Children’S Books And Their Reviews

Children’s books and their reviews

Introduction

The edition of a book is preceded by a series of situations or thoughts that seek or try to express in writing everything we consider important. This is what Pedro Cerrillo and César Sánchez try to do in this manual. The written literature that we know currently has been previously shown orally and through this book we see the need to capture on paper all that oral literature, such as songs or stories, so that they do not stay in memory. 

The children’s popular songbook is still present in our society, but to a lesser extent, it has always been related to the game, although the passage of orality to writing has caused it to lose part of its essence. Thus, the book brings us closer to assessing the importance of conserving the popular songbook, of trying not to miss the peculiarity of what one day was usual to listen to the streets, which was born to be said and heard and that the only way ofkeep it in time 

And giving survival to traditional lyric or child folk poetry is to set it in writing. Published by the Synthesis publishing house, the book is written by Pedro Cerrillo and César Sánchez, two illustrious people in the world of children’s and youth literature, thus demonstrating it in their participation in the Center for Studies for the Promotion of Child Reading (CEPLI),of which Pedro Cerrillo was director as he also directed the Liel Research Group (Children’s Literature and Literary Education), being also participating in him César Sánchez.

The book is divided into a brief prologue, but that puts us in a situation of the aspects that will be developed throughout the manual. Next, it consists of fifteen varied chapters, although we could group them between large groups. First, the first three chapters allow us to know the step that our society of oral and written literature has lived. The feeling that readers of this book received is the need to convey the importance of children’s popular songbook.

The quality of child lyric poetry so that we are able to value and try not to be lost over the years. We must not forget that the songbook is made to be heard, that we should not only leave it written in a book because the day will be forgotten. Second, we could group the chapters ranging from four to ten, since they are dedicated exclusively to the popular songbook, cradle songs, tongue twisters, riddles and a large etc. 

In these chapters we are allowed to know the importance of each of them and the value they have, their form, functions or what they are among other things. Third, we would concentrate the last five chapters, which again reinforces us the importance of the popular songbook, its current presence and different proposals to use it, since today’s children barely know it due to the progress of society and thechange that has occurred regarding the form of play. 

In addition, an aspect to stand out from the book is the chapter entitled Appendix that provides us with a brief anthology of the children’s popular songbook. In summary, this book reflects the knowledge of the authors regarding children’s literature and not only makes us assess the importance of conserving the popular songbook, but also offers us a wide variety of all those popular songs, which perhaps we knew about our childhoodbecause they had taught us with games.

conclusion

All this makes us think about the possibility of transferring all that childish lyric poetry to our classrooms so that our students continue with their tradition, which not only are written on paper. In short, the popular childhood songwriter in education is an essential manual for any child or primary, explanatory and convincing teacher to continue his tradition, without a doubt it is a reference for the study of popular culture, which our ancestorsThey have transmitted from generation to generation and that we must fight to convey to future.