Children's Book Publishing Research Articles

The role of fairy tale publications in children's reading circle

In the article, using the example of editions of Ch. Perrault examines the peculiarities of publishing fairy tales for children as an indicator of the refraction of the traditional concept of children's books in tsarist Russia and changes in publishing policy in connection with the formation of new pedagogical and literary and artistic trends. The study is based on scientific methods, such as observation, bibliographic heuristics, historiographic, comparative-historical analysis. Editions of fairy tales by Sh. Perrault, as an object of research, is considered in the historical development of Soviet book publishing, which acted under the influence of ideological factors and social conditions that determined the subject matter, types of publications, their translations and design. The features of the stages of development of children's book publishing are characterized from the point of view of pedagogical and publishing priorities, the competencies of translators and artists, indirectly influencing printing resources. The subject area of the study includes modern editions of fairy tales by Sh. Perrault in the form of separate and special issues addressed to children with different reading abilities and aesthetic perception. The history of the publication of Charles Perrault's fairy tales is analyzed as a new type of publication that correspond to general political attitudes that make them legitimate for the perception of a children's reader. The article highlights the publications characteristic of each stage, which have developed under the influence of discussions about the combination of traditional and innovative views on the functions of a children's book: from edifying and moralizing to soviet propaganda and modern cultural and educational.

Mighty Children and the Transformation of Authoritative Adults in Andrea Beaty's The Questioneers : A Discussion of Age-Based Power as a Theme in Literature for Children

Abstract: Andrea Beaty's and David Roberts's The Questioneers series—including Iggy Peck, Architect (2007); Rosie Revere, Engineer (2013); Ada Twist, Scientist (2016); Sofia Valdez, Future Prez (2019); and Aaron Slater, Illustrator (2021)—features imaginative children navigating challenges in pursuit of their goals. This article explores how the series interrogates age-based power dynamics through the interactions between its young protagonists and authoritative adults. Drawing on Maria Nikolajeva's concept of aetonormativity and Clementine Beauvais's formulations of children's might, adults' authority, and the transformation from one to another, this article explores the books' foregrounding of dialogic encounters that transform both children and adults in a renegotiation of age-based power. These encounters occur through Max Weber's three types of legitimate authority: legal, traditional, and charismatic. Through close reading of the five picturebooks in the series alongside theoretical engagements with age, power, and Freirean learning communities, the article considers the arguably irresolvable tension between literature for children that represents those renegotiations of power and its context in the inherently aetonormative structure of children's book publishing.

Challenges in China's Thriving Children's Book Market: A Comprehensive Analysis and Solutions

With the development of society and the improvement of material conditions for Chinese people's lives in the 21st century, parents are increasingly willing to invest more money in books to educate their children. Consequently, the children's book market in China is becoming more and more prosperous. As an essential component of China’s publishing industry, the children's book publishing sector is very competitive. However, many problems have emerged behind the boom. This research aims to investigate various challenges amidst this growth by analyzing existing literature and comparing data. It is found that there are three significant problems, including the circulation of books that are not conducive to children’s physical and mental development, publishers engaging in repetitive behaviors solely for profitability, and parents’ excessive concern about education leading them to overly scrutinize seemingly innocuous books. This research also aims to offer targeted suggestions for addressing these problems.

A Postcard from Santa Fe

A Postcard from Santa Fe Bunmi Ishola (bio) Click for larger view View full resolution SCOTWRITER21, CC BY-SA 4.0 <HTTPS://CREATIVECOMMONS.ORG/LICENSES/BY-SA/4.0>, VIA WIKIMEDIA COMMONS [End Page 30] At the start of the summer, I set out on a long drive. I was headed to Texas from the Pacific Northwest—at least a three-day journey. As I mapped out potential stops, I felt compelled to ensure that Santa Fe would be one of them. From being one of the world's greatest art cities and the city Jack Kelly sings about with longing in the musical Newsies, the capital of New Mexico has always held a bit of intrigue for me. Plus, Santa Fe also happened to be the home of a new bookish friend I had made through a bookish podcast, and I decided to use this stop as a chance for us to connect IRL. After confirming dates, there was clearly only one choice for how Kaytee and I would spend our time together: visit a few of Santa Fe's bookstores! First stop: Garcia Street Books, on a street running perpendicular to Canyon Road, Santa Fe's half-mile street dedicated to art galleries, and housed in a building that connects it to a coffee shop, Downtown Subscription, and Folklore, a boutique. You can purchase some books, grab coffee and a pastry, and sit reading in a small garden space. My favorite thing about Garcia Street was how so many books were shelved face-out—all the picture books were exclusively displayed this way—and whether we want to admit it or not, we all judge books by their covers, and it was nice to be given outright permission to do so! Once Kaytee and I had bought a few books—cause how could we not?—we headed to Collective Works Bookstore and Coffeeshop just outside historic Santa Fe Plaza. A much bigger space, Collected Works is the oldest indie bookstore in the city and boasts a robust selection for browsers to drool over. There is plenty of seating, not just in the in-store coffee shop (which has a community puzzle table), but you can find comfy chairs in almost every section to curl up in with a good book. We didn't do this since we had lunch plans, but we bought a few more books to feed our minds after we took care of our stomachs. Kaytee had to head home, but foregoing a third bookstore gave me the excuse to make my way to the Georgia O'Keeffe Museum. While O'Keeffe was originally from the East Coast, the beauty of Santa Fe drew her in, and she bought property in the area that became her home and studio. At the museum, I discovered that one could say that O'Keeffe "read" nature. From flowers to skulls, rocks to feathers, natural materials were the inspiration and soul of her art. "My painting is what I give back to the world for what the world gives me," O'Keeffe said. She took the commonplace and sought the unexpected in it, to look at the world around us with new perspective. Each room of the small museum introduced you to O'Keeffe's words and works. Walking through them invited me to slow down and make fresh discoveries out of the supposedly mundane. O'Keeffe not only expressed herself with great aplomb through her art—she was also an eloquent writer. The O'Keeffe Museum published two small volumes, available for purchase in their gift shop, of her "words and works" to bring together O'Keeffe's iconic art with some of her most impactful quotes. The slim volumes are perfect keepsakes from my time in Santa Fe and allow me to dip back into the artist's mind through my favorite format: the pages of a book. [End Page 31] Bunmi Ishola Bunmi Ishola is a former journalist and middleschool teacher who now works in children's book publishing. She's constantly guilty of tsundoku, but that hasn't stopped her from buying more books. She loves to travel and has been to over twenty countries...

Trends in Children's Book Publishing, 1975-2000: Corporate Influences on Children's Reading

Data gathered from selected supplements (1975, 1980, 1985, 1990, 1995, and 2000) to the Children's Catalog (H.W. Wilson), are analyzed to describe the corporate ownership of children's book imprints and assess trends and changes, including the decline of independent publishing entities in the early 1980s, the relative stability in the percentage of corporations that produce both large and small proportions of children's books, and the accelerated changes across the children's publishing industry during the past ten years. Conclusions address the influence of corporate ownership on the development, contents, accessibility, and marketing of books for children.

Fighting ‘On the Side of Little Girls’: Feminist Children's Book Publishing in France after 1968

The publishing activities of the French second-wave feminist movement are well-documented. Less attention has been focused on its attempts to imagine childhood freed from sexism. In the mid-1970s, the Franco-Italian editorial partnership ‘Du côté des petites filles/Dalla Parte delle Bambine’ fought ‘on the side of the little girls’ by publishing a new kind of children's book: politically and aesthetically subversive, and engaged in the period's major feminist debates. Tracing relationships between the publishers involved, this article illustrates how feminist campaigns helped shape new ideas on children and their culture after 1968: child-rearing was both a major point névralgique of the movement as a whole, and an issue requiring action, to provide tools for the struggle. Examining publishing practices, creative artists and books, this study reveals both the intellectual impact of the MLF activists on ideas of childhood and children's literature, and the artistic visions and new poetics they helped nurture.

Детская книга в коммуникативном пространстве Сибири (1991-2008 гг.)

The communicative space of the region is in great demand today not only by linguistics, but also other humanities as allows to study various aspects of development of certain field. The relevance of this research consists in need to study the children's book published in the territory of Sibiria. It is an important part of cultural information space by means of which communication between the book and the reader is realized. Thus, in issues of initialization of children's reading the edition of art, educational, reference, popular scientific, spiritual and educational and leisure books is played an important role. The purpose is to reveal the rating of the most printed local authors written for children in 1991-2008. The research of regional children's book publishing (a flow of children's books and leaders of the market are studied) by means of comparative-historical, structural and typological and statistical methods are done. Bibliographic entries in electronic catalogs of Omsk, Novosibirsk, Irkutsk and Krasnoyarsk libraries and also archival funds of the respective regions served as material. The author's structure of children's book space of the Siberian region is described in details in the article. Circulations and the number of books of each author are determined. The conclusion that children's books in Siberia were published not much is made. In the general flow of the all-Russian children's book publishing they make 1-2%. Absence of regional authors' support and absence of purposeful support of the local publishing houses releasing children's literature became problems of children's book publishing in the country. All this affects development of regional book space and availability of children's literature.

Lois Lenski, Storycatcher by Bobbie Malone

Reviewed by: Lois Lenski, Storycatcher by Bobbie Malone Rebecca L. Godwin Lois Lenski, Storycatcher. By Bobbie Malone. ( Norman: University of Oklahoma Press, 2016. Pp. x, 323. $26.95, ISBN 978–0-8061–5386-5.) Five decades of America's twentieth century come alive in this readable, meticulously researched, and well-documented first full-length biography of Newbery Award–winning children's author-illustrator Lois Lenski. Historian and educator Bobbie Malone traces the evolution of Lenski's work and ties her determination to create her art to the economic and social realities that surrounded women and educational movements, especially between the 1920s and the 1960s. Malone's narrative proves that Lenski, a talented and energetic documentarian of American life who was part of the 1920s surge in children's book publishing, aimed to promote empathy and a sense of social justice in young readers. Malone follows Lenski from her 1893 birth in Ohio to her death in 1974, framing the author's achievements in the context of women's expected place in American society. After earning an education degree, Lenski refused a teaching [End Page 204] job and instead went to New York City in 1915, where she lived at a Young Women's Christian Association branch for women interested in the arts. In 1921, at the age of twenty-seven, she married her mentor, muralist and illustrator Arthur Sinclair Covey, whose first wife had died soon after giving birth to their second child. Throughout the book, Malone describes Lenski's fulfilling life wherein she quietly contested her domestic roles and worked tirelessly to realize her professional dreams. As her husband's painting commissions dissipated during the Great Depression, Lenski became the primary breadwinner, but she never claimed that title herself. In her autobiography and in her letters to friends, Lenski shared that her husband expressed no interest in her books. Yet she pressed on and managed her own professional affairs, earned money from magazines with perfect-mother-myth satirical essays after she bore a son at age thirty-five, networked for field research, and published and illustrated one hundred books. Lenski's fine illustrations for her own and other writers' children's books added to her success, but it was her respectful portrayals of diverse ethnic groups and working-class families—including migrant laborers, sharecroppers, and coal miners—that broke new ground. Determined to provide a realistic view of America, Lenski wrote Indian Captive: The Story of Mary Jemison (1941), an acclaimed historical novel for middle-grade readers that gave an "alternative perspective of Anglo-American Manifest Destiny" with its sympathetic portrayal of Native culture (p. 130). The book started Lenski on the path to writing her American Regional series and Roundabout America series. She wrote while living among everyday people around the country and learning local cultural traditions, work rituals, and dialects, catching stories that became, for instance, Bayou Suzette (1943), Strawberry Girl (1945), and Corn-Farm Boy (1954). Lenski's collaboration with teachers and schoolchildren developed into "'invitational writing'" as she responded to people's requests to "write about them and their region" (p. 166). Lenski conducted extensive research and sometimes included too much historical detail for her editor's taste. Nevertheless, she created books that teachers used in social studies curricula in upper elementary grades to help readers understand the importance of place in people's lives. Malone gives a balanced view of Lenski's work, citing negative reviews and sharing honest assessments of Lenski's unsuccessful books. Malone talked to librarians, educators, children's literature scholars, Lenski's family members, and people who were involved with Lenski's field research as children. She read the papers that Lenski left to more than two dozen libraries and archival repositories around the United States. By analyzing Lenski's influences and by including photographs and illustrations, Malone's chronological study presents Lenski as a forward-thinking American artist in her time. Historians as well as scholars and enthusiasts of children's literature will find this book insightful, and biographers and children's book authors can learn much from the writing and research methods of both Malone and her subject, whose inclusive ideas about democracy influenced generations. [End Page 205...

Children's book in Siberia: a historiographic review

The article is devoted to the history of Siberian regional children's book publishing. The author has collected theoretic-practical opinions of historians, bibliologists, publishers and booksellers, librarians and bibliographers, psychologists and sociologists, which purpose is to generalize and reveal regularities of books' flow for children. V. G. Belinsky, L. N. Tolstoy, F. G. Tol’, N. V. Chekhov developed the first concepts of children's book. N. K. Krupskaya, V. A. Sukhomlinsky studied the «core» of the children book repertoire. V. G. Sopikov, B. S. Bondarsky reviewed children's literature of the 19th century in their bibliographic works. The author allocated some organizational components using formal-logical, comparative-historical and structural-typological methods. The first block is related to studying such definitions as «children's book», «children's literature», «editions for children», «a circle of childhood reading», «the repertoire of children's books», their typological signs. The presented concepts are investigated according to tasks, which children's editions solve. S. G. Antonova and S. A. Karaichentseva touched issues of children's literature typology in their publications. The second block of literature reveals the children's book development in Russia in various periods of its formation. I. E. Barenbaum, A. A. Grechikhin, A. A. Belovitskaya studied general fundamentals of the book's history, while A. Ivich, L. Kohn, I. Lupanova considered the history of children’s books. The third block is devoted to printing and art features of the children's book design, activity of universal and specialized publishing houses to distribute literature for children. The fourth block explains such category as «reader - library», considers techniques of work with children's book, offers methodical recommendations for teachers and tutors. Readers’ activity is examined as well. The author analyzes interests, factors, incentives and aims influencing childhood reading. Dissertation researches disclose the regional specifics of children's book publishing in 1980-2013, confirm the considered subject relevance. The historical, comparative, formal and logical analysis carried out by the author will be useful both the specialists in publishing and editorial affairs, researchers studying the history and development of the children's book, historians, and teachers in the educational process of such courses as «Publishing and Editing», «Children's Literature», «Book Science». The author concludes that the children's book has been studied in different periods of its development in the context of numerous aspects, directions and components, which makes it possible to reveal the special patterns of its existence.

The Junior Literary Guild and the Child Reader as Citizen

The study of American children's literature has recently turned toward institutional histories of editing, publishing, and distribution, represented by Leonard S. Marcus's Minders of Make-Believe (2008) and Jacalyn Eddy's Bookwomen: Creating an Empire in Children's Book Publishing, 1919-1939 (2006). 1 Notably, neither of these good accounts discusses the Junior Literary Guild (JLG), the most important children's book club from its founding in 1929 until the mid-1950s, when it turned its attention to serving libraries. The purpose of the present essay is to introduce the JLG into institutional histories of children's literature and to situate it within the social concerns of the afterglow of the Progressive Era. While the JLG was successful at developing and maintaining a constituency for its wares partly because it addressed structural weaknesses in distribution within children's publishing, it also negotiated and often reconciled an array of contradictory ways of framing the child reader as potential citizen. At a time when parental and institutional control of children's cultural consumption was in flux owing to new standards of child rearing and the appearance of new media that threatened reading's centrality, the JLG suggested how institutional control might foster reading as preparation for citizenship in a democracy by addressing such questions as the following: Is the reader solitary or part of a community? Should children exercise choice in their reading or should it be exercised for them? Should children read at will and primarily for pleasure, or is reading best understood, in the language of the day, to be personally or socially hygienic in some fashion? The JLG constructed a board of selectors and an advertising rhetoric that allowed it to insinuate itself between parents and children on the one hand and the newly professionalized supervisors of children's read- ing—librarians—and their clientele on the other. We might expect the commercialization of expertise to arouse opposition from constituencies

Making Americans: children's literature from 1930 to 1960

American children need books that draw on their own history and circumstances, not just the classic European fairy tales. They need books that enlist them in the great democratic experiment that is the United States. These were the beliefs of many of the authors, illustrators, editors, librarians, and teachers who expanded and transformed children's book publishing between the 1930s and the 1960s. Although some later critics have argued that the books published in this era offered a vision of a safe, secure, simple world without injustice or unhappy endings, Gary D. Schmidt shows that the progressive political agenda shared by many Americans who wrote, illustrated, published, and taught children's books had a powerful effect. Authors like James Daugherty, Laura Ingalls Wilder, Lois Lenski, Ingri and Edgar Parin D'Aulaire, Virginia Lee Burton, Robert McCloskey, and many others addressed directly and indirectly the major social issues of a turbulent time: racism, immigration and assimilation, sexism, poverty, the Great Depression, World War II, the atomic bomb, and the threat of a global cold war. The central concern that many children's book authors and illustrators wrestled with was the meaning of America and democracy itself, especially the tension between individual freedoms and community ties. That process produced a flood of books focused on the American experience and intent on defining it in terms of progress toward inclusivity and social justice. Again and again, children's books addressed racial discrimination and segregation, gender roles, class differences, the fate of Native Americans, immigration and assimilation, war, and the role of the United States in the world. Fiction and nonfiction for children urged them to see these issues as theirs to understand, and in some ways, theirs to resolve. Making Americans is a study of a time when the authors and illustrators of children's books consciously set their eyes on national and international sights, with the hope of bringing the next generation into a sense of full citizenship.

Child-Sized History: Fictions of the Past in U.S. Classrooms by Sara Schwebel (review)

Reviewed by: Child-Sized History: Fictions of the Past in U.S. Classrooms by Sara Schwebel Rebecca Berger Child-Sized History: Fictions of the Past in U.S. Classrooms. By Sara Schwebel. Nashville: Vanderbilt U P, 2011. 255 p. As Sara Schwebel articulates in her book, Child-Sized History: Fictions of the Past in U.S. Classrooms, many teachers have turned to historical fiction as a way to make the past relatable and engage students in developing a historical perspective. Schwebel argues that many historical fiction titles, particularly those that have won awards, are so frequently used in classrooms that they constitute a canon of middle-level historical fiction. She asks us to examine the unintended consequences of the use of this canon in middle-level social studies and language arts classrooms, particularly when the books are used in the service of a grand narrative, or heritage, approach to learning history. Schwebel's argument is that the application of historical thinking and critical historical analysis in grades 5-8 can be improved by the critical investigation of three interrelated topics: the books themselves, their authors' biographies and the cultural context at the time of the books' publication. Using a combination of literary and historical frameworks, she hopes to reinvigorate both the study of history and the titles in the canon. Is her argument successful? The answer is mixed. In her initial and final chapters, Schwebel presents us with overviews of contributing factors to her argument. Readers looking for a comprehensive treatment of the numerous topics included in these chapters will have to look elsewhere. The first chapter treats influences on the construction of the so-called canon, including literary awards, federal monies to schools, the history of children's book publishing and even librarians. The last chapter discusses everything from classroom use of the books to flaws in the preparation of pre-service teachers. The heart of Schwebel's book, however, lies in the chapters where she examines books from the canon through three lenses: literary analysis, author biography and cultural and intellectual history (8). She turns these three lenses on books within the canon that have themes that are common in US history: "the role of war in shaping American identity, the place slavery and its legacy hold within the American story, and the relationship between white settlers and Native Americans in the forging of an American nation and American identity" (33). I found her analyses of the particular books in chapters two-five to be interesting and provocative. Examining the books and authors in the context of their times is one of her more valuable suggestions, but will middle level social studies teachers see this as a valuable part of developing a critical historical stance? Teachers would need to overcome the ingrained idea that the use of historical fiction should help in understanding the history of the era in the book, not the history of the author or of the time when it was published. Will middle-level social studies teachers feel comfortable in addressing [End Page 86] what is essentially a literary analysis of the historical fiction they teach? Will language arts teachers take on the research that would place the book in its historical context in addition to researching the cultural and intellectual history at the time of the book's publication? A brief examination of Sign of the Beaver illustrates some of the problems. In the book, the author uses an actual figure from history, but sets the story a half century earlier. The Maine woods were a much different place for both Penobscots (the "Indians" in the book) and Whites in 1769 (the time Speare's book took place) than they were in 1802 (when the historical Theophilus Sargent lived). In addition, Speare appears to know very little about Penobscot culture in either period. How does this lack of historical understanding affect the development of Speare's story and hence the understanding of the reader? Schwebel's analysis refers to "the complexity of the novel's layered meaning" (58), but this refers to its use of the historical narrative of White predominance over the so-called vanishing Indian. There is no complexity in the...

The Origins and History of American Children's Literature

AbstractBooks meant for young readers did not appear until scholars such as John Locke began to suggest a more modern concept of childhood. Though the eighteenth century saw the establishment and growth of children's book publishing, it was as late as the nineteenth century when children's literature truly came of age. This article traces the development of American children's literature from its early European roots to the rich and diverse literary offerings available to young readers in the twenty‐first century.

“Jings! Crivens! Help Ma Boab!” – It's a Scottish Picturebook

A nation's literature has traditionally been seen as a reflection of the values, tensions, myths, and psychology that identify national character. In the construction of culture and identity there are many shared values that can be discerned and revealed through story and literature. But no literary genre teaches us more about a culture and its values than the literature published for a society's children. In Britain the concept of a literary national identity is further complicated because the United Kingdom is made up of four separate nations and each constituent part claims its own distinctive identity. Within children's literature the picturebook “genre” presents an extremely rich context for the exposition of national identity, using as it does both written text and images. This article suggests that Scottish picturebooks are distinctive and challenge young readers, especially Scottish readers, to discover and recognize who they are in the face of mass market globalization in children's book publishing and thus presents particular opportunities to examine issues of identity in both the cultural and educational environment.

A Study of the Deterioration of Story-Book Graphic Art on Plastics at Emporia State University

This paper examines the long-term effects of the printing processes and uncontrolled storage climate on a series of original children's book illustrations that were executed on sheets of cellulose acetate and vinyl during the 1930s-1960s. Unintended at creation for permanent retention, the art-on-plastic posed intrinsic preservation challenges even as it was accepted into Emporia State University's collections in 1972; however, an unstable climate in the collections storage facility has expedited the deterioration of the acetates. Art on vinyl has not yet shown signs of deterioration. This paper will explain the process that seven artists who worked with acetates used to replicate children's book illustrations on acetate and vinyl during the 1930s-1960s; it will explore the problems inherent in preserving acetates and vinyl; and it will examine the impact of the loss of this art-on-plastic to the study of the history of children's book publishing.

Be Merry and Wise: Origins of Children's Book Publishing in England, 1650‐1850 – By Brian Alderson and Felix de Marez Oyens

Journal for Eighteenth-Century StudiesVolume 31, Issue 1 p. 184-185 Be Merry and Wise: Origins of Children's Book Publishing in England, 1650-1850 – By Brian Alderson and Felix de Marez Oyens Jill Shefrin, Jill Shefrin Trinity College, University of TorontoSearch for more papers by this author Jill Shefrin, Jill Shefrin Trinity College, University of TorontoSearch for more papers by this author First published: 04 March 2008 https://doi.org/10.1111/j.1754-0208.2008.00026.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume31, Issue1March 2008Pages 184-185 RelatedInformation

Bookwomen: Creating an Empire in Children's Book Publishing, 1919–1939 (review)

Bookwomen: Creating an Empire in Children's Book Publishing, 1919–1939 (review)

Be merry and wise: origins of children's book publishing in England, 1650-1850

When did someone decide that books might be written and published for child readers? Originating from an exhibition held at the Pierpont Morgan Library in New York, this bibliographical study focuses on the child as the audience for books in the English language. The authors show how certain creative talents, driven by a sense of purpose, or a wish to make some money, attempted to appeal directly to children, and how the publishing industry came to realise that this audience might constitute a profitable market. As well as plotting the chronological development of children's book publishing, the authors also show how publishers adapted their strategies to exploit this new market. Sweetness and light did not prevail everywhere, but even in some of the most forbidding examples presented here there was a commercial optimism that both merriment and wisdom might be happily combined, within the pages of children's literature.

Growth of Children's Book Publishing in Taiwan

Growth of Children's Book Publishing in Taiwan

Be Merry and Wise: Origins of Children's Book Publishing in England, 1650-1850 (review)

Be Merry and Wise: Origins of Children's Book Publishing in England, 1650-1850 (review)