Digging for peat in the mountain with his Uncle Tally, Fergus finds the body of a child, and it looks like she's been murdered. As Fergus tries to make sense of the mad world around him - his brother on hunger-strike in prison, his growing feelings for Cora, his parents arguing over the Troubles, and him in it up to the neck, blackmailed into acting as courier to God knows what, a little voice comes to him in his dreams, and the mystery of the bog child unfurls. Bog Child is an astonishing novel exploring the sacrifices made in the name of peace, and the unflinching strength of the human spirit.

When two small sisters go fishing to the magic pond, they find something much better than a frog or a newt. They find a bog baby. Small and blue with wings like a dragon, the girls decide to make him their secret. I won't tell if you won't. But the bog baby is a wild thing, and when he becomes poorly, the girls decide they must tell their mum. And she tells them the greatest lesson, if you really love something, you have to let it go.

DIGGING FOR PEAT in the mountain with his Uncle Tally, Fergus finds the body of a child, and it looks like she’s been murdered. As Fergus tries to make sense of the mad world around him—his brother on hunger-strike in prison, his growing feelings for Cora, his parents arguing over the Troubles, and him in it up to the neck, blackmailed into acting as courier to God knows what—a little voice comes to him in his dreams, and the mystery of the bog child unfurls. Bog Child is an astonishing novel exploring the sacrifices made in the name of peace, and the unflinching strength of the human spirit.

What constitutes a ‘national literature’ is rarely straightforward, and it is especially complex when discussing writing for young people in an Irish context. Until recently, there was only a slight body of work that could be classified as ‘Irish children’s literature’ (whatever the parameters) in comparison with Ireland’s contribution to adult literature in the twentieth century. This volume looks critically at Irish writing for children from the 1980s to the present, examining the work of many writers and illustrators and engaging with all the major forms and genres. Topics include the gothic, the speculative, picturebooks, poetry, post-colonial discourse, identity and ethnicity, and globalization. Modern Irish children’s literature is also contextualized in relation to Irish mythology and earlier writings, thereby demonstrating the complexity of this fascinating area. The contributors, who are leading experts in their fields, examine a range of texts in relation to contemporary literary and cultural theory, and also in relation to writing for adults, thereby inviting a consideration of how well writing for a young audience can compare with writing for an adult one. This groundbreaking work is essential reading for all interested in Irish literature, childhood, and children’s literature.

Focusing on the mythological narratives that influence Irish children's literature, this book examines the connections between landscape, time and identity, positing that myth and the language of myth offer authors and readers the opportunity to engage with Ireland's culture and heritage. It explores the recurring patterns of Irish mythological narratives that influence literature produced for children in Ireland between the nineteenth and the twenty-first centuries. A selection of children's books published between 1892, when there was an escalation of the cultural pursuit of Irish independence and 2016, which marked the centenary of the Easter 1916 rebellion against English rule, are discussed with the aim of demonstrating the development of a pattern of retrieving, re-telling, remembering and re-imagining myths in Irish children's literature. In doing so, it examines the reciprocity that exists between imagination, memory, and childhood experiences in this body of work.

While much has been written about Irish culture’s apparent obsession with the past and with representing childhood, few critics have explored in detail the position of children’s fiction within such discourses. This book serves to redress these imbalances, illuminating both the manner in which children’s texts engage with complex cultural discourses in contemporary Ireland and the significant contribution that children’s novels and films can make to broader debates concerning Irish identity at the end of the twentieth and beginning of the twenty-first centuries. Through close analysis of specific books and films published or produced since 1990, Irish Childhoods offers an insight into contrasting approaches to the representation of Irish history and childhood in recent children’s fiction. Each chapter interrogates the unique manner in which an author or filmmaker engages with twentieth century Irish history from a contemporary perspective, and reveals that constructions of childhood in Irish children’s fiction are often used to explore aspects of Ireland’s past and present.

This practical handbook begins with the philosophy and psychology underpinning the therapeutic value of story telling. It shows how to use story telling as a therapeutic tool with children and how to make an effective response when a child tells a story to you. It is an essential accompaniment to the "Helping Children with Feelings" series and covers issues such as: Why story telling is such a good way of helping children with their feelings? What resources you may need in a story-telling session? How to construct your own therapeutic story for a child? What to do when children tell stories to you? Things to do and say when working with a child's story.

Lucy Pearson’s lively and engaging book examines British children’s literature during the period widely regarded as a ’second golden age’. Drawing extensively on archival material, Pearson investigates the practical and ideological factors that shaped ideas of ’good’ children’s literature in Britain, with particular attention to children’s book publishing. Pearson begins with a critical overview of the discourse surrounding children’s literature during the 1960s and 1970s, summarizing the main critical debates in the context of the broader social conversation that took place around children and childhood. The contributions of publishing houses, large and small, to changing ideas about children’s literature become apparent as Pearson explores the careers of two enormously influential children’s editors: Kaye Webb of Puffin Books and Aidan Chambers of Topliner Macmillan. Brilliant as an innovator of highly successful marketing strategies, Webb played a key role in defining what were, in her words, ’the best in children’s books’, while Chambers’ work as an editor and critic illustrates the pioneering nature of children's publishing during this period. Pearson shows that social investment was a central factor in the formation of this golden age, and identifies its legacies in the modern publishing industry, both positive and negative.

This handy pocket-size guide, part of the bestselling Must-Read series, introduces readers to the one hundred best novels that have won prestigious literary awards, and provides an extended introduction to the background and history of these literary prizes. More than a simple best-of list, the recommendations include insightful book reviews, historical and literary context, and cover a wide range of works of fiction.