It is apparent that the myth of home is what distinguishes children’s literature from adult novels (Wolf 18). Nodelman and Reimer write that while “the home/away/home pattern is the most common story line in children’s literature, adult fiction that deals with young people who leave home usually ends with the child choosing to stay away” (197). A pattern observed, called a postmodern metaplot, starts with the child being abandoned, rather than leaving home. Ultimately, the child’s journey ends with a modern ideal of the child leading the adults to a hopeful ending, a home. I will explore the changing roles of childhood and adulthood in children’s literature, while focusing on Moon Over Manifest.
The myth of home in children’s literature thus reflects adult constructions of childhood. The emphasis on a
Cited: Bates, Laura R. ““Sweet Sorrow”: the Universal Theme of Separation in Folklore and Children 's Literature.” The Lion and the Unicorn. 31.1 (2007): 48-64. Print. Carroll, Lewis. Alice in Wonderland. London: Juvenile Productions, 1940. Print. Coats, K S. “Keepin ' It Plural: Children 's Studies in the Academy." Quarterly- Childrens Literature Association. 26 (2001): 140-150. Print. McCallum, Robyn, & Stephens, John. “Ideology and Children’s books.” In Wolf, Shelby A. Handbook of Research on Children 's and Young Adult Literature. New York: Routledge, 2011. Print. Nodelman, Perry. The Pleasures of Children 's Literature. New York: Longman, 1991. Print. Vanderpool, Clare. Moon Over Manifest. New York: Delacorte Press, 2010. Print . Wolf, Virginia L. "From the Myth to the Wake of Home: Literary Houses." Children 's Literature. 18.1 (2009): 53-67. Print.