UNIT 3

Evaluating and Selecting Literature for

Children

Unit Overview

In the sessions of this unit, you will be introduced to the criteria that are used to evaluate
children and young adult literature, both fiction and non-fiction. This unit will also look at
the range of picture books and their special features as well as the value of these book for
reading development and reading. Information books will be discussed and you will get
to know how you can use them to supplement the curriculum as well as for the pleasure
and personal development of children.

Unit Objectives

At the end of this Unit students should be able to:

1. Understand the literary conventions applicable to fiction – such as plot, characters,

setting, theme, style, point of view and understand how they work together to make a
good story
2. Identify the features of different types of books – fiction (realistic stories and fantasy)
and nonfiction (informational books including biography) and be able to apply the
appropriate criteria for their selection

LS32G Unit 3 65
3. Discuss the different types of picture books and their importance to young children
and the criteria for their evaluation
4. Define information books, including biography, and know their usefulness in the
school setting and the criteria for their selection
5. Select and use information books to supplement the curriculum and for pleasure and
personal development
6. Identify the appeal and value these different types of books for children
7. Plan a literature programme based on a knowledge of its nature, purpose, reading
promotion activities and the prerequisites for effective implementation

66 LS32G Unit 3
SESSION 3.1
Promoting Literature for Children

Learning Objectives

At the end of this Session students should be able to:

1. Discuss literary conventions – plot, setting, theme, characters, style-and how they
contribute to the overall quality of a story
2. Apply the general criteria for evaluating these features

As a teacher planning and implementing a literature promotion, one of your

responsibilities is to choose the best quality reading materials for sharing with your
students. However, in order to do this effectively you need to be knowledgeable about
the different genres of materials and the criteria for their selection to ensure quality.
Therefore this Unit sets out to help you to be able to do just that.

Introduction

In order to properly assess the quality of children’s fiction you need to understand the
literary elements used when creating imaginative literature. Many of you would have
studied literature in high school and perhaps at teachers college, so you already have
a good idea of these conventions. In addition, you have already covered some of these
features in previous courses in this degree programme, so wherever appropriate you will
be referred to the relevant sections of these courses and only new information will be
given in these lessons. So dig out your notebooks and keep them handy. Also included are
picture books, biography and poetry along with informational works since these are part
of the body of children’s literature.

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The focus of these lectures from your other courses was on using literature to promote
writing, while for this Unit the emphasis is on knowing the literature in order to select the
most appropriate materials for a given set of children or for the individual child in order
to encourage them to become free voluntary readers. This explains the emphasis in the
whole course on the features of the different types of literature and the accompanying
criteria for their selection and, eventually, details about implementing the literature
programme. This does not exclude using the reading of literature to teach children to
write but adds another dimension – that of reading for pleasure and personal enrichment
which will also promote the acquisition and maintenance of literacy. So since reading
in order to write as well as reading for personal enjoyment are inextricably linked, as a
teacher you should be interested in both aspects.

Literary Conventions for Fiction

Since one of your responsibilities is to choose books for use in the literature programme
you need to be aware of what makes a well-written book and the features that appeal
to the young readers. The criteria for a good story has to do with the plot, setting,
characters, theme, point of view, style and one non-literary feature -the physical format.
Besides the general criteria for fiction, some additional criteria also apply to each genre,
including information books, biography, poetry, picture books and folktales. At this time
we will look at the general criteria for fiction.

The Plot

This is one of the most important aspects of the book that either encourages or
discourages a child from wanting to read it. According to Sutherland, a plot is a series
of actions that move in related sequence to a logical outcome… [every] story has a
beginning a middle, and an end. First the author must set the stage, then in order for the
book to have development and momentum the plot must have conflict, opposition or a
problem. Lastly, there should be a definite ending: a climax of action, or even a strong
indication of future resolution..” (30) Without these features, it is really not a story.

68 LS32G Unit 3
In trying to find out about whether or not to read a book, a child’s first question tends to
be: what is the story about or what kind of a story is it?

This question anticipates a response about the plot and to the child a mystery or an
adventure story suggests a certain sequence of events leading to a particular type of
outcome which they anticipate and enjoy. The plot tells what the characters do and what
happens to them, and if well developed, it holds the story together thereby sustaining
the reader’s interest so that he/she wants to know what happens next. Usually, the plot is
set into train by a single event that precipitates the action of the story. It might be a child
moving from one community to another as happened in Everard Palmer’s Baba and Mr.
Big, or parents getting a divorce (My Father Sun-Sun Johnson) or the start of an epidemic
that takes the lives of the adults and leaves the children to fend for themselves (Escape to
Last Man Peak).

A well constructed plot is logical, the events are interrelated and they grow naturally
out of the action and decisions of the characters. Interest in reading is maintained by
suspense and at times the unexpected turn of events. For example, in Call it Courage
- Mafatu, the chief’s son is terrified of the sea and is constantly teased by his peers for
being a coward. To complicate matters, he is due to succeed his father as chief and so it
is humiliating for him to be so afraid of the sea from which his tribe make much of their
living. The question arises as to his qualification to be the next leader of the people and
matters are brought to a head when one day he accidentally overhears his friends voicing
these thoughts and calling him a coward. Stung by what he hears, Mafatu decides that
he is going to set out alone on a trip on the sea in order to conquer his fear. The reader’s
interest is gripped as one adventure follow rapidly after the other as Mafatu confronts his
fear on his journey across the sea and back.

The climax of the story in well written books develops logically from the interaction of the
action and the characters rather than from coincidence and younger children prefer quick
clear cut endings where all the loose ends are tied up, young adults can better handle
some open-ended type of resolution, but even they still prefer a definite resolution
Plots in children’s books tend to be very straightforward, although some books for older

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children might have a major one supported by one or two subplots. Yet others use
flashback which provides background information to explain what led up to the present
situation. This technique is likely to confuse younger young readers and so it is more often
found in books for teenagers. Some plots might also be episodic in that each chapter
deals with a single discrete event in the hero’s life and as such can stand on its own
although together all the chapters combine to make up a single story. The author in Sprat
Morrison uses this technique and such a book is particularly useful for reading aloud
in the classroom over a period of time as each chapter can be enjoyed separately yet
motivating the children to want to find out what next will the hero do.

The plot also needs to be credible – especially in realistic fiction. Where fantasy is
concerned, even if the story is set in an imaginary world (the Land of Oz in The Wizard of
OZ) specially created by the author, the actions must be consistent with the reality of the
world the author has created.

Some general criteria for plot, irrespective of whether the story is realistic or fantastic, are
outlined by Glazer and others. It should:
1. be interesting and with some amount of originality
2. be constructed logically with reasonable cause and effect tying actions together
3. create tension and suspense and be fast-paced, building towards a satisfying climax
(48)

The plot should tell a good story that children will enjoy and you also have to ask how
consistent are the type and nature of the events with regard to the child’s developmental
stage. Plots focusing on teenage romance and other coming of age issues would be of
little interest to nine and ten year olds who are likely to be more concerned about finding
and keeping a best friend, sibling rivalries, or how to get their parents to buy them a long
desired pet or bicycle. In a similar manner, moral dilemmas beyond their developmental
stage will often be of little interest to young readers.

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Setting

This describes where and when the story takes place and sometimes the setting is
incidental to the story while at other times it is very important to its theme and the plot.
In contemporary realistic fiction it is often taken for granted that the reader knows the
type of place and so the author spends little time describing a modern school, town or
a home. In this case, the setting only provides a backdrop against which the story takes
place.
In some types of stories the setting establishes a mood that furthers the plot and
strengthens the credibility to the story. For example, a story set against the background
of an abandoned great house in a dark forest consisting mostly of large cotton trees and
from which mysterious cries are heard at nights creates an eerie atmosphere and sets the
stage for a spine-tingling ghost story. Children love being frightened or horrified in books
so long as they can retreat to the safety of the real world which partially explains the
popularity of the Goose Bumps series.

However, there are times when the setting forms an essential part of the story and so
the author provides many more details as it affects the actions of the characters, the
events and the theme. Townsend in The Intruder spends time describing the details of
the seaside town constantly drawing attention to the “the sea, slate and sand” at the
beginning and throughout the novel because of the uncertainty surrounding the identity
of who is the real heir to the lighthouse around which the plot revolves.

For historical fiction, the task is no less challenging although the writer can revert to
research to provide sufficient historical details that successfully capture a sense of the
In historical fiction or fantasy because the story takes place in a distant past or in a
previously unknown world the author must create a setting that conveys a feel of the
time and place and which the readers will accept as credible. In fantasy, this can be
extremely challenging and demands strong imaginative ability on the part of the author
to construct this unseen and non-existent world like Narnia (The lion, the witch and
the wardrobe/C.S. Lewis) with its own set of rules which must be consistently applied
throughout.

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For historical fiction, the task is no less challenging although the writer can revert to
research to provide sufficient historical details that successfully capture a sense of
the time and place to make it authentic. Rosemary Sutcliff’s novels for children set in
Medieval England make the past come alive because of her wide knowledge of the
period, her close attention to details and the ease with which she writes about the
past. On the other hand, Vic Reid’s historical novels for children are not strong on the
historical setting, for example, in the opening chapter of Peter of Mt. Ephraim it is not
until almost the last few sentences that the author has to tell us that the story was taking
place in 1830s during the time of slavery. Otherwise the reader is led to believe that this
was happening in the present time because there is no historical information to indicate
otherwise.

When determining the setting for books for young children, the author must bear in mind
their limited concept of time and place which will make them less able to understand
distant places and times. It is best if these books are set in familiar places in keeping with
the child’s limited experience.

In evaluating the setting you may ask: where and when does the story occur and
what hints or indicators does the author give throughout the story to communicate
the place and the time. Two other important features when looking at the setting is
authenticity and accuracy whether in the past or present. If a story is set in an identifiable
geographical location it should be accurate and the plot and characterization should be
consistent with what could happen at the given time and place. Accuracy and authenticity
of setting become particularly important in culturally diverse or multicultural books,
especially if they are written by persons from outside of the culture.

Characters

The major and minor characters breathe life into the story and usually with children’s
books, the hero is a child about the same age or a little older than the age of the intended
reader since children do not like reading about others younger than themselves. Some of
the questions to ask include: Who are the characters? What are they like? What do they

72 LS32G Unit 3
do and do they grow or develop during the story? Are they credible? And will they appeal
to the intended audience? Usually, but not always, the first person we are introduced to
is the hero and we go on to learn about this person by what he/she thinks, says and does,
as well as by what others, including the author, think and say about him/her.

As you already know, the main characters must be credible, realistically drawn with a
rounded personality displaying strengths and weaknesses. Charlie behaves like a real boy
in Young Warriors when lies to win the race so that he can become a Maroon warrior,
but in the end he redeems himself by bravely going into the British Redcoat camp and
distracting them while his people prepare to attack the soldiers. Flat, one dimensional
main characters who do not grow or change at all during the story are acceptable in
folktales but have little place in quality fiction. Even as real human beings undergo
character development and learn from their experiences, no matter how minor, the
same is expected of story characters who should also behave and talk like real people
in keeping with their gender, education, social class and background. Pauline and Wuss-
Wuss in Escape to Last Man Peak, although having to assume adult responsibilities,
still behave like children which is only natural. On the other hand, occasionally some of
Everard Palmer’s heroes, like Misty? In Big Doc Bitteroot, speak and reason in adult terms
which gives the story a false ring.

Books that present heroes with abilities (and carrying out activities) inconsistent with
their age usually these characters come across as superficial, giving a false impression of
reality. Many formula fiction series such as Nancy Drew and the Hardy Boys fall into this
category. Take Nancy, for example, who is always portrayed as being nearly completely
autonomous, operating with little adult interference and almost single-handed having the
ability to deal with every difficulty that arises. While children might enjoy reading about
this type of superhero, they are well aware that such characters could never be real.

Another way of making characters believable is to show the motivation behind their
behaviour and having them perform tasks within their given capabilities based on age
and experience. We know why Jojo (Jojo’s Treasure Hunt) is afraid of the dark and that
he is moved to overcome this fear because of his family’s financial crisis. This compelling

LS32G Unit 3 73
situation can be understood by children universally whether or not their families ever
face similar circumstances, and the fear of losing one’s home because of debt also offers a
plausible explanation for Jojo’s actions.

In well written fiction the major characters are expected to grow and change during
the period of the novel. In reality, sudden and complete change hardly ever occurs, but
as human beings we grow in small incremental steps. Well delineated main characters
usually develop through the events that take place as they seek to resolve the problems
in the story. Gradually by the end of the story, the hero becomes more mature as he
gains new insights and understanding of about himself/herself and/or others and life in
general. We see this happening with the children from the orphanage in Escape to Last
Man Peak who became much more self-reliant whereas before the terrible epidemic they
were almost totally dependent on adult help.

Finally, characters should not be stereotyped which involves making sweeping

generalizations about a group of people based on their race, ethnicity, social class or
gender. Stereotyping ignores individual differences and usually present people in a less
than fair manner. Some forms of stereotyping portray all women as weak and helpless in
contrast to men who are always strong and powerful. More will be said about this in UNIT
6 that addresses some of the issues relating to children’s literature.

In selecting books for children, you should look out for writers who use their imagination,
knowledge and powers of observation to create lifelike characters with hopes, fears,
longings and desires and qualities so real that children can identify with them. Such
characters are so memorable that children will recall them long after they have finished
reading. Mark Twain’s Tom Sawyer (The Adventures of Tom Sawyer, 1876) lives on over a
hundred and thirty years since his appearance, and so does Alice (Alice in Wonderland).
In more recent times who can easily forget Ramona (Beverley Cleary) the loveable
kindergartener or Rami (My Father Sun-Sun Johnson) as he determinedly stands by
his father after the divorce despite teasing from his siblings and unkind gossip from
the villagers? Another memorable character is the feisty teenager Margaret (Harriett’s
Daughter), who almost single-handedly set out to change many things in her corner

74 LS32G Unit 3
of the world in Canada where she lived as the daughter of Caribbean immigrants. The
surprising thing is that she actually brought about some of these changes.

In summary, characters should:

• be revealed by what they say, do and think and what others say about them
• behave in a manner consistent with their age, education, social status and background
• be multi-dimensional, revealing both strengths and weaknesses
• be credible and realistic
• be shown as having motivation for their actions
• grow or change in believable ways
• not be presented in a stereotypical manner.

Last of all, the hero should be someone with whom the child can identify since this is one
of the major characteristics of children’s literature.

Learning Activity 3.1

Identify the main character in a children’s story. Write an evaluation

of the character using any THREE (3) characteristics discussed in this
unit.

LS32G Unit 3 75
76 LS32G Unit 3
SESSION 3.2

Selecting Children’s Literature

Learning Objectives

At the end of this Session students should be able to:

• Discuss the literary conventions – theme, style, point of view -and the general criteria
for evaluating these features
• Apply these criteria in the selection of children’s fiction

Introduction

The previous Session looked at some of the main literary features of stories and this will
be continued here.

Theme

The theme is usually seen as the central idea or significant point underlying the story and
is usually brought out by a combination of the plot, characterization and setting. For some
books it is a single point, for others there might be more. Common in children’s books
are some of these themes dealing with self-acceptance and gaining acceptance from
others; getting along with family members; the need for cooperation and learning to cope
with difficulties. Closer scrutiny of these themes shows that many of them represent the
developmental values relative to growing up.

A theme may be made plain by the author by having it stated in the text, or it may be
implicit and thus interwoven into the events of the story. Sometimes the theme of
the story is overtly didactic and can overwhelm the rest of the story. While this might
have been acceptable in the early days of children’s literature, today it is considered

LS32G Unit 3 77
as poor art, and the preferred technique is to have the theme emerge naturally from a
combination of the major elements of the story. For example, in Escape to Last Man Peak
the overriding theme is survival which is brought out mainly by the sequence of events
of the plot and the conduct and resilience of the characters. In the same way, Linda
Gambrill’s precocious heroine, Beeny Bud (A Boy named Neville), realises the meaning
of friendship as she decides not to tell anyone about Neville’s real family situation. This
theme of friendship is reinforced in the closing pages of the book as Neville is preparing
to move away and Beeny Bud realises, with a lump in her throat, that she is really going
to miss him. In Miss Bettina’s House the need to cooperate in order to defeat a common
enemy comes through strongly as the animals join forces to fight off capture by Curry Dan
who is bent on taking over the place where they live.

With reference to historical fiction, although the story is set in the past the theme should
be a universal one that transcends time and place so that it remains relevant to today’s
readers. For example, the desire for freedom remains a fundamental human concern
whether it be freedom from slavery, an oppressive government or from racial or gender
discrimination. Similarly, in fantasy, although the story might be set in an unreal world,
the underlying message being communicated should have its roots firmly anchored
in reality as also stated by Jane Yolen one of the leading fantasy writers for children in
America: “fantasy books speak to reality heart to heart. They are metaphoric shorthand …
these stories are like fine points on a map, acting as a guide to life as we actually live it…”
(Temple, 369).

Another question that arises relative to theme in fiction is its appropriateness for children
given their developmental stage. Some themes are more suited to late teens or adults as
can be seen with Robert Cormier’s Chocolate War that focuses on violence at school and
its almost life-threatening effect on a young man who refuses to yield to the demands of
the class bully. It is hardly likely that this theme would be considered worthy to impart
to children under twelve or even in their early teens. Nevertheless, with the kind of
open society in which we live today few topics or issues are any longer considered taboo

78 LS32G Unit 3
in children’s books and so more and more adult themes have been appearing in them.
However, not all books have clearly identifiable themes as exemplified by some adventure
and mystery stories which are written solely for entertainment and follow a set formula.

Questions to ask about the theme

1. Does the story have one or more themes? If so, what is or are they?
2. Does it emerge naturally from the story or is it stated too obviously? Is it worth
imparting to children?

Style

In creating literature, language is the tool employed by the writer and each author’s
writing style is unique. Style has to do with the way the author selects and arrange the
words, and this includes the length and rhythm of the sentence, the imagery employed
and the use of natural sounding dialogue. Writing for children often demands a simpler
vocabulary and at times a more literal use of language since young children cannot yet
understand symbolism. Increased use of imagery and a more sophisticated vocabulary
occur as the reading audience grows older.

There needs to be a balance between the author’s use of description and dialogue
as children dislike lengthy narration that slows down the action. Sometimes you may
observe children skimming through the pages of a book before selecting it; very often
they are looking for the presence of quotation marks which signifies dialogue rather
than description. The more direct speech found, the greater the likelihood that the
child will choose the book. With reference to dialogue, this should reflect real speech
patterns and not be stilted or be inconsistent with the speaker’s age, education and social
class. Sometimes authors unwittingly intrude into the story by having a child character
reasoning and speaking with their voice and so the dialogue rings false. One way of
checking on the authenticity of the dialogue is to read the passage aloud.

LS32G Unit 3 79
Vocabulary inconsistent with the developmental stage of will alienate the reader and
it must be remembered that young readers like the repetition of words, phrases or
sentences which encourages repeating them aloud, an activity children enjoy. Judith
Viorst’s Alexander and the terrible, horrible, no good, very bad day has this phrase
repeated several times throughout the story and when listening to it being read aloud,
children usually enjoy preempting the teacher and chanting the phrase themselves.
The language used for children’s fiction should be lucid, vivid and age appropriate bearing
in mind that the proper choice of words and varying sentence structure can convey a
somber mood, excitement or slow down the action. In Peter of Mt. Ephraim, the author
builds suspense by the use of such words as “trouble” and “the escapers” combined with
several furtive and mysterious actions by the adults. Peter, the young hero is curious to
find out what is going on and so is the reader. It should be noted that the need to employ
a simpler vocabulary when writing for children does not preclude the introduction of the
occasional unfamiliar word that can pique the reader’s interest as she tries to figure out
the meaning using contextual clues provided by the author.

Point of View

To determine the point of view of a story one might well ask: who is telling the story?
The author has two main options when deciding on this as she might choose to tell
the story from the “first person” or the “third person” point of view. Choosing one of
these perspectives requires the author to decide which character’s actions, thoughts
and feelings will best impact on the development of the plot, the characterization and
the theme. The “first person” (using the pronoun I) point of view adds immediacy,
can intensify emotions and also increase the reader’s identification with the narrator,
especially when he is the hero. This first person perspective is also used in books written
in the form of a diary or letters like Cleary’s Dear Mr. Henshaw or Rosa Guy’s Carl Davis .
However, this approach restricts the reader to the character’s perspective as the “I” can
only guess at what others are thinking or feeling.

80 LS32G Unit 3
On the other hand, with the third person point of view the author shows the action
happening to someone else and so he uses the pronouns “ he, she, and they”. In this
way, the writer is able to enter into the thoughts and feelings of any of the characters, as
considered appropriate, so the reader knows all what is going on with a greater degree
of certitude. While this perspective is not as intense as that of the first person, it gives a
broader view of the characters’ thoughts, motivation and actions. It is up to the author to
choose the perspective that best suits the nature or purpose of the story which is usually
told from the hero’s viewpoint to strengthen the reader’s identification with this main
character as a means of intensifying the vicarious experience.

The reading of fiction is of immense value to young people for several reasons, among
which are:
• As the reader’s imagination is stirred, through vicarious experience fiction helps to
satisfy in part the child’s psychological need for a sense of well being and security, for
accomplishment and for change.
• Fiction provides valuable understanding and insights into human motivation and
behaviour which should also contribute to a greater self-understanding on the part of
the reader
• Fiction provides various role models for coping with the problems of the human
condition as books portray the complexities of relationships and show how people
grapple with and try to resolve various problems and issues.

In short, fiction enriches the life and thoughts of young people and so aids in their
personal development. For all these reasons, as teachers you should aim to provide a
literature rich environment for your students.

LS32G Unit 3 81
 Learning Activity 3.2

To clarify what you are learning about the criteria for evaluating
fiction read the following sections in: Huck, Charlotte et al.
Children’s literature in the elementary school. 6th ed. Madison:
Brown and Benchmark, 1997
1. Page 29 – Criteria for evaluating Fiction generally
2. Page 348 – Criteria for evaluating Modern Fantasy
3. Page 520 – Criteria for evaluating Historical Fiction

Learning Activity 3.3

Select THREE (3) story books for different age groups. Write an
annotated bibliography about each book in order to help potential
readers in the selection of these books.

82 LS32G Unit 3
References

Cullinan, B. E.& Galda, L. (1994). Literature and the Child. Orlando: Harcourt Brace & Co.
nd
Glazer, J. I. (1997). Introduction to children’s literature. 2 ed. New Jersey: Prentice-hall.
th
Huck, C. et al. (2004). Children’s literature in the elementary school. 8 ed. Boston: McGraw-
Hill.
th
Sutherland, Z. (1997). Children and Books. 9 ed. New York: Longman.
nd
Temple, C. et al. (2002). Children’s books in children’s hands. 2 ed. Boston: Allyn and Bacon.

LS32G Unit 3 83
84 LS32G Unit 3
SESSION 3.3

Picture Books for Children

Learning Objectives

At the end of this Session students should be able to:

1. Identify and discuss the range of picture/picture story books and their special features
2. Apply the criteria for evaluating both the text and illustrations in these different types
of books
3. Demonstrate the value and use of picture books for reading development and
learning

Introduction

Picture books tell a story, explain a concept or convey information by a fusion of texts and
pictures with the latter extending and reflecting the meaning found in the text. A picture
book is defined largely by its format and this genre usually provides children with their
first experience with books, and so they can be very influential with regard to children’s
later responses to literature. As Cianciolo says, “…Picture books can enrich, extend,
and expand young readers’ background of experiences, their literary and aesthetic
interests, tastes, and preferences by providing a variety of sensory images and vicarious
experiences, settings and themes” (3). Hence, the importance of this genre in the life of
the child.

Picture books span the whole range of fiction and nonfiction and, as the name suggests,
the text is as important as the pictures in conveying the story or the information. Once
these types of books usually catered for children from birth to about seven years old
and are usually meant to be read to them until they become independent readers,
and sometimes the fiction titles in this genre for the eight year old and older are called

LS32G Unit 3 85
“picture storybooks” because they have fewer illustrations or the pictures occupy less of
the page and the quantity of the text is increased which sometimes result in a little longer
book. These books are more suited to the newly independent beginning reader who looks
forward to moving on to chapter books with much fewer pictures.

As teachers you need to recognise some of the different types of picture books and
their suitability for the different audiences/age group and be knowledgeable about the
criteria for their selection. Picture books are categorised on the basis of content, format
and intention (for example to teach the alphabet) and so we examine some of the main
categories for clearer understanding of this genre.

Since picture books come in a variety of types and serve many purposes, for this Lesson
they are classified under these broad heading: books for the very young, concept books,
wordless picture books, picture storybooks for beginning and picture books for older
readers. The informational books in this category, apart from concept books, will be
treated under Informational books in Lesson 4.

Books for the very Young

According to Piaget, children up to approximately two years old are at the sensory-motor
stage where they learn mainly through the exercise of all their physical senses and at this
time books are usually read to them by adults. Books are intended to introduce children
to the world—to identify, label, experience objects and the world around them-and some
of these early books are small and chunky, with very few pages and thick covers and
leaves so that they can endure the wear and tear from the age group. The topics in these
books focus on things in the infants’ immediate environment such as their clothes, family
relationships, animals and simple every day experiences. A good example of these types
of books are the series Baby Finds, Baby Goes, Baby Noises, Baby Plays which have just
ten pages each and are produced by Tamarind publisher, a Caribbean publishing house in
England.

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For this age group there are also limp or hard cover picture books some nearly 30
centimeters high, other smaller and dealing with every day familiar day events in a child’s
life like going to bed (Nandy’s bed time), visiting a favourite relative, going to school
for the first time (Sean goes to school), or having a birthday party. Others consist of
simple folktales, nursery rhymes and other nonsensical verses that appeal to the young
listeners’ sense of rhythm and encourage them to talk/chant them/repeat them. Many of
these books encourage the young child’s participation through the provision of items to
sniff, feel, push and pull, all of which are aimed at engaging the young child’s attention,
sustaining his interest and providing variety from the flat text itself. One of the earliest
and most well known participation books is Pat the Bunny (Dorothy Kunhardt) with a
patch of fur-like material included so that the child could actually experience the feel of
a real bunny. Board and plastic books with very few pages allow the child to manipulate
them easily without destroying them, and the plastic ones can even be taken into the
bath. For these books, the words are few, sometimes a single one or two on a page and
bright primary colours are often used to attract and hold the child’s attention.

Concept Books

Concept books are intended to convey knowledge – about the alphabet, numbers and
such things as colours, shapes, time, and concept of space and place. These prove useful
in helping the child learn his letters and numbers as the child prepares for school and
grows in understanding of the world. They help to expand the child’s vocabulary and
knowledge and contribute to reading readiness. In evaluating concept books, you need
to ask: is the concept within the grasp of the age group? Is it clearly explained? Are the
examples used to illustrate what is being taught consistent with the child’s developmental
stage? Are the picture clear enough to demonstrate the concept? How successful overall
was the author in communicating the concept?

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Alphabet and Counting Books

Alphabet books help children learn their letters, master the basics of language, and
extend their vocabulary while at the same time providing pleasure for the young readers.
These books are among the oldest concept books published for children and a notable
one from the nineteenth century is Kate Greenaway’s A Apple Pie (1886) which described
the life of the pie from A to Z. Simple alphabet books usually have a single object on a
page signifying the intended letter along with the letter in upper and lower case either on
the same page or immediately opposite it.

Some guidelines for selecting the best of these types of ABC books include:

• The use of clear letters uncluttered (capital and common) and non decorative-like
using cursive script which might obscure the letter but also make it difficult for the
young child to reproduce.
• A single letter with one identifiable object representing it should be clearly displayed
on each page to avoid and reduce the chances of confusion for the young reader.
• Preferably, the objects chosen should familiar and have a distinct one or two syllable
name and objects that might have more than one name should be avoided. For
example, a teddy bear might be called a bear or teddy-two, which begin with two
different letters of the alphabet and so is likely to confuse the small child.
• Silent beginning and internal letters that are glossed over or combined to form a
single sound (e.g. knife, gnome) should not be used for the same reason.

One of the biggest challenges in developing alphabet books is what easily recognised and
pronounceable objects to use for the letters Q, X (sometimes Y) and Zed. Some authors
use the word “X-ray” for “X “which is very difficult to communicate visually. I can recall
going through an alphabet book with my daughter and when we came to “X “this was
represented by a picture of an x-rayed hand. Of course, my daughter said “Hand” and
there was nothing I could do to convince her that the letter being demonstrated was “X”.

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As teachers in the Caribbean, it is important when selecting materials for Caribbean
children that you seek out alphabet (and counting) books that use culturally familiar
fruits, animals and other such objects. While very few books from the Caribbean are
available for the very young child, two good examples for the older ones are Valerie
Bloom’s Fruits and Ackee Breadfruit Callaloo that through poetry and humour expose the
reader to Caribbean culture.

Not all alphabet books are intended to teach children their letters but many authors use
the alphabet as a quickly recognisable framework for conveying much more advanced
words to expand the child’s vocabulary or their knowledge about the world like
information about the culture of a country. The book Ashanti to Zulu or John Agard’s very
amusing Caribbean alphabet book – The Calypso Alphabet - which makes good use of
the Caribbean’s vernacular and culture to familiarize his young readers with the region.
Such a book resonates with Caribbean children who see themselves and hear their own
language positively portrayed in a book, and for the foreign child, it gives them a taste of
our culture. In this case, the age group for whom the work is intended can be determined
by complexity of the individual words chosen for each letter. For example, Lessac’s
Caribbean Alphabet is not for very young children because of the many words on a single
page, the smaller size of the type and the advanced nature of the text.

Counting books serve almost the same purpose except this time they teach numbers
instead of letters, therefore, the same general criteria apply in most instances. They
usually focus one numbers from one to ten, sometimes twenty and are sometimes used
to teach addition as well as subtraction. Very few Caribbean counting books exist and so
our examples come largely from North America-one that is very popular with children is
Christelow’s Five little monkeys jumping on the bed—that teaches subtraction in a very
humorous and rhythmic manner that have children taking much delight watching the
little monkeys’ rambunctious behaviour and in repeating the frustrated mother’s actions
(mother called the doctor) and the stern warnings from the doctor (..and the doctor said,
“No more monkeys jumping on the bed”). The author of counting books should ensure
that the objects can easily be counted, are clearly identifiable and are accurate in terms
of numbers. For example, in Moja means One, Tom and Muriel Feelings’ outstandingly

LS32G Unit 3 89
illustrated Swahili counting set in Africa, as the numbers increase some of the objects to
be counted become obscure as there are too many objects on the page and they are not
sharply distinguished from other surrounding items. Even though the book is aimed at the
older child, counting the objects is still not very easy.

Apart from ABC and counting books there are other types of concept books, which,
according to Sutherland, can help children see relationship a between objects (tall and
short), or see more than one aspect of an idea (inside, outside), or visualise change (time)
or become aware of similarities and differences -heavy, light (84). These books are usually
introduced a little later age and deal with such topics as in/out, up/down, light/heavy,
time, colour, place and distance which are much harder to convey to young children.
In order to do this effectively, the authors use various techniques such as repetition,
explanations, comparisons, questions and pictures in an effort to add concreteness to
these abstract terms. Some concepts, like shape, are more easily communicated than
others as can be seen in the book Shapes by Younadin which uses a different primary
colour for each page with a new shape and by its cut away feature encourages the child to
also feel the shape. In addition, there are activities designed to reinforce the concept by
having the child identify the taught shape in the illustrations given, for example balloons
are used to represent circles.

Learning Activity 3.4

ABC and Counting Books

Visit your school or public library or a book store and examine

some of the ABC and counting books. Identify what words they use
for the letters X, Y and Z? Are these appropriate? Why or why not?

Other concepts are much more difficult to explain, such as wet and dry or big and
small, and sometimes it is not clear if the child really grasps the idea being presented.
Sutherland offers some guidelines for making these books effective which include
reinforcing the concept being communicated by using reiteration, without boring the

90 LS32G Unit 3
reader; and moving the child from the familiar to the unfamiliar and from the simple
to the more complex (83-4). The abstract idea being conveyed should definitely be
consistent with the child’s developmental stage and the examples used for illustration
should bear this in mind also. Remember that concept books are the child’s first
informational books and as such they should be accurate since they contribute to the
child’s growing understanding of the world.

Wordless picture books are just that-usually a story told completely in pictures. These
pictures only books stimulate language development and the imagination as the child
tries to decipher what is being communicated. These books also teach sequencing
and prediction while sharpening visual awareness as the child has to carefully read the
pictures to figure out the story. Wordless books promote reading readiness as the child
learns to “read” the pictures from left to right and from the front to the back of the
book. All these many benefits make this kind of book particularly useful for language
development and among the very young and creative writing among much older children.
One of the earliest and well known wordless picture books is Shirley Hughes Up and
Up which tells the story of an adventurous and creative little girl who longs to fly and
finally manages to do so, if only in her dreams. The strong story line combined with the
captivating illustrations clearly depicting the varying human emotions make an amusing
and satisfying adventure. All these features are in keeping with the requirements for such
books which include expressive illustrations, clear and understandable sequencing, and
for those that tell a story, an obvious plot.

Picture storybooks have fewer pictures and more text per page since they are intended
for beginning or independent readers. Some are styled easy to read books or books for
beginning readers with texts sometimes written with a controlled vocabulary to make
them more manageable. Others use free vocabulary still within the expected range of
knowledge of the intended reader who is now emerging from Piaget’s pre-operational
stage and moving into concrete operational stage where they are more systematic so they
can follow and remember events in a story. They still need the sense of security and love

LS32G Unit 3 91
from family so they enjoy family stories along with toy and animal fantasies, simple fairy
tales, as well as every day stories that deal with friendships, school experiences, and their
now widening circle of social relationships that extend beyond home.

Picture Books for Older Readers

Another point to note is that picture books are no longer confined to very young children
but are also aimed at older readers as indicated by the sophisticated text features,
advanced vocabulary and mature themes. For example, The Highway Man is more
appropriate for children in the 10-12 age group as it is a retelling of the ancient ballad
story of the tragic romance between a highway man and the innkeepers daughter even as
Richardo Keens-Douglas’ Freedom Child of the Sea, a poignant tale of the middle passage
from Africa to the West Indies, demands a more mature audience as do many of the
folktales told in picture book format such as John Steptoe’s Mufaro’s beautiful daughters
or Lynette Commissiong’s How alligator got his rough skin.

Writing on the topic, Lynch—Brown suggests that, among other things, picture books
can be used across the curriculum at the upper elementary level in some of the following
ways:

• As read aloud for introduction and supplements to textbook-based units of instruction

• As text sets (several books on the same topic) for small group in-class reading analysis
and discussion
• As models of excellent writing

They can also inject humour, stimulate interest in a topic, and sometimes provoke a
discussion. They often have factual content that reinforces or adds to that found in
textbooks and offer different perspectives on issues.

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Role of Illustrations in Picture Books

As stated before, picture and picture story books rely heavily on the illustrations in order
to communicate their message. For these reasons, careful attention must be placed on
the illustrations which serve various purposes in a book, some of which are to:

• attract and hold the child’s attention

• interpret and extend the meaning of the story
• evoke a particular mood
• establish the setting
• portray character
• convey information not given in the text

Illustrations in children’s books have cognitive as well as aesthetic value and children rely
heavily on the pictures to understand the details of the story. In the first instance, they
can literally tell what is happening as well as provide information not given in the text
about the characters, setting and the mood. An excellent example of this happening in
seen in Pat Hutchin’s Rosie’s Walk where the fox threatening presence and final defeat
are never mentioned in the text but eloquently captured in the illustrations and form an
integral part of the plot of the story. With regard to the aesthetic value, the illustrations
can help develop children’s artistic sense as you the teacher draw their attention to the
various media used -water colour, collage, scratch board etc. – and how the artists employ
colour to create setting and mood and lines to indicate action and emotion. Children can
also be encouraged to experiment with some of the different media found in their picture
books to create their own art work as an extension of a story they have read or heard.

In evaluating picture/picture story books overall you need to take into consideration
the text as well as the illustrations as both are integral to the book. The appropriateness
of medium and the intricacies of the use of line and colour are beyond the ability to
comment on since most of us are not professional artists, however, as laymen we should
be able to comment on the following features when selecting this type of book.

LS32G Unit 3 93
The illustrations should accurately reflect the facts given in the text because children
can quickly spot discrepancies and the details given should clarify rather than confuse.
Another form of accuracy relates to the pictures corresponding with the text in terms of
mood, historical period or geographical setting. For example, by virtue of the design motif
used for the illustrations, it is fairly easy to recognise that the story of Mufaro’s beautiful
daughters takes place in Africa. Another factor to look out for is the overuse of colours
which should be avoided because while children are attracted by bright colours at times
this might be overdone and detract from the overall quality of the work. The illustrations
should help the reader anticipate the action and climax of the story and portray character
since it is usually impossible for the brief text to describe all these different aspects of
the narrative. Lastly, artists should avoid stereotypes –racial, gender or any other kind -as
such images contribute to the child’s developing world view and could have a negative
impact.

Picture books form an important part of children’s literature as they are the usually
represent a child’s first contact with the world of books, thereby opening them up to a
universe of information. These books stimulate their language development and visual
imagination while extending their experiential background, among other things. Given
the significance of this genre, as a teacher you should make every effort to incorporate
them in the education of your students, especially with regard to achieving literacy.

Learning Activity 3.5

Do assigned reading that expands further on these criteria both for

text and illustrations.
Cullinan, Bernice E. Literature and the Child. 3rd ed. Fort Worth:
Harcourt Brace College Publishers, 1994, 83 (“Checklist for
evaluating picture books”)

94 LS32G Unit 3
 Learning Activity 3.6

Read a sampling of picture books yourself and evaluate ONE (1)of

them using the criteria presented in the lesson.
3 marks

Learning Activity 3.7

Picture Books

Read some of picture books to your class or children at home or at

the public library. Which ones do they seem to like/dislike? Can
you tell why?

Ask the older children what they like about the story and the
pictures. What did you learn from their responses?

Briefly share your findings with the group. Ungraded.

LS32G Unit 3 95
References

Cianciolo, P. (2000). Informational Picture Books for Children. Chicago: American Library
Association.
rd
Cullinan, B. E. (1994). Literature and the Child. 3 ed. Fort Worth: Harcourt Brace College
Publishers.

96 LS32G Unit 3
SESSION 3.4

Nonfiction or Information Books

Learning Objectives

At the end of this Session, students should be able to:

1. Define information books, including biography

2. Identify the criteria for evaluating information resources
3. Discuss their usefulness in the school setting and the criteria for their selection
4. Select and use information books to supplement the curriculum and for the pleasure
and personal development of children

Reading

Sutherland, Z. Children and books Chapter 13 p. 464-468

Introduction

What is an Information Book?

Lynch-Brown distinguishes this type of book from fiction or narrative writing that tells
a story, by saying, “… Nonfiction can best be defined in terms of emphasis: the content
emphasis … is documented fact about the natural and social world. Its primary purpose
is to inform … nonfiction writing is often referred to as expository writing or writing that
explains…” (164).

Therefore, we can conclude that nonfiction or informational books deal with facts and
are written in an expository style rather than like a story form. However, more and more
these days, many writers employ a fictional or story form to communicate facts to their

LS32G Unit 3 97
young readers because this form is considered to be more engaging. For example, The
Magic School Bus series is written in this form which raises the question of children’s
ability to distinguish between what is factual and fictional in such books. Nevertheless,
the norm is usually an expository approach in presenting the text.

Hundreds of information books are published each year on almost every possible topic
under the sun and in order to select the best quality nonfiction for use with children
you need to understand the various elements of this type of book, their structure and
formats. This lesson is planned to help you do just that as we look at the different types
of information books, including biographies, which are life stories of people, and although
usually told in narrative form, they are based upon facts.

Structure of Information Books

As stated, these books are written in an expository style as the author tries to explain
or communicate facts in an understandable way to young people. Thus, these books
might be written in a descriptive mode where the nature of something is given in a way
that makes it recognisable or easily understood. The sequential approach can also be
employed in describing a procedure like an experiment or presenting a chronology of
events such as in history or scientific development related to the life-cycle of an animal.
To promote understanding, authors sometimes use comparisons or show cause and
effect, such as the combination of atmospheric features that produces a hurricane. At
other times, the author poses questions and provides answers in catechism fashion in
order to teach the child. Some books will use a single approach others will use more than
one approach.

In structuring information books authors follow some of the principles of teaching - they
begin with the familiar before introducing the unknown, or start with the simple before
moving on to the more complex and to present the general before the specific. These
approaches increase the mastery of knowledge by the young readers. Illustrations also
play an important part in the communication of information as they extend the text,
provide clarity and illustrate in a concrete way some things too difficult to explain by
words only.
98 LS32G Unit 3
Certain features to make the information more easily identifiable and accessible are
common to these types of books. Accompanying the basic text which carries the bulk of
the information are things like the title page for fully identifying the work and its date
of publication; the contents page that indicates where to find the section or chapter
where the information begins; the index which provides keyword access to the contents
of the text; and sometimes a glossary to explain difficult or unusual words. The use of
chapter headings and subheadings in the text makes it easier to read and understand
while improving access to the contents and some books also have appendices providing
additional in the form of notes, maps etc. to make the information more complete. All
these standard features are usually employed to enhance the usefulness of information
books to the young reader.

Learning Activity 3.8

Choose an information book and show how the author follows

some of the principles of teaching in the instruction of this book.

250 words, 3 marks

Types of Information Books

Information books cover a range of concepts and topics from abacus to zebras which
makes it difficult to describe them all, so what follows here is only a sampling of some of
the broad categories within which these books fall:

• Concept books: (already discussed in Lesson 3) where the author seeks to convey a
given concept of time, place, size, colour to the young child. For older children some
more abstract concepts include justice, freedom and rights of all sorts.

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• Natural science books: these focus on describing and explaining nature – plants,
animals and natural phenomena like earthquakes, volcanoes, among other things.
Science experiment and activity books fall in this category as well as life-cycle books
that describe the life of animals like butterflies, frogs and bees. Along with books on
social science, they are among the most numerous type of information books being
published for children today. Within this category there are usually what are called
“identification books” that are aimed at assisting the child to identify plants, animals
and any other natural phenomena they are likely to encounter in the world around
them.

• Activity books: these invite children to do or make something and can be very
engaging and satisfying, especially when the child successfully carries out the activity.
The personal involvement required also promotes understanding and clarify concepts
and these books can be used as a basis for projects and to stimulate creativity.
Common activity type books include: arts and crafts, cook books, hobbies and the
collection of objects like shells and stamps.

• Sports and games: children of all ages are interested in a wide variety of sports-both
on how to play the different games as well as accounts of the actual sporting events,
like cricket, baseball and athletics.

• Social Science books: these focus on life in the past as well as the present-the social
institutions, groups and nations, geography. History books take the readers back in
time to learn about people, places and events and can help children recognize how
past decisions affect today’s living and so see the relationship between the past and
the present. They also provide insights into and an understanding of the way people
lived in past-what was important to them and the motivation for certain actions at the
time. For example, an understanding of the terrible conditions of Caribbean slavery
should help today’s children understand why there were so many slave rebellions
and the high price that was paid for Caribbean people’s freedom from Britain and the
other colonizing European powers in the region.

100 LS32G Unit 3

Some of these books also deal with contemporary social history and describes the way
of life and the historical background of ethnic groups living in a multicultural society or in
their countries of origin. These books are very popular, especially for curricular purposes,
because of the emergence of multicultural education in places like North America and
Britain. These books frequently appear in series like Let’s Visit … or Peoples and Nations
of the World… and some deal with the Caribbean and raise some issues re stereotyping
and authenticity which we will explore in UNIT 6.

• Biographies: the life stories of the famous, not so famous and even the infamous that
allow children to learn about the fascinating mix of persons-the good, the bad and the
ugly-who have lived or are presently alive and how they have impacted the world. The
majority of these books are usually written to commemorate the life of an individual
who is considered important or outstanding to family or to a select group or a nation,
and sometimes the whole world or it can be written by the individual to give a true
account or explanation in his/her own words of his/her life (an autobiography). Quiet
a number of these books have didactic intentions, although not usually expressed
overtly, as many of the persons featured are usually considered as positive role
models and the books highlight personal characteristics and achievements considered
worthy of emulation by the young readers.

Biographies can appear as single book featuring one person (individual biography) or
highlighting several persons (collective biography) and some biographies tell a complete
life story (complete biography) while others, especially those for young people, only
tell a portion of the person’s life (partial biography). The latter instance happens often
in children’s books because a complete record would go beyond the average length of
a book which the child can be expected to reasonably manage. On the occasion when
a full biography is written for them, it is usually simplified form with much of the more
adult details omitted. These books also tend to be written in a story form (sometimes
with imagined dialogue and scenes) in order to bring the character to life and to make
the book more appealing to children who are easily bored with too many facts on a single

LS32G Unit 3 101

page. Another reason for these books giving only a partial version of the person’s life
has to do with the appeal of such books to children who are more interested in the early
years of the character’s life because they find it easier to identify with people closer to
their age.

Publishers in places like the USA consistently produce biographies on national political
figures, like their presidents, and outstanding scientists, explorers and discoverers
that have contributed to the country’s development in the past and the present.
Unfortunately, in the Caribbean, not many biographies are written for our children
nationally and regionally. The only regional biography for young people was produced
by Undine Guiseppi who also write some individual biographies on Frank Worrell and Sir
Garfield Sobers, both outstanding cricketers. Marcus Garvey and Mary Seacole have had
books written on their lives, but most of these have been produced by overseas writers
and publishers.

Biographies about entertainment and sports figures are very popular with young people
and children, based on their areas of personal interest, might want to read about
musicians, scientists and other such persons. These types of books are very important
to young people because along with providing positive role models, they can encourage
children to persevere in the face of all types of difficulties; they can present them in
a concrete way with the possibilities of human choice. Children can also vicariously
experience a sense of accomplishment and develop pride in ethnic heritage when they
see persons from their own society or ethnic group achieving great things. Biographies
serve as a useful bridge between fiction and nonfiction because they are factual yet
often told in story form and so can ease the transition from the familiar narrative form of
writing to the more expository approach since it’s a mixture of both.

• General subject books: this category encompasses information books on almost

every conceivable subject such as music, cookery and nutrition, careers and
languages, some of which are reflected in the formal curriculum while others are for
general knowledge. Here too you will find some standard reference works such as
dictionaries, encyclopedias, almanacs, atlases, indexes and directories.

102 LS32G Unit 3

The Criteria for Evaluating Information Books

A brief overview of the main criteria to be used in evaluating these kinds of books for
selection is given here and you are expected to get fuller details from your assigned
reading from Sutherland.

They main criteria are as follows:

The Content

• Scope and audience

You need to establish the scope of the work, whether it is introductory, intermediate
or advanced and also if the coverage is broad or limited to a specific group or age.
The author’s purpose and the intended audience can be judged in part by the
complexity of the language and the types of examples the writer uses to illustrate the
points being made. Read the blurb, the introduction, foreword, and preface as the
author usually gives some idea of whom he is targeting and the scope of the work.
Reading the contents page and some of the text should help you to get an idea of
the complexity of the concepts being dealt with and the required vocabulary level for
comprehension.

• Accuracy
You need to check on the accuracy of the information presented by the text and the
illustrations. This includes the currency of the information as well as the avoidance of
broad generalizations not grounded in fact, plus biases and stereotyping of race and
gender, among other things. The information needs to be presented objectively and
where a topic is controversial, supporting and opposing viewpoints should be given.
The presence of a bibliography of sources consulted will help the reader verify the
accuracy of ideas expressed. With regards to illustrations, these should be properly
labelled, placed close to the relevant text, and effectively illustrating what it should in

LS32G Unit 3 103

 order to facilitate the reader’s comprehension. The use of black and white or coloured
pictures is optional depending on the author’s objectives and the appropriateness of
the medium for what is being addressed.

The authority of the writer based on qualifications and experience is a major point in
trying to assess accuracy. You need to ask about his credentials and expertise on the
topic and if she lacked the latter whether or not an expert was consulted in producing
the work. The reputation of the publisher for a certain type of books can also be used
to evaluate authority. Sometimes accuracy is sacrificed unintentionally in the process of
simplifying complex information or for moral reasons. For example, a complex scientific
process is made simpler and valuable information is left out which creates a gap in
learning or in some sex education books an actual description of sexual intercourse is
avoided and can lead to misinformation for the young reader.

Presentation of the Information

The information should be presented in a way that is easily accessible, attractively laid out
using a style that is appropriate to the subject and in a logical order, i.e., alphabetical or
chronological or whatever other manner suitable. As mentioned earlier, findings aids like
indexes, contents page and other such features enhance the usefulness of the work.

• The format of the work overall is also a matter of concern with regards to
presentation. The size of the book might attract or repel the reader. While tiny
tots might find a large size book acceptable, older children gravitate towards
smaller paperbound books that can easily be tucked into their back-packs. Note
the attractiveness of the book in terms of its physical appearance starting with the
outside cover and within the book the width of the margins, the quality of the paper
and size and clarity of the type are all important. Young people are hardly attracted
to dull boring looking books, narrow margins, rough and brittle paper making up
cramped pages filled with small type.

104 LS32G Unit 3

We talked much earlier in this course about the impact of the physical format on
children’s interest in reading, and those same principles apply to information books as
well as fiction.

Style of Writing

This should be engaging and written in a way that is clear and unambiguous. Although
this requires expository writing there is no reason for the text to make dull reading. A
conversational style, interesting vivid descriptions and sometimes assuming a narrative
approach can make a difference between something a child wants to read or rejects.

There are some additional criteria for evaluating biographies which are summarized in the
extract from Huck. Generally, good biographies should not only have a central character
of interest to the intended child reader but they should also be objective in presenting a
balanced picture of the biographee who should not be portrayed as perfect nor totally
bad. The forces that shape the individual’s values and provide motivation for his/her
actions and achievements, and some would say he or she should be of noble character
and worthy of emulation. However, this is not always the case since the lives of shady and
unsavoury persons can impact the society and be of interest to readers.

Lastly, as the guide for children’s literature experiences, you need to ask about the overall
appropriateness of the information book for the intended young person. Some books will
answer specific queries, like who are the national heroes of your country and other such
reference questions. They are not intended to be read from cover to cover and they might
be consulted less frequently. Other books will cover topics directly related to classroom
subjects and so can be used directly to implement the curriculum, while yet others are
more useful for extending. You as the teacher, equipped with a good knowledge of both
the students –their needs, interests and abilities – as well as the curriculum should be
in a position to properly evaluate these books for usefulness. This should be one of the
primary objectives of your undertaking this course.

LS32G Unit 3 105

The value of Information Books

Cullinan states that nonfiction books make information available to children in ways
that facilitate learning. (5). Information books inform, enlighten entertain and provide
enjoyment for children. However, first and foremost, information books satisfy a child’s
curiosity on a particular subject, they help to answer the many questions that characterise
children’s thirst for knowledge about the world in which they find themselves. Information is
the raw material for knowledge building and so these types of books can play an important
role in informal and formal learning, hence, their usefulness in supporting the curriculum.
For example, you are teaching a lesson or unit on rebellion and resistance movements in
the Caribbean during the time of slavery. To extend the learning experience you can refer to
factual trade books on the Maroons and their way of life since these freedom fighters are
one such group who successfully defied the British and achieved their freedom long before
slavery was formally abolished.

Some of the other values that accrue from reading information books are, they:

• Foster a spirit of inquiry while supplying factual information as the writers include
activities for the children to investigate themselves in order to discover or build their
own knowledge. This kind of activity also allows children to become more efficient at
sorting and retrieving facts that are relevant and meaningful.

• Establish a framework for reading more complex material about the same topic in the
future and so a child’s knowledge grows incrementally.

• Introduce a child to the scientific method of observing, comparing, formulating

hypotheses and testing them in order to arrive at valid conclusions. By being involved
in this process, it is hoped that they will gain an understanding of how knowledge is
built over time.

As a teacher of literacy, you will be interested to know that information books also do the
following:

106 LS32G Unit 3

• Expand the child’s vocabulary by introducing new words, including technical terms related
to a special field. The meanings of these words are sometimes given in a glossary, defined
in the text or can be deciphered through the use of contextual cues.
• Serve as good models for children’s expository writing which is important to you as
teachers of literacy
• Help children develop critical reading and thinking skills as they read and compare
different books written on the same topic to comment on accuracy, objectivity and
up-to-datedness.

Summary

Information books play a significant role in meeting the child’s insatiable need to know
and these resources cover a variety of topics. However, in order to select the very best of
the lot, teachers, librarians and parents need to have a knowledge of what types of books
exists as well as the appropriate criteria for evaluating them for use by your students.
Information books can make a difference within the classroom as they can add interest to
an otherwise dull subject, be used to extend the curriculum or for personal enrichment.

LS32G Unit 3 107

References

rd
Cullinan, B. (1994). Literature and the Child. 3 ed. Fort Worth: Harcourt Brace College
Publishers.
Lynch-Brown, C. & Tomlinson, C. Essentials of children’s literature.
Sutherland, Z. (2002). Children and Books.
nd
Temple, C. et al. (2002). Children’s books in children’s hands. 2 ed. Boston: Allyn and
Bacon.

108 LS32G Unit 3