- About the Contributors
- Chapter Abstracts
- The Fundamentals of Children’s Literature Criticism: Alice’s Adventures in Wonderland and Through the Looking-Glass
- Randall Jarrell’s The Bat-Poet: Poets, Children, and Readers in an Age of Prose
- Arnold Lobel’s <i>Frog and Toad Together</i> as a Primer for Critical Literacy
- Blending Genres and Crossing Audiences: Harry Potter and the Future of Literary Fiction
- Wanda’s Wonderland: Wanda Gág and Her Millions of Cats
- A Cross-Written Harlem Renaissance: Langston Hughes’s The Dream Keeper
- Dumbo, Disney, and Difference: Walt Disney Productions and Film as Children’s Literature
- Redrawing the Comic-Strip Child: Charles M. Schulz’s Peanuts as Cross-Writing
- The Cat in the Hippie: Dr. Seuss, Nonsense, the Carnivalesque, and the Sixties Rebel
- Wild Things and Wolf Dreams: Maurice Sendak, Picture-Book Psychologist
- Reimagining the Monkey King in Comics: Gene Luen Yang’s American Born Chinese
- Froggy’s Little Brother: Nineteenth-Century Evangelical Writing for Children and the Politics of Poverty
- History in Fiction: Contextualization as Interpretation in Robert Louis Stevenson’s Kidnapped
- <i>Tom Sawyer</i>, Audience, and American Indians
- Living with the Kings: Class, Taste, and Family Formation in Five Little Peppers and How They Grew
- A Daughter of the House: Discourses of Adoption in L. M. Montgomery’s Anne of Green Gables
- Where in America Are You, God?: Judy Blume, Margaret Simon, and American National Identity
- Let Freedom Ring: Land, Liberty, Literacy, and Lore in Mildred Taylor’s Logan Family Novels
- “What Are Young People to Think?”: The Subject of Immigration and the Immigrant Subject in Francisco Jiménez’s The Circuit
- “My Book and Heart Shall Never Part”: Reading, Printing, and Circulation in the New England Primer
- Castaways: The Swiss Family Robinson, Child Bookmakers, and the Possibilities of Literary Flotsam
- Tom Brown and the Schoolboy Crush: Boyhood Desire, Hero Worship, and the Boys’ School Story
- Peter Pan as Children’s Theatre: The Issue of Audience
- <i>Jade</i> and the Tomboy Tradition
- Happily Ever After: Free to Be … You and Me, Second-Wave Feminism, and 1970s American Children’s Culture
- Paradise Refigured: Innocence and Experience in His Dark Materials
Abstract and Keywords
This article argues that attending to the various historical and geographical contexts which inform the setting of Kidnapped: Being Memoirs of the Adventures of David Balfour in the Year 1751 (1886) and the 1880s British milieu in which Robert Louis Stevenson wrote allows the novel to comment upon political and cultural debates of long-standing importance in British life. Kidnapped is set in the aftermath of the Jacobite Rising of 1745–6. It is a classic bildungsroman, following David from orphanhood to adulthood, and charting his psychological development and education in the ways of the world. The complete fusion of Stevenson's individual characters' narratives and their psychological drama with the complex historical setting was one of his greatest achievements in Kidnapped. The picturesque was both political and psychologically crucial, as only a full investigation of the novel's multiple contexts can reveal.
Matthew Grenby is the author of The Anti-Jacobin Novel: British Conservatism and the French Revolution (2001), Children’s Literature (2008) and The Child Reader 1700-1840 (2011), and the co-editor of Popular Children’s Literature in Britain (2007), The Cambridge Companion to Children’s Literature (2009) and Children’s Literature Studies: A Handbook to Research (2011). He has produced a number of scholarly editions of late eighteenth-century novels and is currently editing volume three of The Letters of William Godwin. He is Reader in Children’s Literature in the School of English at Newcastle University.
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