Comparative Children's Literature

The most striking change in children's culture, including children's literature, over the last few decades has been its commercialization and globalization (O'Sullivan,Comparative Children's Literature149–52). The children's book industry in the United States, the leading market, is increasingly dominated by a handful of large media conglomerates whose publishing operations are small sections of their entertainment businesses. As a consequence, as Daniel Hade observes, “the mass marketplace selects which books will survive, and thus the children's book becomes less a cultural and intellectual object and more an entertainment looking for mass appeal” (511). The influence of these multimedia giants is immense: manufacturing mass-produced goods for children, they sell their products beyond the borders of individual countries, further changing and globalizing what were once regionally contained children's cultures. As a discipline that engages with phenomena that transcend cultural and linguistic borders and also with specific social, literary, and linguistic contexts, comparative children's literature is a natural site in which to tease out the implications of these recent developments.