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User:Moira388/A Series of Unfortunate Events/Bibliography

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Bibliography

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This is where you will compile the bibliography for your Wikipedia assignment. Add the name and/or notes about what each source covers, then use the "Cite" button to generate the citation for that source.


Butt, Bruce. “‘He’s behind you!’: Reflections on Repetition and Predictability in Lemony Snicket’s A Series of Unfortunate Events.” Children’s Literature in Education, vol. 34, no. 4, December 2003, pp. 277-286. Springer, https://doi.org/10.1023/B:CLID.0000004895.65809.71. Accessed 8 Apr. 2022.[1]

  • Butt argues that the repetitive style of ASoUE makes for a poor reading experience and reflects the author’s desire for commercial success more so than any genuine desire to produce well-written children’s stories. Though I disagree with this argument, I will use other parts of Butt’s article: discussions on the physical appearance of the books, the story’s setting, and the fact that each novel has 13 chapters. All of this information will go into the “Distribution,” “Setting,” and general analysis sections.

Do Rozario, Rebecca-Anne C. “Pedagogy and Other Unfortunate Events: Cheerful Nihilism in Popular Children’s Books.” Papers: Explorations into Children’s Literature, vol. 17, no. 1, 2007, pp. 36-42. Gale Literature Resource Center, link.gale.com/apps/doc/A166696874/LitRC?u=wash43584&sid=bookmark-LitRC&xid=b5fc709f. Accessed 8 Apr. 2022.[2]

  • Do Rozario argues that an optimistic form of nihilism is presented in ASoUE. However, I am more interested in Do Rozario’s specific claim that Count Olaf (the villain of the story) resembles the ogre in children’s fantasy stories. This will lend itself as evidence for an unsourced claim in the Wikipedia article that argues the series can be understood within the fantasy genre.

Kaczyńska, Barbara. “Metafiction in Children’s Literature and its Adaptation on Screen. The Case of Lemony Snicket’s A Series of Unfortunate Events.” New Horizons in English Studies, no. 3, 2018, pp. 71-85. http://dx.doi.org/10.17951/nh.2018.3.71. Accessed 8 Apr. 2022.[3]

  • Kaczyńska analyzes both the book series and the tv adaptation to argue that they are examples of metafiction. I will use this article in the “Genre” and general analysis sections.

Lodge, Sally. “Oh, Sweet Misery!: Tales of ultimately unfortunate kids find an eager audience.” Publishers Weekly, vol. 247, no. 22, 29 May 2000, p. 42. Gale Literature Resource Center, https://go.gale.com/ps/i.do?p=LitRC&sw=w&issn=00000019&v=2.1&it=r&id=GALE%7CA63257175&sid=googleScholar&linkaccess=abs. Accessed 13 Apr. 2022.[4]

  • This is a news article on the early success of the series, published within a year of the first book. I will use this article in the “Reception” section to show how the books were positively received in the early months of their publication.

Magnusson, Kendra. “Lemony Snicket’s A Series of Unfortunate Events: Daniel Handler and Marketing the Author.” Children’s Literature Association Quarterly, vol. 37, no. 1, Spring 2012, pp. 86-107. Project Muse, https://doi.org/10.1353/chq.2012.0013. Accessed 8 Apr. 2022.[5]

  • Magnusson argues that one can only understand Handler’s characterization of Snicket by reading the series’ supplementary texts and promotional materials. I will use specific sentences about the series’ audiobook, board games, video game, and other spin-offs to cite the unsourced information on these supplements in the Wikipedia article.

McGee, Chris. “The Power of Secrets: Backwards Construction and the Children’s Detective Story.” Telling Children’s Stories: Narrative Theory and Children’s Literature, edited by Mike Cadden, University of Nebraska Press, 2010, pp. 44-62, https://doi.org/10.2307/j.ctt1dfnsch.7. Accessed 8 Apr. 2022.[6]

  • McGee argues that ASoUE is a part of the mystery genre, but also subverts the classic story of the child detective at the same time. Rather than merely having the characters learn the answers to the novel’s secrets, the Baudelaire children are forced to confront the negative and unexpected consequences of those answers. I plan to use this article in a “Genre” section to show that some scholars characterize the series as part of the mystery/detective genre.

Merkin, Daphne. “Lemony Snicket Says, ‘Don’t Read My Books!’.” New York Times Magazine, 29 Apr. 2001, pp. 62-65. ProQuest, https://www.proquest.com/magazines/lemony-snicket-say-dont-read-my-books/docview/215488521/se-2?accountid=11091. Accessed 8 Apr. 2022.[7]

  • Merkin interviews Daniel Handler, the author of ASoUE about the popularity of his series in this newspaper article. This includes background information on why/how Handler started writing the series. I will use this for the “Background” section that I will write from scratch.

Nguyen, Kim Hong. “Mourning A Series of Unfortunate Events.” Children’s Literature Association Quarterly, vol. 37, no. 3, Fall 2012, pp. 266-284. Project Muse, https://doi.org/10.1353/chq.2012.0039. Accessed 8 Apr. 2022.[8]

  • Nguyen examines how children read ASoUE against the backdrop of the 9/11 attacks and argues that the series teaches children how to mourn death in a healthy way. I would use this section to talk about ASoUE’s reception during the 2001/early 2000s period, as this was within two or three years of the first book’s publication. The books found particular popularity in the wake of 9/11, and I feel that this is notable/unique enough to include in the “Reception” section of the article.

Pugh, Tison. “What, Then, Does Beatrice Mean?: Hermaphroditic Gender, Predatory Sexuality, and Promiscuous Allusion in Daniel Handler/Lemony Snicket’s A Series of Unfortunate Events.” Children’s Literature, vol. 36, 2008, pp. 162-184. Project Muse, https://doi.org/10.1353/chl.0.0014. Accessed 8 Apr. 2022.[9]

  • Pugh argues that ASoUE simultaneously acts as feminist text, sexualizes its lead female character, and subverts traditional gender norms through its allusions to literary history. I plan to use this text in the article’s general analysis section to discuss gender and feminism in the series. (Hopefully, I can use this scholar to cite some unsourced claims.)

Russell, Danielle. “Familiarity Breeds a Following: Transcending the Formulaic in the Snicket Series.” Telling Children’s Stories: Narrative Theory and Children’s Literature, edited by Mike Cadden, University of Nebraska Press, 2010, pp. 22-43, https://doi.org/10.2307/j.ctt1dfnsch.6. Accessed 11 Apr. 2022.[10]

  • Russell argues that critics of ASoUE unfairly characterize the series as being too formulaic to be a praiseworthy piece of children’s literature. Instead, Russell claims that the series’ formulaic style (and later disruption of this formula) allows the author to subvert his readers’ expectations. I will use this article in the general analysis section to discuss form, style, and repetition in the series.

Thomas, Laura, and Daniel Handler. “Daniel Handler.” Columbia: A Journal of Literature and Art, no. 51, 2013, pp. 77-83. JSTOR, http://www.jstor.org/stable/41951808. Accessed 11 Apr. 2022.[11]

  • Thomas interviews Daniel Handler; this article is different from Merkin’s because it was conducted after all thirteen books in the series were published (with quite a few years’ worth of distance). I will use this article for the “Background” section, as well.

References

[edit]
  1. ^ Butt, Bruce (December 2003). "'He's behind you!': Reflections on Repetition and Predictability in Lemony Snicket's A Series of Unfortunate Events". Children's Literature in Education. 34 (4): 277–286. doi:10.1023/B:CLID.0000004895.65809.71 – via Springer.
  2. ^ Do Rozario, Rebecca-Anne C. (2007). "Pedagogy and Other Unfortunate Events: Cheerful Nihilism in Popular Children's Books". Papers: Explorations into Children's Literature. 17 (1): 36–42 – via Gale Literature Resource Center.
  3. ^ Kaczyńska, Barbara (2018). "Metafiction in Children's Literature and its Adaptation on Screen. The Case of Lemony Snicket's A Series of Unfortunate Events". New Horizons in English Studies (3): 71–85. doi:10.17951/nh.2018.3.71.
  4. ^ Lodge, Sally (29 May 2000). "Oh, Sweet Misery!: Tales of ultimately unfortunate kids find an eager audience". Publishers Weekly. 247 (22): 42 – via Gale Literature Resource Center.
  5. ^ Magnusson, Kendra (Spring 2012). "Lemony Snicket's A Series of Unfortunate Events: Daniel Handler and Marketing the Author". Children's Literature Association Quarterly. 37 (1): 86–107. doi:10.1353/chq.2012.0013 – via Project Muse.
  6. ^ McGee, Chris (2010). "The Power of Secrets: Backwards Construction and the Children's Detective Story". In Cadden, Mike (ed.). Telling Children's Stories: Narrative Theory and Children's Literature. University of Nebraska Press. pp. 44–62. doi:10.2307/j.ctt1dfnsch.7. ISBN 978-0-8032-3409-3.
  7. ^ Merkin, Daphne (29 April 2001). ""Lemony Snicket Says, 'Don't Read My Books!'."". New York Times Magazine. pp. 62–65. Retrieved 8 April 2022 – via ProQuest.
  8. ^ Nguyen, Kim Hong (Fall 2012). "Mourning A Series of Unfortunate Events". Children's Literature Association Quarterly. 37 (3): 266–284. doi:10.1353/chq.2012.0039 – via Project Muse.
  9. ^ Pugh, Tison (2008). "What, Then, Does Beatrice Mean?: Hermaphroditic Gender, Predatory Sexuality, and Promiscuous Allusion in Daniel Handler/Lemony Snicket's A Series of Unfortunate Events". Children's Literature. 36 (1): 162–184. doi:10.1353/chl.0.0014 – via Project Muse.
  10. ^ Russell, Danielle (2010). "Familiarity Breeds a Following: Transcending the Formulaic in the Snicket Series". In Cadden, Mike (ed.). Telling Children's Stories: Narrative Theory and Children's Literature. University of Nebraska Press. pp. 22–43. doi:10.2307/j.ctt1dfnsch.6.
  11. ^ Thomas, Laura; Handler, Daniel (2013). "Daniel Handler". Columbia: A Journal of Literature and Art (51): 77–83. ISSN 0161-486X – via JSTOR.
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