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Tag Archives: Suzanne Collins

Where are the fathers in fiction?

Anna Perera; Guantanamo Boy

Anna Perera; Guantanamo Boy

The Sunday just gone was Fathers’ Day. Prompted by this, a friend of mine tweeted a question that I thought I’d be able to answer:

I had a half-hearted stab at naming a couple of father figures who seemed like generally good eggs – Dumbledore, obviously, and The Fat Controller from Rev. Awdrey’s Thomas series. In desperation I added the father from Piggybook, who starts out not very pleasant but grows into a good father. Other friends mentioned Arthur Weasley – Ron’s dad in the Harry Potter series, Pa Ingalls from Little House on the Prairie and  Gilbert Blythe from the later Anne of Green Gables books (from Anne’s House of Dreams onwards).

Contrast this with the number of (kid)literary orphans one can name without taking more than a second to think about it: Harry Potter; Oliver Twist; Giant Peach inhabitant James; Mary Lennox; Heidi; Anne of Green Gables; Dorothy (of Oz), Mowgli; Pauline, Petrova and Posie of Ballet Shoes; Katniss Everdeen; the Sager children of Children on the Oregon Trail or the Chant siblings of Diana Wynne Jones Charmed Life, to name but a few. Read the rest of this entry

The Phenomenon of Crossover Fiction

Cover art for Harry Potter and the Philosopher's Stone, aimed at adult readers.

Cover art for Harry Potter and the Philosopher’s Stone, aimed at adult readers.

In the beginning they were furtive readers, hiding their primary coloured novels in their laps or slipping the dust jacket of the latest Andy McNab over their commuters paperback. Then, in 1998, Bloomsbury produced an adult edition of Harry Potter and the Philosopher’s Stone.  Those grown ups who had not yet succumbed to the thrall of the boy wizard now had permission to do so. It was a proper book now. A book for grown ups.

The only difference between the original, published a year before, and the new edition was the cover, a sophisticated monochrome photograph replacing the original colourful, bright and busy illustration. The move by Bloomsbury marked an important and interesting change in how we view children’s literature. Bluntly, if adults were not already reading Harry Potter, Bloomsbury wouldn’t be marketing the books to them.

Kids’ books were now officially part of pop culture – something that we ought to know about should we wish to converse with colleagues and friends. The move was repeated with subsequent novels in the series, and then, in 2005, both adult and child versions of  … Half-Blood Prince were released simultaneously.

2008 Original Hunger Games cover art

When … Deathly Hallows, the final novel in the Harry Potter series was released  in 2007,   a third of editions sold carried the adult cover*. In raw numbers that’s 1,268,738 copies; Harry Potter and the Deathly Hallows was  number one on both the adult fiction and children’s fiction bestsellers list. More recently, Suzanne Collins Hunger Games trilogy has been aggressively marketed to the crossover audience, with a staggered release of differently targeted cover art (right).

It is not, however,  just big franchise fiction that is treated this way. Mark Haddon’s The Curious Incident of the Dog in the Night-Time, published 2003, enjoyed the same fate, with simultaneous release of editions with covers for children and adults and became the best-selling British novel of the last decade, selling excess of two million copies. Read the rest of this entry