Perry Nodelman is the author of four books about children’s literature: Words about Pictures: The Narrative Art of Children’s Picture Books, The Pleasures of Children Literature (3d edition in collaboration with Mavis Reimer), The Hidden Adult: Defining Children’s Literature, and Alternating Narratives in Fiction for Young Readers: Twice Upon a Time, as well as about 150 essays and chapters in books about children’s literature and a number of novels for young people. He was the recipient of the 2015 International Grimm Award for Research in Children’s Literature, presented by the international Institute for Children’s Literature, Osaka. A Professor Emeritus at the University of Winnipeg, he occupies his time in retirement as a doting grandfather and volunteer guide and docent at the Art Gallery of Nova Scotia in Halifax, Canada.
“Perry Nodelman and Odilon Moraes: A Conversation about Picture Books.” Lugar de Ler. <<https://www.lugardeler.com/copia-perry-nodelman>>
Rudd, David. “Hiding in the Light: Perry Nodelman and the Hidden Adult.” Reading the Child in Children’s Literature: An Heretical Approach. Basingstoke and New York: Palgrave Macmillan, 2013. 81-103.
Flynn, Richard. “Ambivalent, Double, Divided: Reading and Rereading Perry Nodelman.” Jeunesse: Young People, Texts, Cultures 3.1 (2011): 137-151.
“NODELMAN, Perry.” Something About the Author. V. 101. Ed. Alan Hedblad. Detroit and London: Gale, 1999. 140-143. (Versions of this also appear in Authors and Artists for Young Adults, V. 30 and Contemporary Authors, V. 160.)
A discussion of the various ways in which the Indigenous people included in James Barrie’s Peter Pan stories have been depicted on stage and screen and in a wide range of illustrations, editions, and adaptations of his plays and novels.
Based on a keynote address I gave at The Childhoods Conference: Mapping the Landscapes of Childhood at the University of Lethbridge in May, 2011, this intemperate and decidedly crotchety diatribe explores how being published as a writer of children’s books after a career of producing academic discourse about them affected my thinking about and writing criticism about children’s literature. The talk focuses on how my interactions with people in publishing as a writer of children’s fiction made me more aware of recent publishing trends and especially, of how the profit-oriented considerations that drive publishers shape what does and doesn’t get published for children. I go on describe how my knowledge of these matters transformed my critical approach to children’s literature, and to suggest why an awareness of how the publishing business operates in ways that affect what writers write and what children get to read ought to be more central to the work of other critics.
This version of the talk includes many of the images from the Powerpoint that accompanied it in Lethbridge.
Contact Perry here.