By Bruce Coville
Within the fourth installment of the Alien Adventures sequence, Rod Allbright is in areas straight away: his physique is being held in suspended animation via the evil BKR, and his mind is living in Seymour, an alien with six legs, one eyeball, and no mouth. whereas his father attempts to get his physique again, Rod travels with Madame Pong, Snout, and his cousin Elspeth to a planet packed with probability from fellow tourists in addition to timber that make you weep until eventually you decompose. by way of the story's finish, Rod has discovered to grasp worry and is derived to a couple conclusions approximately his own code for residing. Coville easily blends the gross (one character's puppy noseworm) with the exciting, and the humorous with the concept scary, growing an interesting sf experience. the numerous characters and references to plots constructed within the earlier books make this too advanced to face by myself, however it is a needs to for libraries with the opposite books within the sequence. the tale involves a hugely pleasurable end and in addition wraps up loads of free ends.
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Extra resources for Aliens Stole My Body (Rod Allbright and the Galactic Patrol, Book 4)
I could carry on in that pernickety, complaining fashion, picking up a few lines here and a few lines there and holding them up fastidiously as examples of unthinking assessments of Harry Potter books as ‘children’s Children’s Literature 45 literature’, but I suspect that may get tedious. I move on instead to a book that addresses the Harry Potter phenomenon in a usefully thoughtful fashion, from a reputed specialist in ‘children’s literature’ – and therefore says/reveals (a bit of both) something substantial about the limitations of ‘children’s literature’ as an area of study and a genre wherein certain books are located, in the context of the Harry Potter phenomenon (in fact this phrase is taken from this book).
Since I have devoted some space to making this point here, I might as well add that this applies equally to ‘children’s literature’ – and, for that matter, ‘fantasy literature’, to which I come later. To simply assume that a particular text is self-evidently meant for children and should therefore be approached as such is a less agonized process. The idea that what is meant for whom is self-evident and doesn’t need to be pondered too deeply is a relatively tranquil – and unthinking – part of literary criticism, which simply gets along with the job of analysing the immediate object of attention without worrying much about the assumptions at work.
It is reminiscent of the steady stream of pre-eminently thinking – thoughtful – writers and readers, recognized and canonized as being such, who have sought to take precisely this perverse position. 6 The fallacy of constantly trying to retrieve the author’s intention in the course of reading was explained by Wimsatt and Beardsley. 8 A series of critics have chosen to look so closely at the forms, structures and linguistic nuances of texts, the relation of texts to other texts, the relation of texts to the historical circumstances out of which they devolve and into which they constantly get accommodated, the social discourses out of which texts emerge and into which texts are soaked up, that the author becomes apparently unimportant and fades into irrelevance and neglect – this could be seen as the substance of the development of literary critical theory.
Aliens Stole My Body (Rod Allbright and the Galactic Patrol, Book 4) by Bruce Coville