Post by account_disabled on Jan 6, 2024 5:28:27 GMT
You can never go wrong with children's stories. If I don't know what to read, if I don't want somewhat heavy and involved reading, then I throw myself into children's literature. I recently finished The Apprentices by Maile Meloy, the sequel to The Apothecary . Soon I will read Dreamlands by Geoff Rodkey, the sequel to the pirate fantasy Deadweather and Sunrise , or The Night of Dracula by Max Polidoro, the second novel of the Impossible Squad. Soon I will return to talking about literature for children and teenagers and its importance. It is a sort of in-depth study that began with the interview with the writer Angelo Petrosino on how to write stories for the little ones . But today I will see the usefulness of this literature for a writer, even if he writes novels for adults. The understandable title: a promise for the reader Yes, if there is one thing I really appreciate in children's stories, it is the title of the novel . No philosophy, no poetry, but only logic.
A logic that perhaps lies at the basis of communication for an audience of minors. In all the children's novels I have read, the title represented the promise made to the reader: "I will talk about this", it seemed to suggest. Deadweather and Sunrise was actually about Deadweather and Sunrise, two islands. Veronica Roth's Divergent was about Divergents, just as James Special Data Patterson's Treasure Hunters was about...well, imagine that. I'm not saying that in adult stories the titles are always incomprehensible. David Mitchell's cloud atlas could not have had a different title. Pillars of the Earth is spot on, in my opinion. However, there is a certain literature that focuses on poetic titles, which evoke sensations only in the author, in my opinion, when a title should instead make the readers' souls vibrate or in any case intrigue them. Days ago I mentioned The unsustainable lightness of being : here is a title that is not a promise, for me, a title that does not attract my curiosity, like Go where your heart takes you , a book that I will never read.
I'm allergic to books like that. The characters and careful characterization Another element that I find well taken care of in children's novels are the characters: I have never had difficulty identifying them in the story, imagining them, seeing them as real people. Tom Sawyer and Huck Finn from Mark Twain's novels are a clear example of perfect character characterization , as is our Pinocchio . There are no similar characters to each other, but each has its own identity and individuality. Perhaps the enemies, the villains of the moment, are stereotyped - it couldn't be otherwise, on the contrary - but still well placed in the story. In Five on a Treasure Island by Enid Blyton the enemies have objectives, they are not placed there as simple obstacles for the protagonists. Even in Pinocchio the Cat and the Fox are devious characters, the first villains and the first obstacles that the puppet encounters.
A logic that perhaps lies at the basis of communication for an audience of minors. In all the children's novels I have read, the title represented the promise made to the reader: "I will talk about this", it seemed to suggest. Deadweather and Sunrise was actually about Deadweather and Sunrise, two islands. Veronica Roth's Divergent was about Divergents, just as James Special Data Patterson's Treasure Hunters was about...well, imagine that. I'm not saying that in adult stories the titles are always incomprehensible. David Mitchell's cloud atlas could not have had a different title. Pillars of the Earth is spot on, in my opinion. However, there is a certain literature that focuses on poetic titles, which evoke sensations only in the author, in my opinion, when a title should instead make the readers' souls vibrate or in any case intrigue them. Days ago I mentioned The unsustainable lightness of being : here is a title that is not a promise, for me, a title that does not attract my curiosity, like Go where your heart takes you , a book that I will never read.
I'm allergic to books like that. The characters and careful characterization Another element that I find well taken care of in children's novels are the characters: I have never had difficulty identifying them in the story, imagining them, seeing them as real people. Tom Sawyer and Huck Finn from Mark Twain's novels are a clear example of perfect character characterization , as is our Pinocchio . There are no similar characters to each other, but each has its own identity and individuality. Perhaps the enemies, the villains of the moment, are stereotyped - it couldn't be otherwise, on the contrary - but still well placed in the story. In Five on a Treasure Island by Enid Blyton the enemies have objectives, they are not placed there as simple obstacles for the protagonists. Even in Pinocchio the Cat and the Fox are devious characters, the first villains and the first obstacles that the puppet encounters.