CHILDREN'S LITERATURE ON THE DIGITAL MOVE

Author(s): Shelby A. Wolf

Source: The Reading Teacher , March 2014, Vol. 67, No. 6 (March 2014), pp. 413-417
Published by: International Literacy Association and Wiley

Stable URL: https://www.jstor.org/stable/24573553

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 THE INSIDE TRACK

CHILDREN'S
LITERATURE
ON THE DIGITAL
MOVF
Shelby A. Wolf
Wolf

nnLane Lane
Smith's (2010)Smith's
It's a Book, two charac-
(2010) children's books
It'sand a theirBook,
technological shifts.
two charac
children's books and their technological shifts.

I
ters,
ters,Jackass andJackass
Monkey, meet acrossand a digitalMonkey,
The key question is: Does
meet of new tech The
the advent across key question is: Does the advent of new tech
a digital
divide. Monkey is a traditional
divide. Monkey reader—check- isnology
a traditional of story? And nology destroy or enhance the world of story? And
destroy or enhance the worldreader—check
inging
out library
out books, library
following his text linebooks,
by to take it onefollowing
step further, the question his toline
of access text take
byit one step further, the question of access
line, eyes moving
line, eyes from left to right. Jackass,from
moving on the comes left
into play asto
we attend to a more socio
right. Jackass, comes
on theinto play as we attend to a more socio
other
otherhand, is a 2.0 kind of guy,is
hand, reading
a from
2.0his kind
political digitalof
divide.guy,
What piecesreading
of children's political
from his digital divide. What pieces of children's
laptop, and he wondersand
laptop, about Monkey's
he curious text. literature areabout
wonders being digitallyMonkey's literature
transformed and for curious text.are being digitally transformed and for
HeHe
asks how you scrollhow
asks the text, you
blog with scroll whom?
it, text, whom?the text, blog with it, text,
tweet,or
tweet, orget getonon toto Wi-Fi? Finally, and this is aand
Wi-Fi? Finally bigthis
one:
is a Where's the con
big one: Where's the con
With
Withevery
everyquestion,
question,Monkey patiently
Monkey versation?
explains
patiently Where's
versation?
explains the adult—whether
Where's teacher or
the adult—whether teacher or
that
thataabook
bookdoesn't do any
doesn't of these
do any things.things.
of these parent—stretching
He finally
He parent—stretching
finally the engagement, the opportuni
the engagement, the opportuni
handsthe
hands the tome
tome overover
to histofriend,
his friend, who
who starts thestarts
tale, the
tiesties
for fortale,
language
language
through
through
conjecture,
conjecture,
commentary,
commentary,
although
although hehe
still has has
still other questions.
other He asks He
questions. and
about critique?
a and
asks aWhenWhen
critique?
about Shirley Brice Heath
Shirley Brice and I
Heath and I
password,
password, a screen
a screenname, and so
name, andforth. But he But
so forth. (Wolf
finally &
he (Wolf Heath,
finally 1992) wrote a book about
& Heath, 1992) wrote a book about the devel
the devel
settles down to read and becomes absorbed
settles down to read and becomes absorbed with opingwith
opingengagement
engagement in in literature
literature oftwo
of my mydaughters
two daughters
the
theTreasure Island
Treasure parody.
Island But then
parody. ButMonkey asks forasas
then Monkey Iasks
read with
I read them,
with
for oneone
them, of of
thethe
central points
central was was
points
his
his book
bookback.
back.Disgusted whenwhen
Disgusted his friend that
thatinteraction
refuses,refuses,
his friend over
interaction a text
over with with
a text another heightens
another heightens
Monkey
Monkey starts
startsto head to the
to head tolibrary. His friend
the library. Histellsthe
theengagement
friend engagement
tells for
forthe
thechild. So So
child. with thethe
with advent
adventof of
him
him not
nottotofret; he'll
fret; recharge
he'll it when
recharge he's done.
it when 2.0
he's2.0 technologies,
technologies,
done. is the
is the childchild literally
literally being being
left to left to
Exasperated,
Exasperated, Monkey
Monkey tellstells
him himnot tonot
bother, his his
ending
to bother, or her
or own
ending devices,
her own or areor
devices, there
are opportunities
there opportunities
with
withthe
the
famous
famous
last line,
last "It's
line,a book,
"It's Jackass!"
a book, Jackass!"
With
Withhigh humor,
high SmithSmith
humor, captures the vast ways
captures the vast ways
. . , ,, ,, ., , ,, Shelby A. Wolf is a professor of curriculum
Shelby A. Wolf is a professor ofand instruction
curriculum at the
and instruction at the
children's
children literature
s literature is moving is moving intoworld.
into the digital the digital
Universityworld.
university ofof Colorado
Colorado at Boulder,
at Boulder, USA. USA.
Thus
Thus the
the purpose
purpose of this of this
article article
is to explore is to
three explore three .

The
TheReading
ReadingTeacher Vol.67 Issue
Teacher 6 pp.Issue
Vol.67 413-417
6 D0l:10.1002/trtr.1235 © 2014 International Reading
pp. 413-417 D0l:i0.1002/trtr.l235 ©2014 Association SB
International Readi

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 CHILDREN'S LITERATURE ON THE DIGITAL MOVE

for
for talk
talk with with a pal, mom,
a pal, a teacher, members
a teacher, mom,had written for the Handbook,
members selection for
had written of texts,
the andHandbook,
audience withinselection
dad,
dad, guardian,
guardian, or grandparent
or grandparent who and we who and talks
all prepared we onall prepared
the talks
trans the larger onpolitical,
social, the trans- the larger
and economic
cares
caresabout the childthe
about and wants
childto
and wants
formationto formation
of children's of adult
and young children's and young
world (Frânquiz, adult& world (Fr
Martmez-Roldan,
share
share ideas
ideas and opinions
and opinions about textual literature
about into the 2.0
textual world. But now intoMercado,
literature the 2.0 world.
2011). But
And there are now
remain Mercado
meaning? lets take a look at thelets
meaning? theory behind
take a look at theour ing
theory and our
behind worrisome questions
ing and worrisome aboutabout
questions the the
talks.
talks. potential loss ofpotential
conversation.
loss of conversation.
AA Little
LittleBackground Background
This article
This article stems from stems The
a panel pre Theory
from a Behind
panel the
pre-Analytic
The Theory Choices Behind th
sentation I gave with colleagues from
sentation I gave with colleagues from Questions I chose Questions
three books to analyze:ILane
chose th
the
the Handbook
Handbook of Research
of Research on Children's The on Children's
technical The technical
processes of printing, processes
Smith's (2010) of printing,
It's a Book, Beatrix Potter's Sm
and
andYoungYoung
Adult Literature (Wolf, 2011),
Adult including
Literature increasingly
(Wolf, sophisticated
2011), including
(1902)increasingly sophisticated
The Tale of Peter Rabbit, and Brian (1
which
which I edited Iwith colleagues Pat
edited ways of producing
with colleagues Pat wayspicture books, has
of producing picture
Selznick's (2007) books,
The Invention has Selzn
of Hugo
Enciso, Karen Coats, and Christine been with us
Enciso, Karen Coats, and Christine been with usCabret.for quite awhile, as Larry for Here,
quite awhile,
I illustrate as Larry Cab
the progres
Jenkins.
Jenkins. The Handbook
Theis the Handbook
first in Sipe (2011) taught
is the first us.in
Still,Sipe
Martin(2011) siontaught us. Still,
of multimodality over time Martin
as these sion
its field and included
its field and included more than 80 more than
Salisbury (2007) 80 Salisbury
explained that lately (2007) explained
books moved from text and that lately book
illustrations
authors.
authors.In addition
In to chapters from
addition "the art of illustration
to chapters fromfor children
"the arthas ofthat
illustration for children
comment on technology, to animated has t
approximately 50 internationally known undergone
approximately 50 internationally known undergone something of a revolution" something
apps, to of a film.
a blockbuster Hollywood revolution"
scholars,
scholars,several chapters
several had essay
chapters(p. 6). had essay
In his book (p.he6).
Play Pen, took In
us his Mybook
analysis isPlay
literary,Pen, he took us
visual, and
responses
responses from award-winning authors
from award-winning through theauthors
images of a variety
through of innothe images
filmic, of sign
moving across a variety
systems to of inno-
vative illustrators.
and
and illustrators,
illustrators, including Caldecott, including Caldecott, vative
explore the illustrators. explore
meanings therein and, more
Newbery,
Newbery, and Printz award Printz
and winners Gunther
award Kress (2003) took
winners the next
Gunther Kress how
important, (2003) took
these sign the next im
systems
(Philip
(PhilipPullman, Katherine Patterson,
Pullman, Katherine step in the digital insurrection,
Patterson, step in arguing
theshape-shift
digitalasinsurrection,
more modalities come arguing s
Markus
Markus Zusak, Zusak,
David Wiesner, and
David for two significant
Wiesner, and for changes: "the broad
two significant changes:
into play. Does this expanding"the broad int
interplay
many
many more).
more). move from the nowmove centuries-long
from the nowdom- result in
centuries-long domtheresult
death of death
in the the book
of the (think of of
book (think
During this process I called on inance of writing to the new dominance
During this process I called on inance of writing to the new dominance Postman's Postman's[1985/2005]
[1985/2005] classic Amusing
classic Amusing
Elizabeth
ElizabethHammill,
Hammill,cofounder
cofounderof Seven
of Seven of
of the
theimage
imageand...
and... the
the move
move from
from the the Ourselves
OurselvestotoDeath),
Death),
or or
do do
thethe increas
increas
Stories,
Stories, which is the
which is National
the National dominance ofof
Centre Centre dominance the
themedium of the
medium of book
the book ing
ing approaches
approachesexpand
expand our
our ability
ability to to
for
forChildren's
Children'sBooks—the
Books—the onlyinplace in to
only place tothe
thedominance of the
dominance of medium of the of the
the medium interpret
interpret text?
text? As Elizabeth
As Elizabeth Hammill
Hammill
theUnited
the United Kingdom
Kingdom dedicated todedicated
pro to pro-
screen screen
(p. 1). (p. 1). wrote me as weme
wrote pondered thisthis
as we pondered digidigi
tecting
tecting thethe
literary heritage
literary heritage of children. By screen
of children. screenhe
hemeans
meansallall
the digital
the digital tal tal
shift, "Are
shift, "Arewe
wemerely
merely entertained
entertained oror
Elizabeth
Elizabeth wrote the the
wrote Handbook chap chap- access
Handbook accesswe
wehave
havethrough
through smartphones,
smartphones, areare wewebeing
beingeducated
educated into
into 21st century
21st century
ter
ter on
onmuseums
museums devoted to children's
devoted laptops, iPads,
to children's laptops, iPads,and
andonon
to to
thethe
bigbig
screen.
screen.learning?"
learning?"
literature
literature around the world.
around After the
the world. After the Whereas
Whereas children's
children's literature
literature expert expert Here,
Here, I Iconcentrate
concentrate on textual
on textual
publication
publicationofofthe
theHandbook,
Handbook, Elizabeth
Elizabeth Perry
PerryNodelman
Nodelman (1988) argued
(1988) thatthat analysis—a
argued close
analysis—a closeinspection
inspection ofof the
and II began
began thinking
thinkingabout
abouta apossible words work
possible words work in
in time
timeand illustrations
and in in transformation
illustrations transformation ofof three
three children's
children's lit lit
celebration
celebrationofofthe
thetext with
text a panel
with a panel space,
dis dis- 2.02.0
space, technologies
technologies allow charac
allow charac- erature
erature classics.
classics.What
What happens
happens when
when
cussion to be held at Seven Stories, and ters and
cussion to be held at Seven Stories, and ters and events to literally move in space,
to literally move in space, literary
literary analysis
analysis widens
widens to include
to include the the
Elizabeth
Elizabeth came
came up
upwith
withthe
theidea
ideathat and
that and they
they have
have the
the advantages
advantages ofofspeech,
speech,interplay of visual,
interplay of visual,auditory,
auditory, and
and inter
inter
it should focus on children's literature
it should focus on children's literature music,
music, and reader
and reader interactivity. active
interactivity. active opportunities? Thus
opportunities? Thus mymy analysis
analysis
movinginto
moving into
thethe digital
digital age. age. Multimodalities are highlighting
Multimodalities are highlighting
Aptly entitled
Aptly entitled"Alice
"Aliceinin Apps
Apps Land,"explosions
Land," explosionsofof possibility.
possibility. ForFor exam
exam
the
thepanel
panelconsisted of Elizabeth
consisted as modas ple,
of Elizabeth mod-think about
pie, three
think still images
about threefrom "Multimodalities
still images from 'A/LllltiTTlOClCllitiCS
erator,
erator, Leonard
LeonardMarcus
Marcus(renowned
(renowned Hugo Hugo Cabret
Cabretof
ofHugo's
Hugo's automoton, but,
automoton, but,
children's
children's book
book historian),
historian), Shirley Shirley of course,
of course, in the
in the film you film you
literally literallyare
move move CITE HiQhIipfl titlQ
highlighting
Brice Heath (professor of English,
English, dra-
dra into
intothe
theshot,
shot,with
with music
music adding
adding to
to the
the
matic literature, and linguistics), Karen
suspense
matic literature, and linguistics), Karenand mystery and
suspense of themystery
mechan explosions
of the mechan- of
explosions of
Coats (professor
Coats (professorofofEnglish
English
andand fellowical
fellow icalman.
man.However,
However,in in this
this explosion,
explosion,
Handbook
Handbook editor),
editor), and me.and me.
All the All there
panel the panel
are still there are
questions still questions
of access, ofpossibilities
access, VOSSlullltlCS.

ran
ma The Reading Teacher
The Reading Vol.67
Teacher Vol.67 Issue
Issue 6 6March
March20142014

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 CHILDREN'S LITERATURE ON THE DIGITAL MOVE

and designated a PopOut!, The Tale of

"What happens
"What happens when
whenliterary
literaryanalysis
analysis widens and designated a p
' ' J J Squirrel Nutkin (1903) widens
is also
Squirrel Nutkinin
(1903)their
is also in their
catalogue. Designed for your iPhone or
to
toinclude
includethethe
interplay of visual,
interplay of auditory,
visual, and
auditory, and catalog
iPad,
iPad,a child
a child
can animate
can theanimate
tale simply the tale

interactive
interactiveopportunities?"
opportunities?" by touching the by touching the screen. Peter hops,
leaves
leavesfall, fall,
berries berries
go splat, andgo
withsplat,
the and w
drag
drag of aof
finger,
a finger,
Peter slips under
Peter the slips under
takes on the task of a formal critic— For the reader, the humorFor
depends ongate
takes on the task of a formal critic— the reader,
to enjoy thethe humor
delights depends on
of the garden.
but
but broadening
broadening that view tothat view to
include knowledge include
of both—that knowledge
one is aware of
The reader both—that
can hear Peter's distress one is aw
the
the interpretation
interpretation ofof
of other modes other modes
of the potentially of of
absorbing, the potentially
contempla when he eats too muchabsorbing,
and the twit contemp
expression.
expression. I raise questions
I raise about the
tive natureabout
questions of a reader's
the relationship to ter of the
tive nature of a reader's
birds relationship
as they implore Peter t
availability of these technological won
a text and one
availability of these technological won- a texttoand is cognizant of the rap one is
exert himself, cognizant
and they can join inof the ra
ders
dersto all,
tostressing the sociocultural
all, stressing idly moving,
the scanning, friend-to-friend
sociocultural idly moving, scanning,
the rescue by helping Peter friend-to-frie
make the
implications of such transformations.
space on the Internet. The success
implications of such transformations. of
space on theunder
slide back Internet. The success of
the gate to escape
Most
Most important, I speculate Ionspeculate
important, theIt's a Book hinges
on on knowledge
the It's of
a both
Book hinges
his father's fate,on
whileknowledge
Mr. McGregor of both
shift from human interaction to moreworlds. Indeed, most reviewers suggest
shift from humcin interaction to more worlds. takes Indeed,
up the chase most reviewers
with more menacing sugg
solitary
solitary digital interaction
digital and what
interaction posthis
that and is awhat
book that adults that
pos- will enjoy,
this
vigoris
than
a book
the original
that still.
adults
Childrenwill enjoy
sibilities
sibilities this
this might might
have have
for the growth for
but not thealthough
children, growth but can
this tends not children,
read the although
text for themselves or this ten
of
ofchildren's
children language opportunities.
s language to Of
opportunities. Of toof behave
be a less than subtle denigration a aless than
narrator subtle
read to them, anddenigration
as
course,
course,the digital
the does not have
digital to exist
does children's
not haveintelligence.
to And it begschildren's
exist the the readingintelligence.
takes place each word And
is it begs
in an isolated bubble, but can—like a
question
in an isolated bubble, but can—like a question of why adults and children of why
highlighted, adults
helping and children h
young readers
book—offer
book—offer opportunities
opportunities for interac
can't enjoy thefor interac- can't
book together. track the enjoy
text. the book together
tion.
tion.Yet,Yet,
so muchsodepends
much on an adult's
dependsStill, if on
you have
an this knowledge,
adult's the
Still, ifpublishers
The you have
and the this knowledge,
public's reac
willingness
willingness to take to
the time
take forthe
digital
time
book for
becomes digital
a critical book
commentary becomes
on tion a critical
has been unbridled commentary
enthusiasm,
discussion.
discussion. the loss of
the loss real
of real relationships
relationships with books praising the with books
interactive possibilities for praising
to
toa surface-level understanding understanding
a surface-level of the child in reading of the
a classic text.child
For in read
Three
ThreeTextual
Textual text.
text. Whether
Whether you bemoanyou this loss,bemoan this
as example, a relatively loss,
recent issue of as examp
Transformations
Transformations Smith certainly does,
Smith certainly does, or celebrate it, 2.0 The or celebrate
Horn Book Magazine (2012)it, 2.0 The H
was cen
So,
So,let'slet's
think about
thinkthe three texts I've
about change
the is here. texts
three Even Smith, for all
I've his tered is
change here.
on "Books Even
Remixed: Smith,
Reading in for all
selected.
selected. It's
It's a Book a Book
(Smith, 2010), first humorous 2010),
(Smith, irony about technology,
first has athe Digital
humorous irony about
Age." They technology, h
even renamed
and
and foremost,
foremost,is a book about
is athe ironies "book
book about trailer"
the forironies
his text with moving trailer"
"book their journal for his
the hBook text
for with moving
this occasion!
of
of technology's
technology's new role innew roleparts,
the children's in athe
narrator, and delightful
children's sound One
parts, a narrator, and
article, written by Katiedelightful
Bircher sound
literature
literature world.world. Thefocus
The humorous on effects.
humorous focus on effects. (2012), was (2012),
entitled "What"What
was entitled Makes a a
Makes
what
what a book can or
a book cannot
can or do shifts from
cannot do shifts from
Shifting Shifting
from what will befrom
a long what will
Goodbe a long-
Picture BookGood
App?"Picture
AlthoughBook
she App?" Alth
an engagement
an engagement perspective
perspective in of
in terms terms of debate
standing standing
to a textdebate to a text that
that embraces embraces
labeled the Peterlabeled the"busy,"
Rabbit app Petershe
Rabbit app "bu
reflection
reflection and
and personal
personal both worlds
transformation
transformation bothwithout
worldsirony, is an appirony,
without cre also app
is an listedere-
it onalso
her recommended
listed it onlist
herof recommended lis

(Wolf,2004)
(Wolf, 2004)
to to
moremore utilitarian,
utilitarian, digitally ated for The
digitally Tale of
ated for Peter
TheRabbit
Tale(Potter,
of Peter Rabbit
picture(Potter,
book apps.
picture book apps.
interactive
interactive possibilities.
possibilities. Monkey
Monkey 1902). Potter
believes
believes is well
1902). known is
Potter forwell
her known for her
in the
in thecommunal
communal space
space between
between thedelightful
the text representations
text delightful of small ani
representations of small ani
and
andthe selfself
the in Rosenblatt's (1994) sense(1994)
in Rosenblatt's mals in clothes
sense they sport, in
mals or, in Peter's
clothes they sport, or, in Peter's "Qn-murh rlomo-y
of
of thethe creation
creation of the poem,of the
whereas poem, whereas
case, lose under case,
Mr. McGregor's "So Mr.
gate. lose under much depends gate. P
McGregor's
Jackass
Jackass takes takes
a more postmodern
a moreview. As Robinson (2012) explained, "Potter's
postmodern view. As Robinson on explained,
(2012) an adult's "Potter's fldult S
Interaction
Interaction hashas
less less
to doto do personal
with with personal
ability to ability to combine
combine realistic animal realistic animal
transformation than communication
transformation than communication physiology with anthropomorphized
physiology with anthropomorphized wUHnPneSS tO
willingness to take
through
through social social
networks,networks,
although keep although keep
activities is easy to take foractivities
granted is easy to take for granted "
in mind that "social" in this case does because she makes it look effortless"
in mind that "social" in this case does because she makes itthe time
look for digital
effortless" the time for digi
not
notoften
oftenmean
meanfaceface
to face, but is but
to face, either
is (p.
either (p. in
32). But 32).
theBut
app,in the moves!
Peter app, Peter moves!
virtual
virtual or distanced
or distanced in nature. in Produced
nature. Produced
by LoudCrow discussion
by LoudCrow
Interactive Interactive discussion

www.reading.org
www. read i ng .org eh

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 CHILDREN'S LITERATURE ON THE DIGITAL MOVE

stiii,
Still, lookinglooking
at the range of at
possi the range
"Teachers
of and
possi-
researchers
"Teachers
know that
and researche
bilities
bilities available
available
in thisin
format
this again
format again
raises questions of access, for you've
technological
raises questions of access, for you'vetransformations must be
technological transform
got
gottoto
notnot
onlyonly
have the
have
equipment
the equipment
to to
play
playit (such
itas(such
the expensive
as iPad)
the butexpensive designed to meet
iPad) but the needs oftO
designed theMCCt
widestthe YlCC
also
alsothe
the
five
five
bucksbucks
for thefor
app itself.
the app itself.
Perhaps
Perhaps even moreeven more
important, it's the spectrum
important, of learners."
it's the SpeCtTUTTl Oj ICCITT
choice
choice of of
texts
texts
that publishers
that publishers
are will are will
ing
ingtoto
animate.
animate.
Still hugging
Still hugging
the shore the shore
oftraditional
of traditional texts,
texts, one one
can't help You move
can't
but helparound
butthe You
automaton
movewith around
used the
to indicate unequal access
automaton with to used to i
wonder
wonder wherewhere
are texts that
aredeal with
texts that
thedeal with the
children—Hugo children—Hugo
and digitaland
Isabelle—as the Isabelle—as
technology. However, the
there digital te
diversity
diversity in children's
in children's the machine's
lives? Thus lives? Thus quirky drawing reveals
the machine's itself aredrawing
quirky in fact many forms ofitself
reveals social and
are in fac
question
question becomes
becomes not onlynot of eco into
one only one a scene
of from oneinto
eco- of Méliès's most
a scene fromeducational
one ofinequality related
Melies's to
most educatio
nomic
nomic access,
access, but
but also also the
the limited rangelimited range image
famous movies—the famous technology image
movies—the
of a rocket access andof
usearather
rocket techno
oftexts
of texts available.
available. ship crashing into the moon.
ship crashing And
into the oneAnd
moon. thanone a single
than a divide" (p. 147).
single divide" He He
(p. 147).
TheInvention
The Invention of Hugo
of Hugo CabretCabret can't help
can't feeling
help feelingaa sense of acropho
sense of acropho- goes
goes on to
to explore
explorefive
five different
different
(Selznick, 2007)
(Selznick, 2007) widens
widens the
the scope
scopeof
ofthis
thisbia
biaasasyou
youview
view the
the city
city of of Paris
Paris kinds
through
through of division,
kinds but but
of division, none of them
none of them
conundrum. This
conundrum. This533-page
533-pagemasterpiece
masterpiece the
the clock
clock tower
towerwindows.
windows.When
WhenHugo include the
Hugo include the selection
selectionofofliterary
literarytexts forfor
texts
transformed the children's book world's transformation.
transformed the children's book world'ssteps stepsout
out
ofof those
those windows
windows to hang
to hang from transformation.
from
That children's literature is on the
notionofofa picture
notion a picturebookbook
whenwhen
it wonit won the
the hand
hand of the
of the clock—suspended
clock—suspended in in That children's literature is on the
the
the Caldecott
CaldecottMedal in 2008.
Medal Rather
in 2008. Rather hishisattempt
attempttoto avoid
avoid the Master'sdigital
StationMaster's
the Station move
digital moveis aisgiven, andand
a given, many of of
many
than
thanhave
havethe illustrations
the and words
illustrations and words clutches—you
clutches—youhang
hangthere
there with
with him.
him. the new technologies are eye-popping
the new technologies are eye-popping
in continual
in continualinterplay
interplayin in
oneone space,
space, the theNot Notmeaning
meaning to to diminish
diminish suchsuch
a in terms
a in terms of oftheir
theiraesthetic qualities.
aesthetic qualities.
text and
text and pictures
picturestake
taketurns
turns telling
telling thepowerful
the powerful achievement,
achievement, thethe
$25$25 of ofBooks
costcost Booksthat
thatare
arealready
alreadybeloved
belovedareare
story. They're
story. They'reinterconnected,
interconnected,of of the book
course,
course, and the
the book added
and thecost of a cost
added 3D of a 3D moving
moving into new
into spaces
new wellwell
spaces beyond
beyond
the relationship
but the relationshipbetween
betweenthe
thetwo
two high-priced
high-priced movie ticketor
movie ticket expensivethe
orananexpensive combination of words and illus
the combination of words and illus
implies that
implies thatthe
thereader
reader simply
simply must DVD
must DVDgives
gives pause. Beyond the
pause. Beyond theeconomic tration,
economic tration, asas movement,
movement, sound,
sound,and and
follow the
follow the sequence.
sequence.The
Thetext
textis is filmic
filmic in implications,
in implications, it raises
it raises questions
questions interactivity
aboutabout enter
interactivity thethe
enter scene. No doubt
scene. No doubt
nature, with
nature, with classic
classic shots movinginintoto which
shotsmoving whichtexts areare
texts selected for such
selected for treat
such treat-the
theReading
ReadingTeacher community
Teacher is well
community is well
close-ups. aware of such movement. But teachers
close-ups. And
And the
thebook
bookisisabout
aboutfilm,
film, ment and what
ment and whataudiences
audiencesare
are privileged aware of such movement. But teachers
privileged
concentrating
concentrating on
on the
thework
workof ofthe
thefamous
famous
or or
not.not.
AndAnd again,
again, the the question
question of con andand
of con- researchers are not
researchers are going to simply
not going to simply
directorGeorges
director Georges Melies. versationversation
Méliès. comes comes
up. We're continually
up. We're continuallystand stand
in in
aweaweof
ofthese
these digital
digitalwonders—
wonders
The transformation of this text went "romanticizing technology" (Dalton &
The transformation of this text went reminded
reminded not not to talk
to talk during
during a movie,
a movie, so so "romanticizing technology" (Dalton &
well
well beyond
beyondanan
animation
animationby which you the
by which youexperience
the experience
demandsdemands
quiet. Proctor, 2008)—but
quiet. Proctor, 2008)—but will question
will the the
question
can
can make
makecharacters like
characters Peter
like jump
Peter jump Still,
Still,that
that does not preclude
does not preclude conver-social,
conver social,economic, andand
economic, political ramifi
political ramifi
about—the cations as children move or don't move
about—thetext
textwas
wasmade
madeinto a big
into a big sation
sationafter the film
after the filmevent,
event,or or stopping cations as children move or don t move
stopping
screenblockbuster,
screen blockbuster, Hugo,
Hugo, directed
directed by aby
DVDa to
DVD to discuss
discuss and
and debate debate filminto
film into these
these spaces.
spaces.
Martin Teachers and researchers know that
Martin Scorcese.
Scorcese.Again,
Again,the
theweaving
weavingofof choices.
choices.IfIfyou
youfinish
finishthe
thefilm
filmwith
withcom com- Teachers and researchers know that
a now
now classic
classic text
textwith
with3D3Dtechnological
technologicalments
mentslike,
like,"Great
"Greatmovie.
movie.Now,
Now,let's technological
let'sgogo transformations
technological must must
transformations
wonders was met with critical acclaim.
wonders was met with critical acclaim.have
havelunch,"
lunch,"youyoumiss
missa areal opportu-behe"designed
realopportu to meet
"designed the needs
to meet of theof the
the needs
As author Brian Selznick (Vulliamy,
As author Brian Selznick (Vulliamy, nity. But
nity. Butififthe
theadult
adultor
or child
child chooses widest spectrum of learners"
to widest spectrum of learners"
chooses to (p. 299).
(p. 299).
2012) himself exclaimed, "The camera
2012) himself exclaimed, "The camera extend
extendthe
theconversation,
conversation,thethepossibilitiesWho has access, in what forms, and
possibilities who has access, in what forms, and
movements
movements are
arebased
basedon
onmy
mydrawings,
drawings, of
of creativity,
creativity, connections,
connections,and critiquewith
andcritique withwhat sense
what of privilege
sense will will
of privilege be be
butbigger,
but bigger, grander
grander and moreand moreabound.
operatic operatic abound. questions raised byraised
questions those longlong
by those accus
accus
than
than anything
anything I could
I could have have
imagined." imagined." tomed to exploring
tomednot just the
to exploring givens,
not just the givens,
Indeed,
Indeed, the tension
the tension is
is palpable as The Repercussions
palpable as The Repercussionsbutbut also
also the the implications
implications of change in of ch
WarschauerWarschauer
(2007) explained, the world of children's literature and
"[T]explained,
Hugotries
Hugo tries to avoid
to avoid the Station
the Station Inspector Inspector (2007) "[T] the world of children's litera
withhis
with his menacing
menacing Doberman
Doberman sidekick.sidekick.
he term he term
digital digital
divide divide
has been haschildren.
widely been widely children.

CT! The Reading

EM Teacher
The Heading Vol.67
Teacher Issue
Vol.67 6 March
Issue 6 March2014
2014

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 ES

CHILDREN'S LITERATURE ON THE DIGITAL MOVE

Most important,
important, with
with the
the advent
lives andof
advent of
engaging
livesinand
creative critique—in Rosenblatt,
engaging creative L.M. (1994). The reader,
critique— the text, the L.M. (199
Rosenblatt,
poem: The transactional theory of the liter
new
newtechnologies,
technologies, we mustn't forget
are
we mustn'tthere for the taking.
forget areAnd there
it's up to usfor ary
the taking.
work. Carbondale, And it'sIllinois
IL: Southern up to us Zy
timeless
timelesslessonslessons
on the needon
for the
con need
to for con-
take them up to
as wetake them
move with up asUniversity
children we move Press.with children University
Salisbury, M. (2007). Play pen: New children's
versation.
versation. As Alice
As(of Wonderland
Alice (of Wonderland into
into textual and textual
technological and technological
worlds. worlds. Salisbury M (2007)
° book illustration.book illustration.
London, UK:London, UK: Lawrence
Lawrence
fame) lies under a tree with her sis- King.
fame) lies under a tree with her sis King.
ter's
ter's book,
book, she ponders, . she
.what is ponders,
REFERENCES..what
is the REFERENCES Sipe'L R' Th
the Sipe, L.R. (2011). The art of the picturebook. In
Wolf S.A., Coats K, Enciso P., & Jenkins C.
use Of a book.. .without pictures or con- Bircher, K. (March/A
use of a book.. .without pictures or con Bircher, K. (March/April, 2012).
a good picture book app? The Horn Book
What makes
(Eds.), Handbook of research on children's and
versation?"
versation?" AndAlice
And even though even and though
Magazine,Alice and Mwazin^ young adult 88(2) 72
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, , , , D Mflgazme, 8S(2)'72-78. New York, NY: Routledge.
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many of the books children cherish
many of the books children cherish have Bradshaw, P. (2011, December 1). Hugo
have Bradshaw, P. (2011 December Vulliamy, E.1). Hugo
(2012, FebruaryVulliamy,
12). Brian Selznick:E.
(2012, February
review in The Guardian. Retrieved www
moved
moved into
into AppsLand
AppsLand andher
and beyond, beyond, her review in e uar lam e neve www
How Scorsese's ]_J0W
Hugo drew inspirationgcorsese's
from Hugo drew
n||oc,n y jguardian.co.uk/film/2011/dec/01/
question still applies.
.guardian.co.uk/film/2011/dec/01/
h1S magical
his magical book. The Guardian.book.
Retrieved The Guardia
question Still
applies. hugo-scorsese-film-review
hugo-scorsese-film-review
Dalton, B., & Proctor, C.P. (2008). The changing
from fromwww.guardian.co.uk/b
www.guardian.co.uk/books/2012/
Going
Goingdigital
digital
doesn't
doesn't
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preclude
dis dis- Dalton, B„ & Proctor, CP. (2008). The changing feb/ll/brian-selznick-hug
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• . ■ „ , landscape of text and comprehension in the Qmrse<ie?new<!feeH-tnie
landscape of text and comprehension in the scorsese?newsfeed=true
cussion,
cussion, nornor
doesdoes it necessarily
it necessarily toll the toll the aae of new literacies In
age of new literacies. In J. Coiro, M. Knobel, T Coiro M Knobel « , , , • ,
y T UI"T „ifT" J,'„ J \ r, £n"Del' Warschauer, M. (2007). A teacher's
Warschauer, M. (2007). place in the
A teacher's dig
place in the dig
C. Lankshear, & D. Leu (Eds.), Handbook
death knell of the book. Although
Although fluid
fluid C. Lankshear, & D Leu (Eds.), Handbook M djvidg Retrieved
ital divide. from
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from onlinelibrary.wiley
of research on new literacies (pp. 297-324).
andshape-shifting,
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the book the book
remains at remains
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the
the heart
heart of
of our
our conversations.
conversations. Indeed, Frânquiz, M.E.,
Indeed, Franquiz, M.E., Martmez-Roldan,
Martmez-Roldan, C.,C„
& & Wo[at g ™S.A.,
Wolf, & Heath< g BS.B.
& Heath, (1992) The
(1992). bmld
The braid
Mercado, C.I. (2011). Teaching Latina/o
Guardian's review
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Hugo children's literature
children's in in
literature multicultural* contexts- ofofliterature:
multicultural contexts: literature: Children's
Children'sworlds
worldsof reading.
of reading.
• o 4- u a u Mnn\ 4- "T4. tu ..iii . , ' Cambridge, MA: Harvard Cambridge, University Press, Press.
MA: Harvard University
movie, Peter Bradshaw (2011) wrote: "It Theoretical and pedagogical possibilities.
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h "
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(Eds.) (2011). The handbookliterature
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strikingly,
strikingly, Scorsese's
Scorsese's film film
is—for all is—for all ~ ge,' children's and young
" Kress, G. (2003). Literacy in the new media age. w ,, xTV 0 j
adultand
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Kress, G. (2003). Literacy in the new media age.
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London, UK: and
Routledge. its direc- London, UK: Rout
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Words about
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The
The narrative
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respectful of, the work on paper
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o: Robinson, L.
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www.reading.org
www.reading.org fsli
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