Week 2-3 Title: The Range of Children’s Literature

Five (5) General Types of Children’s Literature

"Children's literature" is a term that is very loosely and imprecisely defined. The
major consensus on what constitutes literature for children is traditionally defined as any
book that is read by children, educates children or is about children for children. Not
surprisingly, there is a vast inventory of different types of literature for children of all ages,
categorized into literary genres. Some of the most common genres of literature for kids
include picture books, traditional literature, poetry and verse, biography, fiction and
nonfiction. From these basic literary genres spring a multitude of sub-genres such as science
fiction, fantasy, legends and others.

a. Traditional Literature

Traditional literature for children varies widely and is perhaps the most
loosely defined genre, because selections might overlap into the general fiction
category. Some educators believe that traditional children's literature is strictly
characterized by unknown authorship, stereotypical characters, anthropomorphism
and a happy ending. Books that fall into this category might include folktales, fables
and fairy tales such as Aesop's Fables, the Grimm Brothers' fairy tales, Paul Bunyan
and various other stories of legendary characters. Other educators incorporate such
time-honored, popular stories by Charles Dickens, Louisa May Alcott, C.S. Lewis,
Laura Ingalls Wilder, Lucy Maud Montgomery and other authors into the traditional
children's literature genre.

Characteristics of Traditional Literature

There are many characteristics common to traditional literature. These are

stories of unknown origin, containing traditional themes, simple characters and
plot, and an ambiguous setting. They are fictional tales that originate in the oral
tradition, which means that they were passed down from one storyteller to the next
for generations before being written down. Each teller would incorporate slight
variations, and the story therefore evolved before being written down. In some
cases, if the variations were large enough or if storytellers adapted elements to
speak to a specific audience, distinct and separate versions of the same story
evolved.
 Traditional literature is also identified by its use of universal themes.
Universal themes are ideas or situations that the vast majority of people can relate
to, despite not having lived through the same specific events as in the narrative.
They are common to the human experience. These include: honesty, foolishness,
hard work, beauty vs. ugliness, and good vs. evil. Because these stories were told
orally for generations, and are designed to speak to common experiences or explain
natural phenomena, traditional literature usually does not indicate a specific time or
place where the events of the story unfold.

Characters in Traditional Literature

Similar to the universal themes found in traditional literature, the characters

in such stories are generally simple. These are characters that are described in great
detail and the reader is generally provided little to no background information on
them. Such information is not important to these types of stories and limits their
universality. Generally, the number of characters in a piece of traditional literature
is limited, and each easily falls into one of two polar-opposite categories, which
allows all readers, regardless of age, to identify the character whose actions should
be emulated.

 Hero: A character who faces a remarkable challenge and overcomes it.

  Ruler (Tyrant): A character who wields power over others (i.e. a king),
often in an oppressive way (tyrant).
 Innocent: Generally a child, this is a character who is honest and good
and whose intentions/desires are pure.
 Regular: A character who represents the general person and lacks any
unique characteristics. They are relatable to most readers.

How do traditional stories support a child's literacy development?

Children have a natural instinct to listen intently to stories because they are
inquisitive and naturally want to discover the end of a particular narrative.

Children often get the first true sense of their surrounding world through
traditional stories as they can subtly teach children the importance of respecting
different attitudes, cultures and religions, among many other things.

In addition to getting a general grasp of the world, stories also teach children
how to read and interpret words to subsequently form sentences:

So, how do traditional stories develop children's literacy skills?

Traditional stories employ traditional techniques

Traditional stories will often vary the length of sentences, complexity of
words and expression of characters.

It is these features that allow parents and teachers who read to children to,
in turn, vary the volume, tempo and pitch of their voice when re-telling the story.

They also encourage different facial and body expressions to be made on

behalf of the reader. This allows children to associate different sounds and actions
with different words and phrases.

Traditional stories are different every time

Traditional stories are often very different as you move from book to book.
With different themes, narratives and outcomes each time, children are
unknowingly becoming aware of different stylistic and writing techniques.

This can encourage children to be more experimental when it comes to

writing stories, poems and letters.

Different traditional stories will use punctuation in different contexts and by

encouraging children to identify where different full stops, commas, question marks,
exclamation marks and speech marks are used, a child's knowledge of punctuation
can grow considerably.

Traditional stories give children new ideas

 Due to the range of traditional stories which are available, children are
always presented with new ideas and concepts regarding everyday life. Therefore,
they help children link the outside world with the classroom, home-life and
everyday experiences.

b. Poetry

Poetry and verse literature includes the epic poem, narrative poem,
dramatic poem, lyric and sonnet, among others. Rhyming literature is popular with
very young children, as seen in the cherished nursery rhyme and fable favorites
Mother Goose, Jack and Jill and Little Miss Muffet. Appropriate poetry and verse
literature for young adults might include The Iliad and Gunga Din, Paul Revere's
Ride, The Highwayman, Kubla Khan and the modern compilation of silly verse,
Where the Sidewalk Ends by Shel Silverstein.
Children's poetry books are a rich way for kids to enjoy limericks, poetic
stanzas, tongue twisters, and rhymes. Through poetry, they learn the joy of play on
words, puns, and metaphors all while using their imaginations.
Poetry is a type of literature, or artistic writing, that attempts to stir a
reader’s imagination or emotions. The poet does this by carefully choosing and
arranging language for its meaning, sound, and rhythm. Some poems, such as
nursery rhymes, are simple and humorous. Other poems may try to express some
truth about life, to tell a story, or to honor a person or a god. Poetry appears in a
great many forms and styles. This makes it difficult to define exactly.

One thing that makes poems different from other types of writing is their
structure. The words of a poem are arranged in lines and groups of lines, called
stanzas. For example, here is the first stanza of the poem “From a Railway Carriage,”
about an exciting train ride, by Robert Louis Stevenson:

Faster than fairies, faster than witches,

Bridges and houses, hedges and ditches;
And charging along like troops in a battle,
All through the meadows the horses and cattle:
All of the sights of the hill and the plain
Fly as thick as driving rain;
And ever again, in the wink of an eye
Painted stations whistle by.

Rhythm

Poets use patterns of rhythm to create various effects. Some syllables, or

parts of words, in a line naturally receive more emphasis, or stress, than others. For
example, in the phrase “hedges and ditches,” the hedge and ditch sounds are
stressed more than the other sounds. The stressing of certain syllables creates a
particular rhythm. A poem’s rhythm is called its meter.

Sound
Poets also use patterns of sound. Some poems rhyme, or use two or more
words that end with the same sound, such as hat and bat. A poem may repeat
sounds in many other ways. For example, in “high as a kite,” the long “i” sound is
repeated. In “a stroke of luck,” the “k” sound is repeated. Alliteration is another way
a poem repeats sounds. A group of words that start with the same sound, such as “a
dark and dangerous day,” uses alliteration.

Another poetic sound device is onomatopoeia. Onomatopoeia is the use of a

word or words that sound like what they are meant to represent. Buzz, hiss, and
cuckoo are examples of onomatopoeia. The following lines from the poem “The
Brook” by Alfred, Lord Tennyson provide another example. They reproduce the
sound of water flowing in a brook:

I chatter over stony ways,

In little sharps and trebles,
I bubble into eddying bays,
I babble on the pebbles.
Form
Some poems follow strict patterns of meter, sound, and length. For instance,
the sonnet is a form of poetry that consists of 14 lines of 10 syllables each. It also
follows a set pattern of rhythm and rhyme. Haiku is a form of poetry with three
lines. Each line has a fixed number of syllables: five syllables in the first and third
lines and seven syllables in the second line.

Some poems do not use any set form. Instead they use rhythms that are
closer to those of everyday speech. These poems are known as free verse. However,
the poet may still carefully arrange the sounds and rhythm.

Figures of Speech
A figure of speech is a way to express the meaning of something without
saying it directly. Figures of speech are used frequently in poetry. In fact, metaphors
are considered to be the basic language of poetry. A metaphor can be used to
compare something unfamiliar or difficult to understand with something that is
familiar to the reader. William Shakespeare used metaphors throughout his plays. In
his play As You Like It, he writes:

All the world’s a stage,

And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts…

In these lines Shakespeare uses a metaphor by comparing life to a play.

 A simile is also a figure of speech. It is a more direct way to compare two
things. Similes use the words like or as to show how one thing is similar to another.
“She is as wise as an owl” or “he eats like a bird” are both examples of similes.

c. Fiction

Fiction and nonfiction comprise the widest variety of literature for children.
Modern fantasy and science fiction stories have become extremely popular with
children. Generally, modern fantasy is characterized by time travel, imaginary
characters and animals or inanimate objects that talk. Non-fiction literature for
children is informational in nature, either as instruction, explanation or persuasion.
Literature for children in this genre includes the Children's Almanac, science books
or classic reference books geared toward children.
Children’s fiction is one of the most important forms of writing – teaching
children (and parents!) about the world around them, cementing morals and
introducing them to new people and ideas. However, too frequently it is regarded as
light entertainment aimed only at youngsters.
Children’s literature really can stand the test of time, and whilst Charlotte’s
Web may not have helped you recover from your arachnophobia, the stories you
read as a child often stay with you into adulthood. It is difficult to look back without
a sense of nostalgia for the worlds you visited and characters you met.
Children’s fiction has a special place in the hearts of many writers too, as it
was often these stories which sparked their love of literature in the first place. As
award-winning Australian author Sonya Hartnett put it: “the most important form of
writing is writing for children. It is writing that is carried in the reader’s heart for a
lifetime; it is writing that speaks to the future.”
And great children’s literature should be regarded just as highly as adult
great adult fiction. The careers of many celebrated writers have been defined by
their contribution to the genre: J.M. Barrie was a hugely successful playwright but
his most famous work is his children’s novel Peter and Wendy. A.A Milne was also a
prolific playwright but is remembered for Winnie the Pooh.
Children’s literature is made up of the same fundamental elements as adult
fiction – characterisation, dialogue, plot and setting. Our Writing for Children
courses are a great starting point if you are a would-be writer looking to master the
basics, allowing you to discuss narrative and characters in some of your best-loved
children’s books and work out what makes them so successful. Through a series of
fun creative writing exercises, you will learn how to create interesting characters
and develop a story that hooks your reader.
Children’s literature can reach beyond the generations and mean so many
different things to a variety of readers.
 There is also the real sense of creative freedom when writing children’s
literature, with often magical elements to its plot lines, and the chance to explore
exciting storytelling techniques in order to present the work for different audiences.
This broad appeal of children’s literature, and its ability to capture the
imagination of the wider public beyond its intended audience, can be seen in the
number of adaptations that continue to appear on stage and screen the world over.
Matilda the Musical – based on Roald Dahl’s children’s novel – has been performed
to packed audiences on the West End, Broadway and around the world since 2011,
and holds the record for most Olivier awards won by a musical. Matilda, with its
hugely imaginative plot, vividly drawn characters and strong moral message,
demonstrates what a creative goldmine children’s fiction is for would-be adapters.
Other much-loved children’s works are being given new life by high-profile
cinema adaptations, such as Rudyard Kipling’s The Jungle Book which has recently
been revived as a live-action/CGI film directed by Jon Favreau, with another film
adaptation (directed by Andy Serkis) set for release in 2018.
The enduring popularity of these stories goes to show the importance of
children’s fiction and its relevance to both younger and older readers.
d. Informational Books

What are informational books?

Informational books are sometimes called “nonfiction” books. Their main

purpose is to provide a source of knowledge on a variety of topics. Informational
texts are written at a variety of reading levels to accommodate diverse learners.
Informational texts range from simple word and picture books to those that explain
more complex science concepts with photographs and diagrams. There are
informational books written for children on a variety of topics such as animals,
plants, vehicles, families, jobs, interesting places, and the arts.

How are informational books different from fiction books or “storybooks”?

Informational books differ from “storybooks” because their primary purpose

is to convey knowledge. “Storybooks” for young children are intended to be read
from beginning to end. The primary purpose of “storybooks” is to share a narrative
that describes characters and their actions. These books often have corresponding
pictures for children to look at alongside the text.

Informational books tend to have greater variety in their format. Some

informational texts include a narrative that conveys information on a specific topic.
These types of informational books are usually read from beginning to end, similar
to storybooks. Other informational texts appear in different formats that are not
intended for beginning to end reading. Some examples might be an annotated atlas
(book of maps) with text boxes that highlight animals in various regions of the
world or a book with photographs of various vehicles and short descriptions of their
functions.

Some books written for children cross over the divide between
informational texts and what is typically thought of as a “storybook.” These books
may include informational text alongside a story narrative or include a glossary
section that provides background information about the topic of the text. For
example, a story about the ocean might include a glossary that describes different
types of sea life such as plants and marine mammals. Here are some suggested
books of each type to get you started.

Books with narratives on a specific topic

 On a Beam of Light: A Story of Albert Einstein by Jennifer Berne, illustrated
by Vladimir Radunsky
 Next Time You See a Pillbug by Emily Morgan
 Ballerina Dreams by Lauren Thompson, with photos by James Estrin
 Follow That Map! A First Book of Mapping Skills by Scot Ritchie
 Our Skin by Megan Madison, Jessica Ralli, and Isabel Roxas

Books not meant for beginning-to-end reading

 Bone Collection: Animals by Rob Scott Colson

 National Geographic Little Kids First Big Book of Why by Amy Shields
 The Curious Kids’ Science Book: 100+ Creative Hands-On Activities for Ages
4–8 by Asia Citro

Crossover books (narrative and informational)

 Over and Under the Snow by Kate Messner, illustrated by Christopher Silas
Neal
 Vulture View by April Pulley Sayre, illustrated by Steve Jenkins
 Song of the Water Boatman by Joyce Sidman, illustrated by Beckie Prange
 Plant a Pocket of Prairie by Phyllis Root, illustrated by Betsy Bowen

What are some benefits of introducing young children to informational texts?

Informational texts cover a wide variety of topics. Reading these books can
introduce children to new vocabulary, concepts, and topics. Some of these topics
(e.g., trees, insects, household items) can be studied first hand by young children.
For example, after reading a book about vacuum cleaners, a child may count, draw,
use, and describe the vacuum cleaners in their home.

Informational texts can also help children to find answers to their questions and
deepen their knowledge about familiar topics or introduce new and unfamiliar
topics. For example, children in Illinois can learn about animals in Australia and
 Africa through an informational text even though they may not be able to visit those
places.

What strategies should I use when I introduce children to informational books in the
classroom?

Teachers should read a book before introducing it to the class and can take the
following steps to prepare:

 Consider which parts to read aloud to the children

 Think about the types of questions to ask the children
 Think about the types of questions children may ask
 Think about which pictures might capture children’s attention or invite
curiosity
 Teachers can also encourage children to ask questions, read books again
and again, and create their own books to share information.

What is the Purpose of Informational Books?

Nonfiction writers report facts about the real world in biographies and
informational books. Stereotypes of nonfiction texts may generally influence the
attitudes of informational reading. These attitudes include:

a. Informational books traditionally are not used for pleasure reading.

b. Children's visits to the informational section of the library often are not
by choice.
c. Informational books have a reputation for being boring.

e. Biography

Biographies and autobiographies for children are usually meant to inspire

young people or educate them while providing entertainment. Historical fiction or
narratives that depict the lives of notable persons in history fall into this genre.
Some examples of this type of literature for children include Carole Weatherford's
Moses: When Harriet Tubman Led Her People to Freedom, Anne Frank: The Diary of
a Young Girl or Corrie ten Boom's The Hiding Place.

Children's biography is among the most popular forms of juvenile nonfiction,

and several works in the genre have been recognized with major book awards,
among them, a pair of Abraham Lincoln biographies—1939's Caldecott Medal-
winning Abraham Lincoln by Ingri and Edgar Parin D'Aulaire and Russell
Freedman's Lincoln: A Photobiography (1987), which won the 1988 Newbery
Award. Yet, despite the genre's continuing relevance, appeal to children, and
importance towards young adult education, it remains a highly specialized field in
which the demands of accuracy, general interest, and usage are often debated by
both critics and educators. Many children's literature scholars have argued that
issues of factual accuracy and the tendency of authors to "sugar-coat" the lives of
their subjects for young readers limits the impact of many children's biographies.

While the biography is often recognized as a unique facet of nonfiction

literature, children's biography is perhaps an even more specific genre. The main
differentiator for children's biography is the issue of presentation—how the
biographical details of a subject's life are conveyed to developing readers.

Young adult biographer Milton Meltzer has suggested that, "Biography is not
a compilation of the material you researched. It is a composition of that material."
How historical fact is composed for young audiences has been an issue of great
debate in the children's literature field, particularly because many children's
biographies are expressly written with the underlying intention of inspiring child
readers to revere major historical figures and learn from their examples. Children's
biographer Marilyn Jurich has described the genre as "especially hard to write as it
is supposed to recreate and at the same time provide a guide to success, to
encourage the child ‘to make something of himself’ by giving him a believable model
who ‘made it.’ Thus, the biographer is supposed to be a psychologist or a moralist or
both. At the same time, he is dealing with a necessarily imperfect subject about
whom the young reader wants to know as much as possible."

William H. Epstein has stated that children's biographies often act as "a
preparation for growing up in our society, for becoming socialized to its cultural,
economic, and political practices." However, Epstein has further argued that
introducing children to such agenda-driven biographies "is one of the tactics
through which the twentieth-century American corporate state perpetuates its
myths of origin, reproduces the individual, empowers certain modes of distributing
knowledge, and ensures the continued deployment of its political, economic, and
cultural power."

Walvoord Girard has claimed that American children's biography is "a genre
in trouble … Critics have suggested that the role-model function or idealizing habit
prevents honest exploration of character and invites pedestrian work with a false
tone. Other problems mentioned in the critical literature are low level of author
commitment to research, choppy or immature writing, and the tendency to
substitute easy fictionalizing for hard won narrative style."

One of the other major issues surrounding children's biography is the

recurring belief that such works are subject to lower standards of historical
precision and accuracy. This belief has been fostered by some authors' repeated use
of fanciful historical fabrications—such as the myth of George Washington chopping
down a cherry tree—and the decision by other juvenile biographers to omit relevant
historical details that they deem inappropriate for young readers.

In her study of children's biographies of Abraham Lincoln, Beverly Klatt has

noted that this form of selective historical editing has its origins in the nineteenth
 century, a period where Klatt has asserted, "it was fashionable to for biographers to
write only about the good qualities of their subjects. This tradition, which spilled
over into the early twentieth century, reflected two primary influences: the
Victorian period stressing moral values, and the expanding frontier of the new
nation emphasizing political and social val- ues associated with the American
dream." In fact, critics have argued that the majority of Lincoln juvenile biographies
from the early- to mid-twentieth century have deliberately omitted details about
Lincoln's assassination, as to not upset their school-age audience.

Even the Caldecott-winning Abraham Lincoln by the D'Aulaires completely

ignores such poignant details as the premature deaths of two of Lincoln's children
as well as any mention of his assassination. Other such difficult issues as Mary Todd
Lincoln's alleged mental illness and Lincoln's own battles with depression have
been completely excised from most children's biographies, although Klatt has
suggested there has been a subtle evolution in Lincoln biographies which "reflect
the historical changes in the genre itself, which has moved from deifying Lincoln to
exposing his flaws … The philosophy of biography has shifted from sheltering
children from adult tragedies, to semiprotecting, to expecting them to deal with an
adult world."

Similar arguments surround the juvenile narratives about Christopher

Columbus and his alleged "discovery" of the New World. In her examination of three
dozen American children's biographies of Columbus from 1932 to 1991, Susan
Gardner has identified a large number of inaccuracies and omissions, further noting
that, "[n]one was written by native Americans or addressed to native American
children; only two had darker toned illustrations suggesting an African American
schoolchild listening to the story or a dark-skinned mate on one of Columbus's
ships. Not only are the books predominantly white, they are about men."

Even in more contemporary accounts of Columbus's life, like that of What Is

Columbus Day? (1985) by Margot Parker, the narrative frame seems to favor the
male child. In having an older male child assume the role of thoughtful teacher in
explaining the basic of the holiday to his younger sister, who is slow to grasp the
concept, Gardner has contended that Parker reduces the little girl into the role of a
"rotelearning robot" a recurring theme, as "many, if not most, of [Columbian
biographical] texts implicitly address male children, for whom Columbus is a role
model." John P. McCombe's studies of juvenile jazz biographies turned up similar
issues, with biographers seeking to ignore details that might serve to lessen reader's
opinions of their subjects. One example is the omission of details about the
childhood poverty and early criminal activities of Louis Armstrong in the picture
book biographies about the musician by Alan Schroeder and Roxanne Orgill.

Special Types of Books

a. Picture Books
 Picture books are usually written for very young children who are learning
to read. These books include thickly constructed board books for very young
children; concept books such as those that teach the alphabet, counting or basic
reading skills; and simple, illustrated books that are read to children to expose them
to the language and the art of reading. Examples of traditional children's literature
in this genre of picture books might include The Cat in the Hat, Green Eggs and Ham
or other stories by Dr. Seuss; Bread and Jam for Frances by Russell Hoban; Chicka
Chicka Boom Boom by Bill Martin Jr.; and the Curious George series by H.A. Rey.

P
u
r
e
P
icture books for young readers are building blocks that promote literacy, vocabulary
skills, sentence structure and story analysis.

For young readers, picture books are an important part of learning how to
read. Usually this type of format marks the first step in introducing a child to
reading and is often the start of language development for many children. Libraries
that include picture books to promote literacy to young readers are boosting
beginner-level vocabulary skills, introducing sentence structure and developing
story analysis.

Check out the following important benefits of picture books to encourage

teachers and parents to use picture books to instill successful reading skills.

Building Language Skills – When reading through picture books during story
time, at home or in the classroom, children can practice sounding out the language
while adults introduce and explain new and interesting words. The rhythm and
rhyme of picture books makes them easy to understand and fun to read aloud,
allowing children to learn words quickly. In addition, reading the same story
repeatedly increases vocabulary by 12%.
 Inspiring Visual Thinking - Illustrations in a picture book help children
understand what they are reading, allowing new readers to analyze the story. If
children are having difficulty with the words, the illustrations can help them figure
out the narrative, which can increase their comprehension.

Increasing Engagement – Picture books allow teachers and parents to spend

time discussing the story, pictures and words. This gives young readers confidence
and allows them to talk about what they see on the page, what happened in the
story, what the characters are doing and which events have unfolded. Another good
activity to try in the library or classroom is working in a small groups by placing
children into groups of three with a picture book. Have one child concentrate on
reading the text aloud; have another concentrate on the illustrations (pointing out
details as the book is read); and have the third highlight what they see in the story
that might differ from the others.

Delivering Fun – Picture books should always make the reading experience
fun. If a child’s first experience with reading is a negative one, and looked at as a
chore, it may make reading appear to be work rather than fun, which might hinder a
child’s progress from picture books to chapter books.

b. Board Books

A board book is a subgenre of the

picture book that is designed for the
youngest of children. The entire
board book, even the inner pages, is
made of highly durable paperboard
that is specially folded and bound.
Even the corner pages are rounded
out as to not harm any curious babies.

Board books are generally

accepted as being for the
consumption of our youngest and most immediately impressionable readers. The
ideal age range for kids board books is infant or baby to 4 years old. After the age of
4 or 5, children seek greater depth to storytelling and characters, more in line with
the types of stories found in picture books. Sound, touch, and visual stimuli are some
of the essential elements of board books for kids. The variety of shapes and sizes in
the board book spectrum is endless. Small enough to fit in the palm of your hand, or
large enough to overflow a school backpack.

Some of our favorite storybooks come in both board book form and picture
book form. Go Dogs Go, by P.D. Eastman, is a classic favorite describing what seems
to be a day in the life of dogs, and comes to life in both board book and picture book
form. The board book narrative is more or less the same as the picture book version,
a day in the life of dogs, but follows a shorter format with differing text in
 comparison to the picture book. Both the board book and picture book version are
great reads and unique in their own ways; however, the sturdiness of the board
book makes it more accessible to infants and toddlers.

Great for bedtimes, train rides and plane rides, ideal anywhere and anytime.
During travel, parents pack a few board books in their carryon baggage, and
accompany families to new and exciting destinations only previously found in
books!

c. Pop-up Books

The pop-up book is a book with paper elements within the pages that may
be manipulated by the reader. Many refer to such a book as a moveable book. Pop
up books include text, illustrations, and folded, glued, or pull-tab elements that
move within the pages of the story. The pop-up book is primarily marketed to
children.

The moveable paper

elements within the pop-up
book require the expertise
of a paper engineer to
effectively design these
elements. This paper
engineer is part engineer
and part creative designer,
constantly seeking new, fun
elements to design into pop
up books while ensuring
they will inexpensive to produce and successfully manipulated. The paper engineer
communicates to the printer/publishers how the moveable elements are die cut and
then assembled. The die cutting of these elements is expensive and complex. Even
more expensive is the extraordinary amount of hand work the moveable elements
require as many must be cut, folded and pasted by hand (some books include 100
elements that require hand manipulation). In fact, pop up books are becoming
somewhat collectible because of the extraordinary amount of hand assembly that
goes into the construction of each book. The pop-up book has been the subject of at
least two art museum exhibits in which the art of the illustrator and the design of
the paper engineer have been highlighted.

History

Moveable books are hardly new. About 700 years ago people used simple
books with moving parts to teach about anatomy or make astronomical predictions.
Even fortune-telling used moveable books. The pop up book was the domain of
adults until the late 1880s when metamorphoses books, also called turn-up books,
included fold-out illustrations within the pages of children's books. By the
nineteenth century such moveable books were published in some quantity in
England. By mid-century a British firm was happily producing such books for
children, and by the twentieth century they had published over 50 titles.

An American firm named McLoughlin Brothers of New York city produced

the first moveable books in the United States about 1880. They were large plates
that unfolded into multi-layered displays. As Europeans found cheaper papers and
booksellers sought to enlarge their markets cheaper and more inventive pop up
books were developed in the early twentieth century. By the 1960s American Waldo
Hunt created advertising inserts and premiums inspired by Czechoslovakian works.
Hunt began to produce his own moveable books for popular consumption and is
believed to have popularized the moveable book in the mid-twentieth century.
Today, pop up books are enormously popular with children because of the novelty
of the moveable elements greeting cards and advertisements include pop up
elements. Recent pop up books for children are written on topics as diverse as
astronomy, geology, meteorology, children's classics, and dinosaurs.

Raw Materials

The typical pop-up book uses heavy gauge paper for the pages and the
moveable elements of the book, heavy board cover in front and back, glue for
securing the cover, and glue for the attachment of the pop up elements. Inks of a
wide variety may be used in the printing, from soy-based inks to more traditional
oil-based inks. Many pop up books are coated with a coating on the page to make
them sturdier and dirt-resistant. These coatings include oil-based varnishes that
render a shiny surface on the page. Some companies use aqueous or water-borne
varnishes. Other pop up books use a plastic film that is put over the pages as a
laminate.

How Pop-Up Books Can Boost Reading Skills

What’s better than a book with lots of pictures? A book with pictures that
explode right off the page! Here's why these feats of paper engineering are great for
readers:

They’re interactive
With tabs and flaps that turn ordinary illustrations 3-D, pop-up books will
have even the most reluctant reader eagerly turning pages to catch a glimpse of the
next scene. They’re a great way to add some extra incentive and rewards to reading,
especially for kids who get bored quickly, says Frank J. Sileo, Ph.D., children’s
psychologist and author. Plus, touching the images gives little ones the feeling that
they’re inside the story, which makes it all the more engaging.

They help build vocabulary

Reading a pop-up book once just won’t cut it for kids — they’ll want to
experience it again and again. (Don't worry, that's a good thing!) You can feel good
about encouraging repetition because rereading is an important part of
strengthening a child’s vocabulary skills. Learn more about how rereading books
has big benefits for kids.

They teach the value of visualization

As kids transition to books with fewer pictures (or no pictures at all!),
visualizing the characters, setting, and plot will become a key part of understanding
the text. Pop-ups are perfect for training kids’ imaginations to picture what’s
happening in the story and getting them ready for a lifetime of richer reading
experiences.