Download e-book for iPad: Cat Traps by Molly Coxe

By Molly Coxe

Cat wishes a snack.  Cat units a trap.  Cat trouble!  Simple sentences and snappy illustrations make this a purr-fect first step into the enjoyment of reading.  

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Extra info for Cat Traps

Sample text

Even now, when it is well established as a literary mode, magic(al) realism has received little recognition in the field of children’s literature. L. Travers’s Mary Poppins (1934), for instance, Maria Nikolajeva can only see the text as an example of fantasy, and Mary as a guest ‘from the implied secondary world’ (86). This reading results in Nikolajeva’s underplaying the extent to which the text, in true magic(al) realist fashion, offers a critique of the regimented, capitalist and patriarchal world view represented by Mr.

This chapter begins to address this silence by demonstrating that far from turning its back on modernism in the way Jacqueline Rose claims, children’s literature – and particularly in the form of the picturebook – has actively explored its concepts and styles, in the process providing precisely the kind of arena for radical experiments Dusinberre describes. Several of the writers most closely associated with literary modernism tried their hands at writing for children. Though the short pieces I discuss briefly below have received little acclaim or had any obviously enduring influence, they are nevertheless useful indicators of how Virginia Woolf, James Joyce, and Gertrude Stein conceived and addressed the child reader.

The extent to which The World Is Round was conceived as a visual text is evident in the way the words, images, and design echo and extend each other. Roberta Arenson’s updating of the book makes use of simple images that look as if they have been printed with blocks, while the book’s tiny format gives it an attractive, toy-like quality that sits well with the modernist interest in the objects of childhood – an interest that was fully explored in Marina Warner’s ‘Only make believe’ exhibition and accompanying catalogue (2005).

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