Second Generation Memory And Contemporary Children S Literature

Winner of the Children’s Literature Association Book Award This book visits a range of textual forms including diary, novel, and picturebook to explore the relationship between second-generation memory and contemporary children’s literature. Ulanowicz argues that second-generation memory — informed by intimate family relationships, textual mediation, and technology — is characterized by vicarious, rather than direct, experience of the past. As such, children’s literature is particularly well-suited to the representation of second-generation memory, insofar as children’s fiction is particularly invested in the transmission and reproduction of cultural memory, and its form promotes the formation of various complex intergenerational relationships. Further, children’s books that depict second-generation memory have the potential to challenge conventional Western notions of selfhood and ethics. This study shows how novels such as Lois Lowry’s The Giver (1993) and Judy Blume’s Starring Sally J Freedman as Herself (1977) — both of which feature protagonists who adapt their elders’ memories into their own mnemonic repertoires — implicitly reject Cartesian notions of the unified subject in favor of a view of identity as always-already social, relational, and dynamic in character. This book not only questions how and why second-generation memory is represented in books for young people, but whether such representations of memory might be considered 'radical' or 'conservative'. Together, these analyses address a topic that has not been explored fully within the fields of children’s literature, trauma and memory studies, and Holocaust studies.

Winner of the Children’s Literature Association Book Award This book visits a range of textual forms including diary, novel, and picturebook to explore the relationship between second-generation memory and contemporary children’s literature. Ulanowicz argues that second-generation memory — informed by intimate family relationships, textual mediation, and technology — is characterized by vicarious, rather than direct, experience of the past. As such, children’s literature is particularly well-suited to the representation of second-generation memory, insofar as children’s fiction is particularly invested in the transmission and reproduction of cultural memory, and its form promotes the formation of various complex intergenerational relationships. Further, children’s books that depict second-generation memory have the potential to challenge conventional Western notions of selfhood and ethics. This study shows how novels such as Lois Lowry’s The Giver (1993) and Judy Blume’s Starring Sally J Freedman as Herself (1977) — both of which feature protagonists who adapt their elders’ memories into their own mnemonic repertoires — implicitly reject Cartesian notions of the unified subject in favor of a view of identity as always-already social, relational, and dynamic in character. This book not only questions how and why second-generation memory is represented in books for young people, but whether such representations of memory might be considered 'radical' or 'conservative'. Together, these analyses address a topic that has not been explored fully within the fields of children’s literature, trauma and memory studies, and Holocaust studies.

Memory Work studies how Jewish children of Holocaust survivors from the English-speaking diaspora explore the past in literary texts. By identifying areas where memory manifests - Objects, Names, Bodies, Food, Passover, 9/11 it shows how the Second Generation engage with the pre-Holocaust family and their parents' survival.

This is the first book monograph devoted to Anglophone Ukrainian Canadian children’s historical fiction published between 1991 and 2021. It consists of five chapters offering cross-sectional and interdisciplinary readings of 41 books – novels, novellas, picturebooks, short stories, and a graphic novel. The first three chapters focus on texts about the complex process of becoming Ukrainian Canadian, showcasing the experiences of the first two waves of Ukrainian immigration to Canada, including encounters with Indigenous Peoples and the First World War Internment. The last two chapters are devoted to the significance of the cultural memory of the Holodomor, the Great Famine of 1932-1933, and the Second World War for Ukrainian Canadians. All the chapters demonstrate the entanglements of Ukrainian and Canadian history and point to the role Anglophone children’s literature can play in preventing the symbolical seeds of memory from withering. This volume argues that reading, imagining, and reimagining history can lead to the formation of beyond-textual next-generation memory. Such memory created through reading is multidimensional as it involves the interpretation of both the present and the past by an individual whose reality has been directly or indirectly shaped by the past over which they have no influence. Next-generation memory is of anticipatory character, which means that authors of historical fiction anticipate the readers – both present-day and future – not to have direct links to any witnesses of the events they discuss and to have little knowledge of the transcultural character of the Ukrainian Canadian diaspora.

The essays in this collection address the relationship between children and cultural memory in texts both for and about young people. The collection overall is concerned with how cultural memory is shaped, contested, forgotten, recovered, and (re)circulated, sometimes in opposition to dominant national narratives, and often for the benefit of young readers who are assumed not to possess any prior cultural memory. From the innovative development of school libraries in the 1920s to the role of utopianism in fixing cultural memory for teen readers, it provides a critical look into children and ideologies of childhood as they are represented in a broad spectrum of texts, including film, poetry, literature, and architecture from Canada, the United States, Japan, Germany, Britain, India, and Spain. These cultural forms collaborate to shape ideas and values, in turn contributing to dominant discourses about national and global citizenship. The essays included in the collection imply that childhood is an oft-imagined idealist construction based in large part on participation, identity, and perception; childhood is invisible and tangible, exciting and intriguing, and at times elusive even as cultural and literary artifacts recreate it. Children and Cultural Memory in Texts of Childhood is a valuable resource for scholars of children’s literature and culture, readers interested in childhood and ideology, and those working in the fields of diaspora and postcolonial studies.

This book studies children’s and young adult literature of genocide since 1945, considering issues of representation and using postcolonial theory to provide both literary analysis and implications for educating the young. Many of the authors visited accurately and authentically portray the genocide about which they write; others perpetuate stereotypes or otherwise distort, demean, or oversimplify. In this focus on young people’s literature of specific genocides, Gangi profiles and critiques works on the Cambodian genocide (1975-1979); the Iraqi Kurds (1988); the Maya of Guatemala (1981-1983); Bosnia, Kosovo, and Srebrenica (1990s); Rwanda (1994); and Darfur (2003-present). In addition to critical analysis, each chapter also provides historical background based on the work of prominent genocide scholars. To conduct research for the book, Gangi traveled to Bosnia, engaged in conversation with young people from Rwanda, and spoke with scholars who had traveled to or lived in Guatemala and Cambodia. This book analyses the ways contemporary children, typically ages ten and up, are engaged in the study of genocide, and addresses the ways in which child survivors who have witnessed genocide are helped by literature that mirrors their experiences.

This book considers how contemporary British children’s books engage with some of the major cultural debates of recent years, and how they resonate with the current preoccupations and tastes of the white mainstream British reading public. A central assumption of this volume is that Britain’s imperial past continues to play a key role in its representations of race, identity, and history. The insistent inclusion of questions relating to colonialism and power structures in recent children’s novels exposes the complexities and contradictions surrounding the fictional treatment of race relations and ethnicity. Postcolonial children’s literature in Britain has been inherently ambivalent since its cautious beginnings: it is both transgressive and authorizing, both undercutting and excluding. Grzegorczyk considers the ways in which children’s fictions have worked with and against particular ideologies of race. The texts analyzed in this collection portray ethnic minorities as complex, hybrid products of colonialism, global migrations, and the ideology of multiculturalism. By examining the ideological content of these novels, Grzegorczyk demonstrates the centrality of the colonial past to contemporary British writing for the young.

Reading Children’s Literature offers insights into the major discussions and debates currently animating the field of children’s literature. Informed by recent scholarship and interest in cultural studies and critical theory, it is a compact core text that introduces students to the historical contexts, genres, and issues of children’s literature. A beautifully designed and illustrated supplement to individual literary works assigned, it also provides apparatus that makes it a complete resource for working with children’s literature during and after the course. The second edition includes a new chapter on children’s literature and popular culture (including film, television, and merchandising) and has been updated throughout to reflect recent scholarship and new offerings in children’s media.