British Children's Fiction in the Second World War


Book Description

What children read in the Second World War had an immense effect on how they came of age as they faced the new world. This time was unique for British children--parental controls were often relaxed if not absent, and the radio and reading assumed greater significance for most children than they had in the more structured past or were to do in the more crowded future. Owen Dudley Edwards discusses reading, children's radio, comics, films and book-related play-activity in relation to value systems, the child's perspective versus the adult's perspective, the development of sophistication, retention and loss of pre-war attitudes and their post-war fate. British literature is placed in a wider context through a consideration of what British writing reached the USA, and vice versa, and also through an exploration of wartime Europe as it was shown to British children. Questions of leadership, authority, individualism, community, conformity, urban-rural division, ageism, class, race, and gender awareness are explored. In this incredibly broad-ranging book, covering over 100 writers, Owen Dudley Edwards looks at the literary inheritance when the war broke out and asks whether children's literary diet was altered in the war temporarily or permanently. Concerned with the effects of the war as a whole on what children could read during the war and what they made of it, he reveals the implications of this for the world they would come to inhabit.




The Story of the Second World War for Children


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Ideal for use in school homework projects on World War II - packed with photographs and artworks, this book will help readers understand the bravery and sacrifice of ordinary people during World War II.




Wojtek


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View more details of this book at www.walkerbooks.com.au




Empire's Children


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First Published in 2001.




The Big Lie


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In a gripping novel set in present-day England under a Nazi regime, a sheltered teen questions what it means to be “good” — and how far she’s willing to go to break the rules. Nazi England, 2014. Jessika Keller is a good girl — a champion ice skater, model student of the Bund Deutscher Mädel, and dutiful daughter of the Greater German Reich. Her best friend, Clementine, is not so submissive. Passionately different, Clem is outspoken, dangerous, and radical. And the regime has noticed. Jess cannot keep both her perfect life and her dearest friend, her first love. But which can she live without? Haunting, intricate, and unforgettable, The Big Lie unflinchingly interrogates perceptions of revolution, feminism, sexuality, and protest. Back matter includes historical notes from the author discussing her reasons for writing an “alt-history” story and the power of speculative fiction.





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The Sky is Falling


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The experiences of a young girl and her small brother who are evacuated to Canada at the beginning of World War II and find that they will be staying with complete strangers.




The Children's Book


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From the renowned author of Possession, The Children’s Book is the absorbing story of the close of what has been called the Edwardian summer: the deceptively languid, blissful period that ended with the cataclysmic destruction of World War I. In this compelling novel, A.S. Byatt summons up a whole era, revealing that beneath its golden surface lay tensions that would explode into war, revolution and unbelievable change — for the generation that came of age before 1914 and, most of all, for their children. The novel centres around Olive Wellwood, a fairy tale writer, and her circle, which includes the brilliant, erratic craftsman Benedict Fludd and his apprentice Phillip Warren, a runaway from the poverty of the Potteries; Prosper Cain, the soldier who directs what will become the Victoria and Albert Museum; Olive’s brother-in-law Basil Wellwood, an officer of the Bank of England; and many others from every layer of society. A.S. Byatt traces their lives in intimate detail and moves between generations, following the children who must choose whether to follow the roles expected of them or stand up to their parents’ “porcelain socialism.” Olive’s daughter Dorothy wishes to become a doctor, while her other daughter, Hedda, wants to fight for votes for women. Her son Tom, sent to an upper-class school, wants nothing more than to spend time in the woods, tracking birds and foxes. Her nephew Charles becomes embroiled with German-influenced revolutionaries. Their portraits connect the political issues at the heart of nascent feminism and socialism with grave personal dilemmas, interlacing until The Children’s Book becomes a perfect depiction of an entire world. Olive is a fairy tale writer in the era of Peter Pan and Kenneth Grahame’s The Wind In the Willows, not long after Alice’s Adventures in Wonderland. At a time when children in England suffered deprivation by the millions, the concept of childhood was being refined and elaborated in ways that still influence us today. For each of her children, Olive writes a special, private book, bound in a different colour and placed on a shelf; when these same children are ferried off into the unremitting destruction of the Great War, the reader is left to wonder who the real children in this novel are. The Children’s Book is an astonishing novel. It is an historical feat that brings to life an era that helped shape our own as well as a gripping, personal novel about parents and children, life’s most painful struggles and its richest pleasures. No other writer could have imagined it or created it.




Children at War


Book Description

This book provides a critical appraisal of the treatment of war in children's reading during the 20th century, covering World War I, World War II and subsequent wars, including Vietnam, the Gulf War and the war in the Balkans.




British Literature and Culture in Second World Wartime


Book Description

British Literature and Culture in Second World Wartime excavates British late modernism's relationship to war in terms of chronophobia: a joint fear of the past and future. As a wartime between, but distinct from, those of the First World War and the Cold War, Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes—time capsules, time zones, and ruins—this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It offers a synoptic, wide-ranging look at writers on the home front, including Henry Green, Elizabeth Bowen, Virginia Woolf, and Rose Macaulay, through a variety of genres, such as life-writing, the novel, and the short story. It also considers an array of cultural and archival material from photographers such as Cecil Beaton, filmmakers such as Charles Crichton, and artists such as John Minton. It shows how figures harnessed or exploited their media's temporal properties to formally register the distinctiveness of this wartime through a complex feedback between anticipation and retrospection, oftentimes fashioning the war as a memory, even while it was taking place. While offering a strong foundation for new readers of the mid-century, the book's overall theoretical focus on chronophobia will be an important intervention for those already working in the field.