By Roberta S. Trites

An exam of feminist issues in kid's and younger adult's literature covers such subject matters as friendship, marriage, and neighborhood.

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The distinction of what exactly is feminist in children's literature has been obscured by the clear gender distinctions that have dominated the field since its earliest history. John Newbery's A Little Pretty Pocket-Book (1744), which is often labeled the first commercial children's book printed in English, was marketed with a ball for boys and a pincushion for girls, as if somehow children of different sexes would read the book differently (Townsend 19). Throughout their publishing history, children's novels have tended to be gender-linked more often than not: Maria Edgeworth, Hannah More, and Louisa May Alcott wrote "girl" books of domestic drama, while Horatio Alger, Samuel Clemens, and Robert Louis Stevenson wrote "boy" books of adventures outside the home.

As Lissa Paul has pointed out, one of the differences between women's and children's novels is that women remain entrapped in women's novels while children are more likely to escape their entrapments ("Enigma Variations" 187-89). Miyax, now entrapped by Western culture as Julie, must return to her father's world to survive. Such a denouement is typical of early feminist children's novels; the strong, individualistic female who is aware of the power of the life cycle must return to live within a patriarchal world because she knows no better way.

If nineteenth-century girls had Alcott and the Katy series clearly marketed for them, twentieth-century girls have Page 4 had Nancy Drew and the American Girls' series marketed just as specifically for them. Much of the reason for this separation of genders in children's literature is a result of the genre's usefulness as an ideological tool. 1 At least as early as the eighteenth century, parents and educators recognized books as a way to indoctrinate their children into socially sanctioned behaviors, and authors have met that recognition for centuries.

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