (Teen Sex)
  
• Huck Finn (1884) Mark Twain (perceived racism)
• His Dark Materials Phillip Pullman (1995-2000) perceived atheism
• The chocolate war (1974)  Robert Cormier (vulgarity, teen sex, nihilism
• King & King, (2002) by Linda deHaan
  Reason: homosexuality
• Harry Potter (series) (1997-2007), by J.K. Rowling 
  Reasons: occult/satanism
• And Tango Makes Three, (2005) by Justin Richardson and Peter Parnell
  Reasons: anti-ethnic, anti-family, homosexuality, religious viewpoint, and unsuited to age group

• Beginning in the 70s, feminist critics began to reread, revision, rewrite, and reclaim children's lit texts.
• Many 19th cent texts were reinterpreted. Little Women was no longer read as a novel that depicts young women being forced to conform to patriarchal society, but as a celebration of female-cenetered home life. This raised Alcott's and others' status in the literary canon. Mant female poets, like Rossetti, and essayists, like Wollstonecraft, were also brought into the canon.
  
• Women authors respond as well. Ursula LeGuin remarks that her first three Earthsea books are entirely male-centered. She referred to the works as 'a male preserve: a sort of great game-park where Beowulf feasts with Teddy Roosevelt, and Robin Hood goes hunting with Mowgli, and the cowboy rides off into the sunset alone." Her fourth book embraces both a femalehereo and female-centric narrative. I would also add that Madeline L'Engle did the same thing ten years previously: Meg is a female hero who defeats the enemy through love, not by the sword.
  
• Robin McKinley writes girl centered novels because she recalls that the books she read when she was young girls didn't do anything. Beauty (78), Blue Sword (82), Hero and the Crown (newbery winner) (85), Rose daugther (97), Spindels End (2000),  
• Women autors reclaimed fairy tales, tales that were either male-centered or featured passive females. Robin McKinleys Deer skin is a noted example. Critics responded with revisionist fairy tale crticism too, as evidenced by marina Warner From the Beast to the Blond.
  

The cult of the boy arose after Barrie's Peter Pan. The notion of adult masculinity was displaced by childish joy and innocence; the faher figure was equally displaced, encouraging reverance instead for the 'verginal' mother figure (Wendy or Mrs. Darling). The perfect age for boy hood was 12; at this sweet innocent age, it was believed that the boy, in his perfect innocentce, could turn the hearts and immoral ways of wayward adults (and sometimes other children).