Abstract
Over the past fifty years, children’s picture books have made great strides toward literary equity by including more perspectives from and stories about marginalized groups, such as those whose gender identities do not conform to heteronormative standards. While texts featuring gender-variant male characters engage in topics that are far too often shoved into the proverbial closet, what is yet to be determined is the degree to which they adequately reflect the complexity of (gender) identity and to what extent such picture books can counter narratives related to traditional “masculinity.” The purpose of this paper is to critically examine picture book representations of gender variance, as exhibited by male characters, in order to determine the books’ potential for exploring issues of social justice with elementary-age students. This study utilizes a critical multiculturalist lens to challenge the ways in which gender variance is represented in children’s literature and the reasons that young gender-variant male protagonists achieve—or do not achieve—communal acceptance.
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Notes
Stockton (2009) argues that since children do not yet have sexual identities, they can only be conceptualized as “gay children” in retrospect—if they do, indeed, come out as adults. They are, therefore, referred to frequently in scholarship as “ghostly” gay children who far-too-often lurk in isolated margins of their communities.
Fox’s (1993) argument is that children’s literature is filled with an “endemic sexism” from which “boys and men need liberating” (p. 85). She calls for authors to disrupt patterns associated with the feminine-masculine binary discussed earlier in this article.
The books appearing on Naidoo’s (2012) list are accompanied by ratings of Highly Recommended, Recommended, Additional Selection, or Not Recommended (p. 86), and the books included in this study vary according to this rating scale.
While the stories featuring animal characters, particularly Dumpy La Rue and The Story of Ferdinand, can be read generally as nonconformist tales, the activities in which they are expected to engage (rolling in mud, cavorting, snorting, fighting, etc.) are stereotypically masculinized.
See Smulders (2015) for additional discussion about the ways in which Bailey is “increasingly dwarfed in comparison to mother, father, and brother” and how this reflects the way in which “family functions to diminish and belittle the transgender self.”
See Kimmell (2008) for an in-depth discussion of how the “Guy Code” functions to keep boys’ masculinity in check, among other boys.
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Katie Sciurba, Ph.D., is Assistant Professor of Literacy Education at San Diego State University—Imperial Valley Campus. Courses she has taught include Language Arts Methods and Children’s Literature. Her research interests include literacy and social justice, equity, identity and literacy, representation and relevance in children’s literature, and children’s responses to and engagement with texts. She also writes books and magazine articles for children.
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Sciurba, K. Flowers, Dancing, Dresses, and Dolls: Picture Book Representations of Gender-Variant Males. Child Lit Educ 48, 276–293 (2017). https://doi.org/10.1007/s10583-016-9296-0
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DOI: https://doi.org/10.1007/s10583-016-9296-0