Great Children's Literature Quotes & Sayings

Many of the most popular children's stories have their roots in tales invented for particular children, and this casual, often serendipitous, approach produces a stream of ideas which are later refined into great literature. With Tolkien's shorter stories and poems, I am even more aware of the presence of the author, and his children. There are elements and events that are so strikingly original that they could only arise as a result of observations and conversations ignited by two or more lively minds. — Alan Lee

Would you like some more pancakes? Annie asked. I could tell that Annie was a smart girl. I hate to eat on the job. But I must keep up my strength. — Marjorie Weinman Sharmat

MODERN PARENTS OF TWENTY FIRST CENTURY NEEDS SPIRITUAL BRAIN WASH WITH GREAT CLASSIC LITERATURE ACROSS THE GLOBE FIRST. NATURALLY,RESULTING OUR FUTURE GLOBAL DIRECORS(INDIVIDUAL CHILDREN) WILL RE-DESGN AND RE-DRAFT LIFE DIRECTION SOFT-WARE TO UP GRADE THEIR SOULS GOD SPIRITUALITY NEXT. — Various

Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my stories is a metaphor you can remember. The great religions are all metaphor. We appreciate things like Daniel and the lion's den, and the Tower of Babel. People remember these metaphors because they are so vivid you can't get free of them and that's what kids like in school. They read about rocket ships and encounters in space, tales of dinosaurs. All my life I've been running through the fields and picking up bright objects. I turn one over and say, Yeah, there's a story. And that's what kids like. Today, my stories are in a thousand anthologies. And I'm in good company. The other writers are quite often dead people who wrote in metaphors: Edgar Allan Poe, Herman Melville, Washington Irving, Nathaniel Hawthorne. All these people wrote for children. They may have pretended not to, but they did. — Ray Bradbury

The great subversive works of children's literature suggest that there are other views of human life besides those of the shopping mall and the corporation. They mock current assumptions and express the imaginative, unconventional, noncommercial view of the world in its simplest and purest form. They appeal to the imaginative, questioning, rebellious child within all of us, renew our instinctive energy, and act as a force for change. This is why such literature is worthy of our attention and will endure long after more conventional tales have been forgotten. — Alison Lurie

I have spent a great deal of my time defending my work against those who see it as too complicated, too old in approach, too bleak to qualify as children's literature. This has been the bane of my life. — Sonya Hartnett

Beautiful features, always immaculately dressed, the kind of woman that makes a great impression. Their hair is always nicely curled. They major in French literature at expensive private women's colleges, and after graduation find jobs as receptionists or secretaries. They work for a few years, visit Paris for shopping once a year with their girlfriends. They finally catch the eye of a promising young man in the company, or else are formally introduced to one, and quit work to get married. They then devote themselves to getting their children into famous private schools. As he sat there, Tsukuru pondered the kind of lives they led. — Haruki Murakami

Children may not understand all that's happening below the surface of a story. It doesn't matter. Because even though they may not be able to define or verbalize it, they sense there's something more than meets the eye; on an almost subliminal level, they're aware of a richness of texture, or meaning and emotion
a richness that, in a great book, is inexhaustible. And the child may well come back to it again and again, perhaps long after he's stopped being a child. — Lloyd Alexander

What happened to the classics?" you may ask. "Don't you believe in reading great literature to children?"
Nothing happened to the classics-but something happened to children: their imaginations went to sleep in front of the television set twenty-five years ago. Reading a classic to a child whose imagination is in a state of retarded development will not foster a love of literature in that child. — Jim Trelease

In the great green room, there was a telephone
And a red balloon
And a picture of a cat jumping over the moon ... — Margaret Wise Brown

In Britain, the great hidden secret of talking animals and children's literature is how political it was in its bones, beneath the obvious cuteness. — Andrew O'Hagan

They speak like melted butter and their children speak like footsteps on pavement ... — Isabel Wilkerson

Real literature is something much better than a harmless instrument for getting through idle hours. The purpose of great literature is to help us to develop into full human beings. — Russell Kirk

Annie has brown hair and brown eyes. And she smiles a lot. I would like Annie if I liked girls. — Marjorie Weinman Sharmat

One may enter the literary parlor via just about any door, be it the prison door, the madhouse door, or the brothel door. There is but one door one may not enter it through, which is the child room door. The critics will never forgive you such. The great Rudyard Kipling is one of a number of people to have suffered from this. I keep wondering to myself what this peculiar contempt towards anything related to childhood is all about. — Michael Ende

While they read these stories, moreover - and this is a comforting thought for those who believe that the best way for anyone to become a lover of real literature is to be exposed to it early and often - boys and girls are not only gratifying their love for a
stirring tale, they are making the acquaintance of the great story-tellers of the past, taking them into their lives as companions. This early contact gives children an experience which will keep their horizon in after life from being entirely circumscribed by the mediocre and ephemeral. If a boy has sailed the wine dark Aegean, or climbed a height whence he could watch Roland's last heroic stand in the Pass of Roncevaux, some gleam remains, and there is far less likelihood that his adult reading will be entirely commonplace. — Anne Thaxter Eaton

Nabokov calls every great novel a fairy tale, I said. Well, I would agree. First, let me remind you that fairy tales abound with frightening witches who eat children and wicked stepmothers who poison their beautiful stepdaughters and weak fathers who leave their children behind in forests. But the magic comes from the power of good, that force which tells us we need not give in to the limitations and restrictions imposed on us by McFate, as Nabokov called it.
Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. — Azar Nafisi

In an age that seems to be increasingly dehumanized, when people can be transformed into non-persons, and where a great deal of our adult art seems to diminish our lives rather than add to them, children's literature insists on the values of humanity and humaneness. — Lloyd Alexander

One of my pet irritations today is the whole idea that the great interest and upsurge in books about black life has just come along. 1937 and 1938 were the years when the interest in this whole subject was born.

from "Guidelines for Black Books: An Open Letter to Juvenile Editors" (1969) in Children and Literature (1973) — Augusta Baker

Our great problem, is that children now know whatever they want to know - at the press of a button they can discover all horrors of the adult world. They know very early on that the world is sometimes a very dark, difficult and complex place, and the literature they read must reflect that. Otherwise we're just entertaining them to pass the time. — Michael Morpurgo

They came generally from people writing theses on fantasy or on the Dark Is Rising books. They were full of questions I'd never thought about and false assumptions that I didn't want to think about. They would ask me in great detail for, say, the specific local and mythical derivations of my Greenwitch, a leaf-figure thrown over a Cornish cliff as a fertility sacrifice, and I would have to write back and say, "I'm terribly sorry; I made it all up." They told me I echoed Hassidic myth, which I hadn't read, and the Mormon suprastructure, which I'd never even heard of. They saw symbols and buried meanings and allegories everywhere. I'd thought I was making a clear soup, but for them it was a thick mysterious stew.

from "In Defense of the the Artist" in Signposts to Criticism of Children's Literature (1983) — Susan Cooper