Literature and Literacy For Young Children Envisioning Possibilities in Early Childhood Education For Ages 0-8 8th Edition Giorgis
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Literature and Literacy for
Young Children
Cyndi Giorgis
Designed cover image: © Eric Rohmann
Eighth edition published 2024
by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2024 Cyndi Giorgis
The right of Cyndi Giorgis to be identified as author of this work has been asserted
in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act
1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks and are used only for identification and explanation without intent to
infringe.
First edition published by Pearson Education, Inc. 1981
Seventh edition published by Pearson Education, Inc. 2009
ISBN: 978-1-032-43503-9 (hbk)
ISBN: 978-1-032-43282-3 (pbk)
ISBN: 978-1-003-36763-5 (ebk)
DOI: 10.4324/9781003367635
Typeset in Palatino
by codeMantra
Literature and Literacy for Young Children: Envisioning Possibilities in
Early Childhood Education for Ages 0–8 is dedicated to early
childhood educators, childcare providers, and parents who make a
difference in the lives of young children every day by sharing the
power and pleasure of literature
and
Megan Sullivan Sloan, who is not only an incredibly imaginative,
innovative, and extraordinary educator, but is also a colleague,
mentor, and friend. Thank you for sharing your expertise with me
over the years and for allowing your students’ responses to literature
to be featured in this book. I am constantly in awe of you!
Contents
Preface
Acknowledgments
Instructional Strategy from the Field Contributors
Index
Preface
Categories of Literature
There is a wide range of books that authors and illustrators create with an
intended audience of young children in mind. Several categorization
systems are used to describe and classify books but they are frequently
grouped by their format or their genre.
Format
The format of a book is its general makeup. This includes the size, shape,
arrangement of illustrations, end pages, cover, paper quality, typography,
and spacing. For example, the description of the Caldecott Honor book
Color Zoo (1989) by Lois Ehlert, which introduces initial concepts of
colors, shapes, and animals, might include its measurements of 9 by 9
inches. It has a hardcover but no book jacket. When opened, bright green
end pages greet the reader. The pages are sturdy and durable while
featuring perfectly die-cut shapes ingeniously designed that line up to
unfold nine distinctly recognizable and abstractly formed animal heads.
Ehlert uses bold primary and secondary colors throughout the book.
Limited text is placed on the corner of each page that names the shape or
animal featured. The book concludes with a listing of colors in the book
and the animals created from the shapes.
Color Zoo (1997) is also available in a board-book format that
measures 7 by 7 inches. However, the end pages are not included nor are
the three pages that begin and end the book. Board books are generally
ideal for infants and toddlers. Color Zoo is better suited in the hardcover
format for sharing with preschoolers who are learning shapes and colors
alongside an adult who will assist them in identifying abstract animal
faces.
When publishing hardcover picture books in a board book or electronic
format, some aspects of the book might not be included, similar to the
missing pages described above for Color Zoo. The hardcover version of
the popular Goodnight, Goodnight, Construction Site (2011) by Sherri
Duskey Rinker and illustrated by Tom Lichtenheld as well as the Spanish-
language version, Buenas noches, construcción. Buenas noches,
diversión, measures 10 inches high and 20 inches wide. The size of the
board-book version is 5¾ by 6 inches. There is also an e-book format that
will adhere to the size of smartphone or tablet screens, which generally
measure smaller than a hardcover picture book. The e-book and board-
book versions of Goodnight, Goodnight, Construction Site both eliminate
the depiction of the sun rising behind the construction site on the opening
end pages (which is how the story and day begin) and the sun setting on
the closing end pages showing that all the trucks have gone to sleep.
Many children’s books are also published in paperback editions.
Paperbacks are less expensive and enable quality literature to be available
within the economic reach of more families and classrooms. However,
paperbacks are generally not as long-lasting as hardcover books which
might be a consideration depending on the age of the child(ren) and the
need for durability. Also, a paperback of a picture book may differ in size
from the original. For example, Robert McCloskey’s classic Make Way for
Ducklings (1941) paperback edition is approximately one-third the size of
the original Caldecott Medal winner. This reduced size significantly affects
the ability of a group of children to view McCloskey’s expressive
illustrations, which might also impact their enjoyment and response to the
story.
Unusual Formats
Some books stand out because of their unique format. When’s My
Birthday? (Fogliano, 2017) echoes a question asked by young children:
“when’s my birthday?/where’s my birthday?/how many days until my
birthday?” Written in lowercase letters, the text has a frenetic pace that
begs to be read aloud. The distinctive vertical design feature is the book’s
tall, thin shape. When the book is open, the two pages form a square
rather than a rectangle, as with most picture books. Lolly Robinson, a
reviewer for Horn Book Magazine, considered the odd shape of this book
and finally decided, “If a wide book reveals a story that covers a long time
period, then the opposite makes sense about the frustrations of waiting
for something to happen.” The narrator in When’s My Birthday? is
anxiously awaiting her birthday, and the tall design calls for rapid page
turns and the hurried passage of time. The book also resembles a
birthday card.
Format should be used to make storytelling engaging and effective.
Eric Carle’s The Very Busy Spider (1984) uses expansive white space to
draw the eye to the spider and its web. On each page, strands of the
spider’s web are raised offering a tactile experience and illustrating how a
spider web develops from the outer edge and spokes to the full pattern of
concentric circles. In the Caldecott Medal-winning wordless picture book
My Friend Rabbit (2002), illustrator Eric Rohmann uses frames to create a
comic effect while allowing huge animals such as an elephant and hippo
to make sudden entrances from the side or top of the page. This
technique artfully captures the expressions on the animals’ faces. The
book format changes at a dramatic point in the story, requiring readers to
tilt the book vertically to view the climactic spread showing a stack of very
annoyed animals sitting on each other’s backs. Always consider how a
picture book’s format enhances, rather than detracts from, the
presentation of the story.
The graphic style of storytelling is gaining popularity with young
children. You’ll find this comic-style format in the TOON Books for
emergent readers and the Babymouse series for children ready for a little
more text. Jeff Smith’s Little Mouse Gets Ready (2009) is one that children
will relate to as Little Mouse puts on numerous articles of clothing,
including underpants, socks, shoes, pants, and a shirt so that he can go
to the barn with his mama and siblings. The comic-book format has
limited text and one or two panels per page.
Jennifer L. Holm and Matthew Holm’s clever and adventurous heroine
Babymouse has become a hit with readers attracted to the book’s comic-
strip-style format containing black-and-white illustrations splashed with
pink. The final book in the series, Babymouse #20: Babymouse Goes for
the Gold (2016), will delight readers with the antics of the sassy, wise-
cracking rodent, who has big dreams and wet whiskers, as she joins the
swim team in hopes of winning a gold medal. The graphic format of these
books and others is particularly attractive to visual learners, emergent and
reluctant readers, and multilingual learners because of the reliance on
illustration rather than text to tell a story.
While there are unusual formats, classifications related to format
generally identify types of books, the most common being board books,
toy and novelty books, wordless picture books, and picture books. Other
classifications are beginning-to-read books, early chapter books (which
are often series), and chapter books.
Board Books
Board books are printed on heavy cardboard with rounded corners. They
are designed considerably smaller than picture books, making them
perfect for the small hands of babies and toddlers just learning how to
handle books. Because of the stiffness of the pages, board books can be
grasped and turned more easily than lighter-weight pages and are less
likely to tear. The pages are generally laminated, making them easy to
wipe off if the enjoyment of the reading experience includes chewing on
the book.
Board books are generally designed to provide stories with simple
direct plots or basic concepts. They also create a bonding moment when
the sharing of the book has the infant sitting on a parent’s lap. Board
books contain uncluttered and brightly colored illustrations of familiar
objects, activities, food, or animals. Reading them might prompt a parent
or caregiver to make the sounds of a cow, a pig, or a cat to engage the
child in the experience. Even the action of turning the pages can elicit
sheer delight from an infant or toddler. In addition, board books can
nurture a love of books and reading, provide sensory stimulation in
support of brain development, encourage language, and build knowledge
about the world and how it works.
Originating during the 1930s, board books were made of thick
cardboard that could be bitten or thrown with little to no damage. Tiny
fingers with limited fine motor skills had difficulty turning the pages of a
picture book, and paper cuts were common. Board books provided a safe
alternative while allowing a young child to learn how a book “works” in
orientation and directionality (Campbell, 2017).
The publication of board books has increased tremendously in recent
years. In 2023, two board books received the inaugural Margaret Wise
Brown Board Book Award for excellence in children’s literature: Give Me a
Snickle! (2022) by Alisha Sevigny won in the 0–18 months range, and Me
and the Family Tree (2022) by Carole Boston Weatherford and illustrated
by Ashleigh Corrin, won in the 18–36 months category.
Due to their small size, durability, and issues of cleanliness, board
books are often not available in public libraries. This has prompted
parents to seek them out in bookstores and through online vendors. Some
of the most enjoyable and effective board books are those that are
created specifically for the audience of infants and toddlers. Helen
Oxenbury’s classic board books I Can (1995a), I Hear (1995b), I See
(1995c), and I Touch (1995d) provide an excellent introduction to the
senses for babies and invite interaction through language and movement.
Emily Bolam’s board books contain bold colors and a tactile experience for
toddlers as they explore eye-catching stripes and dazzling polka dots in
Patterns (2018b) or cuddly bears and changing chameleons in Animals
(2018a). Toddlers will enjoy interacting with Karen Katz’s lift-the-flap
books, Baby Loves Summer! (2012), Where is Baby’s Puppy? (2011), or
Zoom, Zoom, Baby! (2014). These theme-based board books contain
bright, attractive art along with sturdy, easy-to-lift flaps that will engage
even the most active two-year-old. Sandra Boynton’s board books are
probably the most familiar and include Pajama Time! (2022), Belly Button
Book (2023), and Peekaboo Rex! (2023).
Many board books have been adapted from books originally published
as picture books. Take into consideration that these smaller versions may
eliminate portions of the books, condense illustrations, or rewrite and
simplify the text. Picture books usually contain 32 pages whereas board
books are 12 pages—text or illustrations are altered to fit a condensed
format. Some make the transition well like Hervé Tullet’s Press Here
(2019), a highly interactive book that instructs readers and listeners to
push the button, shake or tilt the book, and clap their hands to make the
dots multiply and increase in size. As mentioned previously, the board-
book version of Goodnight, Goodnight, Construction Site (Rinker, 2017) is
missing the pages from the picture book version. A better choice with the
same construction theme would be Bulldozer’s Shapes: Goodnight,
Goodnight, Construction Site (Rinker, 2019a) and Excavator’s 123:
Goodnight, Goodnight Construction Site (Rinker, 2019b). These board
books are specifically designed for the toddler audience and offer basic
concepts focused on characters from the original picture book. Generally
speaking, it is better to wait until a child can appreciate a particular story
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Li dessus dit signeur se nommèrent et disent: «Nous
sommes telz et telz. Venés parler à nous en ceste
15 porte, et nous prendés à prisonniers.» Quant li dis
messires Thumas oy ceste parolle, si fu tous joians,
tant pour ce que il les pooit sauver que pour ce qu’il
avoit, en yaus prendre, une belle aventure de bons
prisonniers, pour avoir cent mil moutons. Si se traist
20 au plus tost qu’il peut à toute se route celle part, et
descendirent li et seize des siens, et montèrent amont
en le porte; et trouvèrent les dessus dis signeurs et
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sans delay, pour yaus sauver, au dit monsigneur
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mist et laissa de ses gens assés pour yaus garder, et
monta à cheval et s’en vint sus les rues. Et destourna
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gentilz chevaliers d’Engleterre qui gardèrent et esconsèrent
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et tamainte dame d’enclostre à violer. Et chei
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grosse navie, estoit si basse et si morte qu’il le passoient
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dire, de ses gens. Car chil qui estoient monté en loges
15 et en soliers sus ces estroites rues, jettoient pières
et baus et mortiers, et en occirent le premier jour
que mehagnièrent plus de cinq cens: dont li rois
d’Engleterre fu trop durement courouciés au soir,
quant on l’en dist le verité. Et ordonna et commanda
20 que, à l’endemain, on parmesist tout à l’espée,
et le ditte ville en feu et en flame. Mès messires
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[146] trop grandement couster de vos gens, ançois que la
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n’i ait des villains, des garçons et des maufaiteurs
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Englès, de le bonne ville de Kem signeur, trois jours.
Et y conquisent et gaegnièrent si fier avoir que merveilles
seroit à penser. En ce sejour il entendirent à
ordonner leurs besongnes, et envoiièrent par barges
10 et par batiaus tout leur avoir et leur gaaing, draps,
jeuiaus, vaisselemence d’or et d’argent, et toutes aultres
rikèces dont il avoient grant fuison, sus le rivière,
jusques à Austrehem, à deux liewes ensus de
là, où leur grosse navie estoit. Et eurent avis et conseil,
15 par grant deliberation, que leur navie à tout leur
conquès et leurs prisonniers il envoieroient arrière
en Engleterre. Si fu ordonnés li contes de Hostidonne
à estre conduisières et souverains de ceste
navie, à tout deux cens hommes d’armes et quatre
20 cens arciers. Et achata li dis rois d’Engleterre le conte
de Ghines, connestable de France, et le conte de
Tankarville, à monsigneur Thumas de Hollandes et
à ses compagnons, et en paia vingt mil nobles tous
appareilliés.