“The ultimate purpose of literature is not to teach something, but to illuminate what it means to be human and to make accessible the fundamental experiences of life – love, hope, loneliness, despair, fear, belonging. Children read literature to experience life, and their experiences within story worlds challenge  them to think in new ways about their lives and world.” (Short, 2018, p. 291)

What’s hot, what’s not and what does the future hold?

Barone’s (2010) list of current trends in children’s literature has prompted me to reflect on my own ideas and experiences as a teacher librarian (TL) in the school library.

Topics and issues dealt with are current, edgy and may be explicitly presented. That is not to say that it is poorly handled but discussions around texts are far deeper and allow for higher order thinking and critical analysis. Barone (2010, p. 17) reflects on the impact that adult views of childhood have had and continue to have on children’s books. Today’s authors appear to believe that children are more sophisticated (taking into account the presence of the internet) and so are creating more complex picture books, novels and informational texts (Lewis, 2001, as cited in Barone, 2010, p. 1). Agreeing with the Australian Writers’ Centre Team (2020) claims that middle grade novels are now dealing with more complex issues I would further argue that the line between middle or tweens (Marcus, 2008 as cited in Barone, 2010 p. 7) and YA literature is not as clear as one is led to believe. As a TL creating a collection development policy with clear guidelines to allow for decision making of appropriate titles for stage 3 readers (as opposed to high school students) is imperative.

Genre is far more sophisticated and complexed. Novels presented in verse and the incorporation of multiple genres means that catagorisation is far more difficult. I would argue however that this allows children to read across many genres where accessibility is less of an issue and there is less chance of narrowed/restricted reading habits.

Diversity in literature with authentic voice has grown. Here we have seen an increase in Aboriginal authors aided by dedicated publishing houses owning their stories and presenting their narratives to the general population. Short (2018) argues however that there is still a need to address the lack of true diversity in children’s literature. The number of characters of colour in American children’s literature whilst on a slow increase, is far from reflecting a true representation of children of colour in the school system (in 2016 21% of books published featured characters of colour (The Cooperative Children’s Book Center, as cited in Short, 2018, p. 293) whilst a US Department of Education (2015, as cited in Short, 2018, p. 293) report stated that children of colour totalled 49% of the total population in schools). Minority groups such as the LBGTQ community, immigrants, those facing physical, emotional, mental and behavioural challenges all have a place in children’s literature. The discerning TL can make a difference by selecting books that give minority groups a voice, allow children’s literature to truly reflect, acknowledge and celebrate our diverse World.

Information books, in particular the hybrid books eg. Naturebooks and the easy-to-read picture book style biographies of Little People Big lives series, have boosted interest and attracted students back to the NF sections of the library. Here they are learning whilst being entertained and are eager to keep dipping into new information books along the way. A number of adult NF books are now being re written for a tween audience (Becoming, Young dark Emu, Lion). The Australian Writers’ Centre Team (2020) further argue that NF books for children are now tackling real world issues and much like the growth in complex issues presented in tween books, many NF books are broaching global issues such as The Environment (natural disasters, climate change and the bushfire crisis), sustainability and social, ethical and intercultural understandings. As a TL I see the importance of embedding the general capabilities and cross curriculum priorities across the school curriculum, utilising current NF literature to support classroom instruction to develop student awareness and appreciation of global issues and their roles as active global citizens.

The rise of graphic novels as a format, across ages and genres (Australian Writers’ Centre Team, 2020) including Manga has led to many school libraries creating graphic novel collections (our school library book supplier recently noted that the most in demand fictional high school text is currently the graphic novel). Attractive to reluctant readers series such as The Amulet and The Babysitter’s Club in the primary setting sit alongside classics such as Tin Tin and Asterix that have been going strong for several decades.

Book series are not only here to stay but are on the rise. Here we are seeing apparently never-ending book series taking hold of the market (think -Story Treehouse, The Bad Guys, Alice Miranda, Skulduggery Pleasant, Diary of a Wimpy Kid and Ninja Kid). This trend is not only enjoyed in chapter style book format but is gaining popularity with picture book authors too (Pig the Pug, Macca the Alpaca, Noni the Pony).

Transmedia storytelling with “integral elements of a fiction get dispersed systematically across multiple delivery channels to create a unified and coordinated entertainment experience” (James, n.d., as cited in Naghdi, 2021) has seen children’s books expand across many multimedia components. Multiple narratives come together, constructing a larger story world. Each media piece, comic, novel, video game, mobile app, or film can be a standalone story experience, in itself complete and satisfying. Each of these pieces, perhaps offering character backstories or secondary plotlines, contribute to a larger narrative. Transmedia storytelling is fully participatory, the audience is actively involved as social and creative collaborators. The audience benefits from a richer experience and multiple access points.

Barone (2010) argues that there has been an increase in books written with heavy messages/lessons and are “somewhat preachy books” (p. 16). Whilst I concur it is important to note that quite a number of picture books are being written with ‘hidden’ messages, quite beautiful creations such as Suri’s Wall, How to make a bird and Girl on Wire. These books however do sit within the realms of ‘Sophisticated Picture Books’ (SPB), nevertheless their presence in the picture book collection is strong. SPBs can serve as entertaining reads as well as valuable teaching resources to support instruction in the classroom (conceptual English units of work can use selected SPB central to the T/L focus). Barone (2010) does raise an interesting point regarding celebrities writing the more didactic texts, which I would argue is on the rise and perhaps where the publishing industry shows its truth as a market-driven, money spinning, opportunistic monster. I am not a fan. Equally, there appears to be an increase in picture books written appealing to a lower level of humour (which of course all children find funny but which may only offer value as an entertaining read rather than use to support critical thinking, empathy or connecting with new worlds). It remains that the TL must understand this diversity within the field of picture books in order that they may confidently provide quality advice, guidance and support to users of the library (teachers and students) during book selection.

The Near Future?

The Australian Writers’ Centre Team (2020) noted two areas worth investigating:

• Books about getting outside This they argue is as a reaction to the Covid19 pandemic where there has been an increase in stories around the anti-screen/unplugging culture. Rather than seeing books about the pandemic itself (although Jackie French ‘Pandemic’ in 2020 focussing on the Spanish Flu shows strong symbolism towards the current crisis) there is the hope that more books about being outdoors may follow.
• More escapist fiction, particularly in YA. Avoiding the oft depressing and harrowing settings of dystopian texts, which are a little reminiscent of current events, favour will surely turn to true escapism.

The Digital Debate

With the rise in digital technologies not just in the classroom but across home and work environments, the way in which we retrieve information is changing, dictated by our desire for instant access. As global digital citizens young children are demanding easy access to and wider choice of their books using familiar digital devices in between social media and You Tube browsing. Dazzled by visual images fed to us on a plethora of digital platforms we are existing in a predominantly visual culture where images are central to experience and interaction (Short, 2018, p. 289). This, Short (2018, p. 287) argues has influenced an increase in animated children’s books, whether it be in graphic novel format, visual narratives (wordless picture books) and book design. New possibilities for authors, illustrators and art creators are allowing new innovations that promote new ways in which children are able to interact with literature and essentially the world. As educators, TLs and classroom teachers need to ensure children can read and interpret these visuals, understanding and using correct metalanguage to grasp meaning in order to engage with books in a critical and deep way.

Future Drivers

What is driving change in children’s literature? Understanding the history and evolution of children’s literature allows us to see how societal and economical issues and industrial developments have impacted the style, formatting and publishing. However, as we look to the current global landscape can we predict what children’s literature may look like in the future? We need to consider:

• The ever developing/changing digital environment
• Key environmental issues/sustainability that are driving public opinion and impacting global political decision making.
• A growth in multimedia / visual platforms / 24/7 access (internet capabilities).
• A growth in big companies and their domination of the market – the small book sellers a dying out, high street stores are competing with online stores – there is a great difference between browsing in a bookstore as opposed to browsing online.
• Financial considerations – budgeting of schools/libraries and the impact on collection development.

It is important that we, as TLs acknowledge that much as children are now seen as consumers of literature rather than readers, we too are consumers. With this in mind we must challenge the trends driven by economics and marketing and become trend makers to ensure that collections are curated to provide opportunities for making a difference in childrens’ lives.

 

References

Australian Writers’ Centre Team. (2020, July 17). 7 trends in children’s and YA publishing. Australian Writers’ Centre. https://www.writerscentre.com.au/blog/7-trends-in-childrens-and-ya-publishing/

Barone, D. M. (2010). Children’s literature in the classroom: Engaging lifelong readers. Guilford Press.

Lo, M. (2013, February 1). An introduction to middle grade and young adult fiction, part 1: Definitions. Science Fiction and Fantasy Writers of America. https://www.sfwa.org/2013/02/01/an-introduction-to-middle-grade-and-young-adult-fiction-part-1-definitions/

Naghdi, A. (2021, September, 29). What is transmedia storytelling? Dream Farm Studios. https://dreamfarmstudios.com/blog/what-is-transmedia/

Short, K. G. (2018). What’s trending in children’s literature and why it matters. Language Arts, 95(5), 287-298.