But did we really experience childhood as we claim to remember it? Or have we come to believe we did because we ourselves have also read books by and had interactions with adults who worked to impose their visions of childhood upon us? We work in literature to make children more like the ideal- to restore them to a “childhood” they appear to have lost sight of. Whilst Nodleman would argue that this is evidence of how: This demonstrates how children can still enjoy success without strictly adhering to an academic rule structure. At school, Pilkey might have lost his creative expression if he had obeyed his teachers, yet through rebelling, he found success. Whilst growing up, Pilkey’s artistic and creative expression were always discouraged, as his teachers wanted him to follow the rules. By the start of first grade, Dav had successfully moved into the role of class clown Dav’s teacher didn’t care for his particular brand of humour.” In elementary school he “was diagnosed with Attention Deficit Disorder and severe hyperactivity. Pilkey was both the class clown and a prankster. I will be looking at Pilkey’s use of intertextuality, onomatopoeia and colour to examine how he constructs childhood, as an era of creative freedom and expression.Ĭaptain Underpants’ construction of childhood is of one of not maturing too quickly. Pilkey seeks to recapture the youthful energy and vitality that dissipates with adulthood. I argue that Captain Underpants celebrates and encourages the creativity and imagination associated with childhood. Pilkey portrays childhood as a vessel of innocence where children have not been exposed to prejudices or pre-conceptions. Close reading of a picturebook/picture bookĭav Pilkey’s ‘Captain Underpants and the Big, Bad Battle of the Bionic Booger Boy, Part 2: The Revenge of the Ridiculous Robo-Boogers’ (hereafter referred to as Captain Underpants) constructs childhood as a time of innocence and expression.
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