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Why readers read what writers write

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  1. 1.

    “Wild Things,” December 1967, 359–360.

  2. 2.

    See, e.g., Frank Whitehead, A. C. Capey, Wendy Maddren, and A. Wellings,Children and Their Books: London: MacMillan, Schools Council Publication, 1977.

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  3. 3.

    “Stories from a Victorian nursery,”Signal, September 1992,69, 189.

  4. 4.

    E.g., “Symbolic outlining: The academic study of children's literature,”Signal, 1987,53, 97–115; “Keeping company with Wayne Booth—and others,Signal, 1990,62, 104–113; “Transitions: The notion of change in writing for children,”Signal, 1992,67, 13–33.

  5. 5.

    “Predicting children's choices in literature: A developmental approach,”Children's Literature in Education, 1978,9(3), 136–142.

  6. 6.

    Child and Tale: The Origins of Interest. Urbana, Il: National Council of Teachers of English, 1977.

  7. 7.

    Magical Thought in Creative Writing.: Stroud, Glos., Thimble Press, 1983.

  8. 8.

    See, e.g., M. Crago and H. Crago,Prelude to Literacy. Carbondale, Il: Southern Illinois Univ. Press, 1993. D. Butler,Asshla and the Books. London: Hoddes and Stroughton, 1979. V. Lowe, “Snufkin, Sniff and Little My”,Papers 1990, 2:2, 87–96.

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  9. 9.

    See “Anna abridges Masha,”Language Arts, March 1989,66(3), 252–266.

  10. 10.

    See my unpublished article, “Prior expectations ofGreat Expectations,”

  11. 11.

    “Tarzan the Incomparable,” trans. Patricia Crampton,Signal, 1991,64, 20–24. Further relevant biographical details can be found in Nancy Huse, “Tove Jansson and her readers: No one excluded,”Children's Literature, 1991,19, 149–161.

  12. 12.

    D. W. Harding, “Psychological processes in the reading of fiction, inAesthetics in the Modern World, Harold Osborne, ed. London: Thames & Hudson, 1968.

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  13. 13.

    See Gregory Bateson, “A theory of play and fantasy” (1954) inSteps to an Ecology of Mind, pp. 150–166, New York: Ballantine Books, 1972.

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  14. 14.

    Sanjay Sircar, personal communication, 1991.

  15. 15.

    Virginia Lowe, “Snufkin, Sniff and Little My: The ‘reality’ of fictional characters for the young child,”Papers, 1991,2(2), 87–96.

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  16. 16.

    Lowe, personal correspondence, 1991.

  17. 17.

    Lost in a Book: The Psychology of Reading for Pleasure. New Haven: Yale University Press, 1988.

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Authors

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Hugh Crago is co-author (with Maureen Crago) ofPrelude to Literacy (1983). His new book,A Family in Time, will be published in 1994 by McPhee-Gribble/Penguin (Melbourne). “Why Readers Read What Writers Write” is an edited version of Chapter 1 of a forthcoming book entitledStories Make Us Make Stories.

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Crago, H. Why readers read what writers write. Child Lit Educ 24, 277–289 (1993). https://doi.org/10.1007/BF01130574

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Keywords

  • Social Context