The protagonists Michael and Skellig in David Almond’s Skellig, the latter of which embodies traits of humans, birds, and mysterious creatures Photo: PROVIDED TO CSST
Children’s literature embodies society’s idealized vision of what it means to be “human.” Its narratives often explore the child’s formation as a subject, the internalization of ethical norms, and the child’s integration into social relationships. In the posthuman context, however, the concept of “children” is no longer seen as a self-evident unit of growth, but as a dynamic, fluid mode of existence coexisting symbiotically with others. This shift prompts a reconsideration of the narrative subject in children’s literature and its ethical dimensions, bringing the genre into more complex dialogue with biopolitics, ecological philosophy, and technological imagination.
From ‘child-centeredness’ to ‘relational structures’
Historically, children have gradually been endowed with unique moral and emotional value. As a key medium through which this evolving perception is expressed, children’s literature has continually constructed cultural imaginaries around childhood. By the mid-19th century, children had been incorporated into the anthropocentric logic of culture and had become symbolic anchors for innovation in children’s literature.
In 1859, British children’s author Charles Kingsley delivered a speech titled “The Massacre of the Innocents” to advocate for children’s rights. He declared: “The most precious thing in the world is a human being; that the lowest, and poorest, and the most degraded of human beings is better than all the dumb animals in the world; that there is an infinite, priceless capability in that creature, fallen as it may be; a capability of virtue, and of social and industrial use, which, if it is taken in time, may be developed up to a pitch, of which at first sight the child gives no hint whatsoever.” Kingsley’s views emphasized binary oppositions—adult/child, human/nonhuman, nature/culture—that have deeply influenced how children and children’s literature have been conceptualized in literary criticism.
The persistent anxiety surrounding definitions of children’s literature ultimately stems from modern anthropocentrism’s fixation on boundaries and essences. In the posthuman context, however, rigid distinctions between subject and other are being challenged: the human is no longer seen as an isolated center, and the lines between human and nonhuman, nature and technology, are increasingly blurred.
In this context, the subject no longer attains stability through fixed definitions but instead begins from a place of inherent instability. Marah Gubar’s theory of “not defining children’s literature” rests on the idea that children’s literature does not need a singular, unified essence; rather, it constitutes a network of resemblances shaped by texts, practices, and cultural contexts. The challenge of defining children’s literature does not lie in whether it can be defined, but in the fact that any definition that does justice to its richness and complexity will inevitably be complicated by exceptions and contradictions.
Traditional criticism of children’s literature has long centered on the concept of “children’s literature” itself, emphasizing the importance of speaking for children and expressing the child’s subjectivity. Yet the subject is not an isolated, self-contained entity, but a node within a web of relationships. A child becomes “a child” precisely through their embeddedness in the dynamic interplay of adults, society, nature, and technology.
Children’s literature, therefore, should be reinterpreted as a literary practice grounded in relationality. It not only traces the arc of individual growth but also reveals the complex, co-generative processes between the individual and the world. It not only carries humanity’s visions of the future but also presents the inextricable symbiosis between humans and the nonhuman world. This marks a shift from definition to relation. Research in children’s literature must move beyond the traditional anxiety over definitions and instead explore its inherent diversity, fluidity, and generative potential.
Symbiotic relationship between children and nonhuman beings
From the perspective of “relational structures,” the ethical dynamics in children’s literature have undergone significant reconfiguration. Traditionally, children were centered as the primary subjects, while nonhuman beings—whether animals, plants, or the environment—were typically relegated to the background, serving as companions, educators, or moral guides. This model perpetuated an anthropocentric logic that relegated the nonhuman others to a utilitarian status, subordinate to the child’s development. Posthuman theory, however, with its critique of subjectivity, species boundaries, and biopolitics, challenges this one-dimensional ethical relationship.
In children’s literature, growth is no longer seen as a linear progression toward a singular, rational, fully autonomous human adult identity. Instead, it unfolds as an ongoing, multidirectional life process marked by mutual interpenetration and co-becoming with nonhuman beings.
For example, in David Almond’s Skellig, the titular character embodies traits of humans, birds, and mysterious creatures—neither a wholly natural nor entirely supernatural symbol. The protagonist Michael’s interaction with Skellig involves a transformative experience akin to “becoming-animal,” breaking fixed boundaries of selfhood and establishing a non-dominant, sensuous coexistence with an alien life form. Here, children’s literature—a vital site of cultural production—is thus endowed with the potential to reimagine biopolitical frameworks and modes of species coexistence.
It is important to note that the posthuman ethical perspective not only concerns the reconstruction of human–nonhuman relations but also prompts a rethinking of childhood identity. It pushes children’s literature beyond traditional frameworks that justify its value solely in terms of a “human future,” toward an ethical space that is multispecies, multigenerational, and grounded in shared vulnerability and mutual becoming.
On a broader scale, this ethical reorientation allows children’s literature to actively engage with contemporary crises such as climate change and species extinction, critically examining anthropocentric historical narratives and subject formations. In the posthuman era, children’s literature is no longer merely a cultural and educational tool within human civilization—it becomes an ethical laboratory that inspires cross-species sensibilities and fosters coexistence in diversity.
Technological imagination and ecological care
Within the symbiotic relationship between children and nonhuman beings lies the malleability of life itself. When the “child” is no longer viewed as a natural entity under anthropocentrism but as an open, generative being, we must further contemplate: in an era shaped by technological intervention and environmental upheaval, how can life be extended? This extension encompasses not only the imaginative potential of technology but also demands deep ecological responsibility from humanity.
In the posthuman context, technological imagination and ecological care in children’s literature are not opposing poles. Life is reconceived as extending across species, forms, and media, no longer constrained by organic boundaries. As a narrative form fueled by imagination, children’s literature inherently possesses the capacity to transcend species, as well as temporal, spatial, and technological limits, increasingly revealing attentiveness to life’s diversity, technological mediation, and ecological interdependence. In such texts, the “child” is no longer a coherent, isolated individual of growth, but becomes a relational node coexisting symbiotically with intelligent machines. Through the confluence of technological imagination and ecological care, children’s literature not only expands the boundaries of life but also reconfigures ethical positions and perceptual pathways.
In many contemporary children’s literary works, technology is not merely an extension of human tools but a catalyst for the convergence of life. For example, in Kathryn Lasky’s Guardians series, natural life and technological media intertwine to create a “technological animality” that is at once alien and familiar. Technology is not merely a tool for controlling nature—it becomes another dimension of life’s constant flux, capable of destruction but also of fostering new modes of perception, memory, and emotion.
Similarly, Anne-Sophie Baumann’s ecological educational picture book Ultimate Book series invites readers to experience the breath of plants, the whispers of rain, and the silence of soil. This perception-based ecological writing constructs an interspecies emotional resonance. The narrative logic of such works does not frame a binary opposition—from “humans destroying nature” to “humans saving nature”—but envisions a multisided, co-creative growth: technological debris, nonhuman life, and child perception collectively form a dynamic and open-world stage.
On this stage, life no longer progresses along a linear evolutionary timeline but unfolds as an intertwined, mutually stimulating process of relational becoming. Thus, the extension of life in children’s literature is both a natural overflow of technological logic and a reflective return of ecological ethics. Technology is the tendril; ecology the bloodstream. Life grows, morphs, and interconnects across multiple media and diverse species—never in isolation.
In summary, as a genre straddling the domains of reality and fantasy, children’s literature inherently holds the power to transcend boundaries and bridge differences. It not only portrays children’s experiences and imaginations but also embodies a sensitivity and responsiveness to life forms beyond the human-centered perspective. Within the ever-evolving web of relationships, children’s literature offers a pathway for rethinking the nature of subjectivity, modes of coexistence, and ways of living amid multispecies symbiosis, technological entanglement, and ecological crisis.
Wu Xiangyu is a professor from the Children’s Literature Research Center at Zhejiang Normal University.
Edited by YANG LANLAN