Attributes such as a more sinister tone, or a realistic appearance are integrated within children’s chapter books in order to reflect a shift in maturity of the reader and their growing awareness of danger. The gothic genre offers the reader an opportunity to explore anxieties and concerns through the safety of fiction-monsters serve exactly the same purpose for children. As the child ages, they often become more aware of the dangers that surround them. The next section, ‘The Monstrous Form’, will identify the transformation of tone and physical form between the monster that is present in younger picture books, and the form of the monster in children’s chapter books. This article will argue that an early introduction to monsters allows the child to fully explore and develop their imagination-they are completely immersed in a world of make-believe. In order to examine the impact that this figure has on a child at such an early stage, each monster will be considered through the lens of typical imaginative development. Analysing the portrayal of popular monsters for a young readership will allow for an identification of trends and attributes which are commonly adopted at this early stage. This will include an examination of pop-up books, picture books and chapter books. The first section, ‘Monsters and Imagination’ will focus on the appearance of the monstrous figure across different formats and targeted towards very young children. It is only through charting this rapidly transforming figure that one is able to identify ways in which the monster can be understood as a beneficial, healthy addition to the typical developmental pattern of a child’s imagination.Įach segment of this article will examine different portrayals of the monster, either through appearance, different book formats, or through a change in tone. This article will analyse a sample of monsters which represent the shift between a figure that is comical and brightly illustrated, to one that can be viewed as a genuine threat. Instances where ‘happy’ monsters are introduced to young children as brightly illustrated and over-exaggerated, often results in the child creating an association between the monster and a happy ending (therefore viewing this figure as non-threatening). It can be argued that although most adults would find this fluid form particularly terrifying, children could potentially consider this a challenge-the necessity to recognise the monster and identify its shifting appearance contributes to a sense of adventure. As this article will argue, Cohen recognises that it is the very essence of inconsistency of any ‘systematic structuration’ that make monsters so effective, so frightening and therefore so memorable to a young person. And so the monster is dangerous, a form suspended between forms that threatens to smash distinctions’ ( 1996, p. Jeffrey Jerome Cohen defines monsters as, ‘disturbing hybrids whose externally incoherent bodies resist attempts to include them in any systematic structuration. This figure can often be found championing good over evil, one that is able to help a child through turbulent issues, or as a comrade setting out to accompany them on great adventures. Our general understanding of the term ‘monster’ has shifted over the years due to a variety of literary examples which highlight the fluidity of this form. Likewise, literary monsters must continuously evolve and adapt with the maturity of the reader in order to maintain a balance of fear and imagination. Frankenstein’s creature learned the necessity of development and education in order to ensure survival. Tracking the evolution of the monstrous figure, this article will examine the appearance of selected monsters in literature aimed at younger readers. Combine this with imagination, and the result is a potent mixture of adrenaline, excitement and nightmares. Older children commonly use this fear as the foundation upon which to develop their bravery in order to confront their monster in later childhood, or later life. Monsters that we create or are exposed to in early childhood can often linger in the memory and imagination of an individual due to a personalisation of fear.
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