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American Literature, Essay, Pages: 6

Censorship and Critique in Children Literature

Censorship and Critique in Children Literature

Violence, conformity, and evil are important themes that can be explored in children’s literature as a medium. However, the same themes appear to be realized differently across genres, primarily in realistic texts versus fantasy narratives. Books that are realistic, such as Save Me A Seat by Sarah Weeks and Gita Varadarajan, have an entirely frank and sometimes grim take on a perspective of major societal issues that cause much critique and censorship: Censorship and Critique in Children Literature.

But take away all of the troubling tropes from fantasy texts such as Beatrix Potter’s The Tale of Peter Rabbit, and, often, it is still seen in a realm of storytelling, and this suspension of disbelief can effectively dilute the immediacy of the themes. This argument will be supported by the finding of the two selected works that fantasy texts are less susceptible to critiquing than realistic texts because fantasy texts sidestep the issue of societal norms or the problems present in society. This essay will look at how violence, conformity, and evil are portrayed between the genres and how the various implications of censorship and the different societal receptions of these narratives may differ.

Understanding Realism in Children’s Literature

The realistic fiction genre for children and young adults features the honest depiction of real life, touching real-world subjects that affect young readers. This genre is filled with violence, conformity, and complexity of human relationships, and it is also a rich ground for critique and discussion. One example is the book Save Me A Seat by Sarah Weeks and Gita Varadarajan, looking at Joe and Ravi, the boys, as they journey to their identity and learn about being different culturally in each other’s world.

The theme of bullying, a type of violence sadly familiar in many modern school environments, is tackled by the authors of Save Me A Seat, a new children’s book. It is the story of Joe, who has anxiety about trying to fit in, and Ravi and his discrimination as an Indian. In these experiences, we see the harsh realities of school life and how conformity pressures can isolate and be emotionally distressing.

Weeks and Varadarajan write, “Sometimes I feel like a ghost, floating through the halls, invisible to the other kids” (Weeks and Varadarajan 45). Capturing this effect so well, this reflection brings to light how the voice of society twists so harshly to extinguish the individual and force the child to conform to the rules of the group.

Save Me A Seat also critiques physical bullying and it also critiques the emotional and psychological battles. Through vivid description, the authors present the conflicts that mold the boys’ self-perceptions and relationships. The main thing that becomes clear after the story has reached the end is that if there is danger, it is not in open aggression but in more sinister exclusion and misunderstanding of the children (Hintz and Eric). An inordinate amount of readers dismissed this complex study on the grounds that such a raw take on school life is unacceptable.

Save Me A Seat has come under fire with censorship in regards to the portrayal of bullying and differences in regards to culture. Critics may argue that such topics are too distressing for young readers; however, as the American Library Association notes, challenges often stem from a desire to shield children from “inappropriate” content (ALA). While it is still necessary to prevent inhibiting important conversations surrounding diversity and acceptance in schools, this protection often comes at the same expense as silencing those conversations. However, the nuanced craft along these themes grants Save Me A Seat the importance of a contentious work to be read, analyzed, and censored.

Understanding Fantasy in Children’s Literature

Usually, fantasy literature takes the opposite stance of realism, eschewing reality altogether by moving the reader into imaginative worlds with fantasy rules that either bend or completely redefine those of reality. But those themes of violence, conformity, and evil surface, even in those whimsical narratives, in less literal ways. The Tale of Peter Rabbit by Beatrix Potter demonstrates that fantasy can contain messages that are very difficult for someone reading the words while retaining a lighthearted layer.

The struggle of oppressing authority and social ones is embodied in The Titular Character of Peter Rabbit, who completes the tale, The Tale of Peter Rabbit. Peter’s mischievousness has him traipsing into Mr. McGregor’s garden, a tempting, but dangerous space, as he has had an altercation with a particularly prickly character at the end of a path in the past. The adventure story where you also see the consequences of disobedience.

The foreshadowing is delivered when Peter’s mother warns Peter, “Now, my dear, you may go into the fields, but don’t go into Mr. McGregor’s garden” (Potter 1). Then, per this warning, Peter fails to follow, and a perilous chase arises, which illustrates the themes of rebelliousness from the parental authority and all the risks in reneging from one’s parents.

The story is whimsical but unafraid to be tense and violent. Mr. But McGregor is scary only in how close he comes to limiting the film’s best moments. Peter’s battle to conform to the social order drives him to hang so precipitously from the ledge, which can be seen as a commentary on conformity. According to Freedman, the fallout of his actions reflects the real-world worries that children must endure as they try to navigate the fine line between independence and conformity.

In its dark themes of violence and danger, The Tale of Peter Rabbit is an underappreciated classic about the animalness of nature and the great forgotten and mostly avoided question, how far is too far? The problem for critics and educators is that while Button Nose is playful, it also deals with serious themes (Freedman). This is mentioned in the talk about children’s literature and censorship and how the fantastic elements could sometimes even mellow a violent theme, reducing the degree of scrutiny it incurs compared to texts in a real setting (Burnett).

Typically, The Tale of Peter Rabbit has had a benign effect in the context of censorship but is not unworthy. Parents may wonder whether such a disobedient story is proper for a child. Nevertheless, according to the American Library Association (ALA), those challenges can come from a protective impulse that may stifle important discussion of behavior and consequences in children’s literature.

Comparative Analysis of Themes: Realism vs. Fantasy

When the balance of realism and fantasy in children’s literature is considered, we see that different methods are employed to deal with ideas such as violence, conformity, and evil. Both genres can take a serious topic, but their methods of doing so and their effects on the reader are miles apart. In this section, we will compare these two themes and narrative techniques in terms of Save Me A Seat and The Tale of Peter Rabbit, and we will demonstrate that when one employs realism in their writing, it can evoke more critique than the often lighter criticism when one uses fantasy in their writing.

The violence in Save Me A Seat is depicted, direct, and relatable, as usual, based on vivid experiences of contemporary children in their school. Joe and Ravi are bullied, not as background, but as the central conflict that creates their identities and interactions. For example, Joe meditates on a bullying struggle, “Every day, I am walking across a tightrope, hoping I do not fall” (Weeks and Varadarajan 27).

The metaphor captures the high stakes for social navigation in school and illustrates how all the pressure to conform is so offsetting. Due to the realism of their experiences, the narrative remains relatable allowing their readers to critically engage with the shown social dynamics.

However, the Tale of Peter Rabbit uses metaphor and allegory to deal with the themes of violence and conformity. Peter’s escapades in Mr. McGregor’s garden can be seen as a representation of childhood curiosity clashing with societal boundaries. However, the consequences of Peter’s actions are treated with humor and charm.

For example, when Peter narrowly escapes Mr. McGregor, he learns a lesson about obedience, but the tone remains light-hearted: “He was most terribly frightened; he rushed straight away home” (Potter 15). Despite the moral lesson the story imparts, because Peter’s fantastical experience is so fantastical, the emotional weight of his story does not weigh as heavily as it does in Save Me A Seat with Joe and Ravi’s struggles.

Additionally, the arbitrary reception of these two works only exacerbates the differences in the critique. Save Me A Seat has not had an easy time of it due to its unflinching treatment of bullying and culture, which a few parents may find too intense for young readers. According to Burnett, fantasy’s inherent quality is otherwise whimsical; such texts often allow themselves the sort of willful escape from reality that realist texts suffer more under the censor’s eye (Burnett).

By separating the artifacts into genres, one can see that they have received different receptions and that we, as a society, tend to prefer the construction of mythologies that veil ugly truths. This poses crucial questions about what censorship implies and concerns the importance of children learning to look these themes in the eye. Access to realistic texts enables readers to develop critical thinking skills and empathy, two keys to approaching the reality of their own lives.

The Role of Censorship in Children’s Literature

At a time when the landscape of children’s literature is significantly shaped by censorship, when only certain texts are made available to young readers, responses to this general theme must be carefully considered. A look at reasons of censorship as seen in discussions relating to Save Me A Seat and The Tale of Peter Rabbit, is the fact that censorship often stems from broader anxiety about themes incorporated in works. This section analyzes what censorship means to all realistic and fantasy literature, including how it affects children’s access to important narratives.

The case of Save Me A Seat, which explores bullying, cultural identity, and emotional struggle candidly, has raised eyebrows among parents and educators worried that reading the book could cause upset. The American Library Association notes that challenges to books often arise from intentions to protect children from “inappropriate” themes, such as violence or explicit language (ALA). Yet this cautious shielding stance can inadvertently restrict children’s experiences with a variety of views and facts. Censorship usually comes from a need to quiet social change, which can also inhibit important conversations about understanding and embracing differences in a multicultural society (Burnett).

The Tale of Peter Rabbit, however, has not had as many challenges as it does address disobedience and authority. The narrative is light-hearted enough to make its way more easily around scrutiny. In his whimsical account of Peter’s adventures, the author softens the impact of its underlying message regarding conformity and rebellion, a message that is less likely to cause parental objection.

But if these narratives are not doing a particularly good job of making kids ready for life, how would they do when teaching kids math? When children only see fantasy and other unchallenging portrayals of serious themes, it may be difficult for them to understand what they are reading about when it isn’t fantasy.

This analysis demonstrates how society prizes fantasy narratives that escape its mundanity, escaping from the hard truth of realistic fiction. Literature has been accustomed to being a form of entertainment, but it has also been used for education and personal growth, and that preference can have serious stakes in children’s development. Realistic texts, such as Save Me A Seat, deal with difficult themes and are created to make kids think critically and be empathetic; once kids learn to understand themselves better, they can understand others better.

The discussion about censorship of children’s literature continues to remind readers of the necessity to promote access to the many stories that don’t fit into a white heteronormative story, especially those experienced by many of us. The American Library Association, for example, supports the freedom to read and rebukes censorship efforts because they would prevent children from knowing about essential topics. By allowing all voices to be heard, we can create an environment that allows children to access literature representative of the complexities of the world around them.

Conclusion

All in all, it is possible to point out that the distinctiveness between realistic and fantasy children’s books is manifested in the definitions of themes like violence, conformity, and evil. Even though both genres can benefit young readers, they submerge them into more tangible, familiar conflict when reading realistic texts like Save Me A Seat. On the other hand, the themes of moral lessons are generally presented on a more symbolic level in fantasy works like The Tale of Peter Rabbit; therefore, the negative aspects of such are softened.

Since there is censorship in children’s literature, it is evident that there are social concerns about these themes. Opposition to books that depict reality often comes from a place of wanting to shield children from certain truths, but the same action limits children’s exposure to other realities. According to the American Libraries Association, this is why censorship directly harms the young reader’s ability to think critically for themselves and learn empathy (ALA).

Finally, it can be seen that both realistic and fantasy literature are useful to children in one way or another. However, to pay attention to social problems as challenges that can and should be addressed, it is important to stress the value of exploring challenging themes directly. When students are free to read not only realistic books but also have the chance to read books with lots of imaginary creatures, they can develop the idea of free and open discussion and understand the feelings of people.

Works Cited

American Library Association. “About Banned & Challenged Books.” Banned Books, American Library Association. www.ala.org/bbooks/aboutbannedbooks#targetText=A%20banning%20is%20the%20removal,restricting%20the%20access%20of%20others.

Burnett, Matia. “Children’s Literature and the Censorship Conversation: Dialogues on Challenged Books.” Publishers Weekly, 21 Apr. 2016. www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/70037-children-s-literature-and-the-censorship-conversation-dialogues-on-challenged-books.html.

Freedman, Samuel G. “How Banned Books Marginalize Children.” The Atlantic, 17 Oct. 2016. www.theatlantic.com/entertainment/archive/2016/10/how-banned-books-marginalize-children/502424/.

Hintz, Carrie, and Eric Tribunella. Reading Children’s Literature: A Critical Introduction. 2nd ed., Bloomsbury, 2015.

Potter, Beatrix. The Tale of Peter Rabbit. Frederick Warne & Co., 1902.

Weeks, Sarah, and Gita Varadarajan. Save Me A Seat. Scholastic, 2016.

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Question

Short Literary Analysis

Realistic books for children and young adults (such as Robert Cormier’s The Chocolate War) are often described as “frank” and “disturbing.” Yet fantasy texts also contain disturbing tropes of violence, conformity, and evil. Are realistic texts more prone to critique than fantasy texts?

Why is this so? Draw on two or three books from any genre for your answer. Make sure to answer how those books show violence, conformity, and evil and choose a side on why or why not fantasy texts are prone to critique using these books.
Please be sure to use the course textbook and other course materials to support your views.Client’s Notes:

Censorship and Critique in Children Literature

Censorship and Critique in Children Literature