- 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 reinscribes agency both to the performers of James Matthew Barrie's play and to child audience members, whose responses are notoriously difficult to track, by closely exploring the history of Peter Pan (1904) and relating it to nonprofessional children's theatricals, and by describing children's own responses to the play as audience members. Peter Pan bore numerous traces of its private prehistory. Barrie identified children as a crucial target audience for Peter Pan both before and after he drafted it. He was tremendously pleased to discover that young fans were reenacting Peter Pan at home. Indeed, Barrie was so delighted by this phenomenon that he actually rewrote the play to acknowledge it. Beerbohm and Barrie were aware that early-twentieth-century playgoers considered Peter Pan a children's play and that children attended in large numbers.
Marah Gubar is Associate Professor of English and Director of the Children’s Literature Program at the University of Pittsburgh. Her book Artful Dodgers: Reconceiving the Golden Age of Children’s Literature (OUP, 2009) was chosen as a Times Higher Education “Book of the Week.” Her new book project is focused on Anglo-American children’s theatre.
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