What are the text’s themes and why did you choose those themes to structure the text?

One theme repeated throughout is that to teach and use children’s literature you must be a reader. This theme is important because to understand that reading and literature can’t be thrust onto students, the reader needs to experience and get inside of the literature.

Inclusion is stressed throughout the text. We must let our children see the variety in the peoples who inhabit this country and world and be sure to use literature that also allows children to see themselves in it. To achieve this end multicultural and international literature can be used.

Another theme that pervades the text is that no book is innocent. By this I mean that every book has values and a worldview embedded in it just by what’s chosen to include or to leave out. Being able to see beneath the surface of the literature is important.

A belief in the value and meaning of having students "just enjoy" literature without any other purpose also pervades this text.

Another repeated theme is not to fear the literature. Don’t let the sheer volume of it overwhelm you. Readers can make judgments about what’s good literature if they examine their responses and become aware of how literature can impact others. Readers don’t need to depend on experts to tell them what’s worthwhile and what isn’t. They can develop this capacity.

It is necessary in understanding the importance of involving students in the literature you ask them to read.

Finally, finding joy in the use of the literature and bringing that lightness to the classroom is emphasized. Without this sense of wonderment and excitement, literature simply does not come alive for students.

Tell us about how your book is different than what is currently out there.

My voice is conversational and informal with a nontextbook-like quality. This style reflects the approach this books takes, that literature is wonderful and meant to be celebrated. My excitement about the literature is evident and my love and passion for it comes through.

Controversial issues involving racism, sexism, and classism are not sidestepped but are dealt with directly. They are explored and confronted in the literature.
The importance of the affective in response to literature is stressed and readers are asked throughout the book to examine the emotional and imaginative impact of the books they read.

An entire chapter is devoted to responding to children’s literature through talk, art, writing, drama, movement, and music and a wide variety of activities for using these approaches to literature instruction is presented.

There is a freshness in the way I look at categories and genres. I don’t allow traditional ways of approaching the literature to color my perspective. I look at the literature in the way a newcomer to the field would to make it manageable and logical. I looked for the unique in each genre, something to highlight its distinguishing aspects. In poetry I pay attention to the sounds in poetry, in fantasy I look at the importance of imagination, in nonfiction I look at the authors’ excitement about their own research. I try to show the processes that authors and artists use to convey that sense of creating, of finding the structures for their words and illustrations. Throughout the book I give a sense of this creative process because I think that is how we all approach whatever work we do. We find the essence and go from there.

My organizational patterns are different than those of other books. I spent hours in the children’s section of the public library reading and trying to figure out ways to make the content accessible. In my struggle to figure out what to do with the tremendous amount of information and material in the field, I uncovered patterns that allowed me to feel that I could see the essence of the material without being smothered in its abundance. For instance, when I was working on the chapter on nonfiction, I was initially overwhelmed by the vastness of the nonfiction section. I wanted to find a way to think about the material that made sense to me and that didn’t push me away from the genre because it was so big. That’s how I came upon the idea of organizing that chapter around the Dewey Decimal classifications. I followed similar procedures for each genre to discover ways for my readers to see the genres as manageable and approachable. To this end, I use lots of lists throughout the book.

What are the main features highlighted throughout the text?

• Favorite Authors. Each genre chapter has annotated lists of favorite authors so readers can have a way to begin to find excellent books by respected writers.
  
  
• Criteria for Evaluating. In the genre chapters lists of questions provide readers with concrete ways to evaluate books and analyze books for bias.
  
  
• Applying the Criteria. Models are provided showing readers how to go about evaluating a specific book or analyzing a book for bias.
  
  
• Taking a Look at the Research. In seven chapters research boxes give in-depth information on reading and other critical issues.
  
  
• Children’s Voices. In every chapter quotes from children bring children’s perspectives to the text, allowing readers to hear what children have to say about the genres and book selection
  
  
• Internet and Text Resources. Readers who want more information about the issues raised in the chapter can use this list of URLs and other resources to find author pages, book reviews, and teaching ideas.
  
  
• Invitations. At the end of every chapter are suggestions for activities that will further readers’ understanding and appreciation.
  
  
• Classroom Teaching Ideas. In every chapter, readers are provided with concrete examples of how the literature can be used in classrooms.
  
  
• Wrapping It Up. A short section at the end of the text provides end-of-course project ideas to help students wrap up their thinking about children’s literature in concrete and specific ways.

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