“Stories,” Griswold noted, “serve a purpose beyond pleasure, a purpose encoded in analogies. Story arcs, like dreams, have an almost biological function.”

Feeling Like a Kid: Childhood and Children’s Literature, he identifies five basic story mechanisms children find particularly compelling—snug spaces, small worlds, scary villains, lightness or flying, as well as animated toys and talking animals—all part of the serious business of make-believe.

child psychologists have looked at storytelling as an important tool children use to work through their anxieties about the adult world. Fairy-tale fantasies are now regarded as almost literal depictions of childhood fears about abandonment, powerlessness, and death.

It turns out that fantasy—the established domain of British children’s literature—is critical to childhood development.

Pagan babies are born innocent; Christian children are born in sin and need correcting.

Bateman in turn suggests the difference between the countries may be that Americans “lack the kind of ironic humor needed for questioning the reliability of reality”—very different from the wry, self-deprecating humor of the British. Which means American tales can come off a bit “preachy” to British ears.

Landscape matters: Britain’s antique countryside, strewn with moldering castles and cozy farms, lends itself to fairy-tale invention. As Tatar puts it, the British are tuned in to the charm of their pastoral fields: “Think about Beatrix Potter talking to bunnies in the hedgerows, or A.A. Milne’s Winnie-the-Pooh wandering the Hundred Acre Wood.” Not... See more

If British children gathered in the glow of the kitchen hearth to hear stories about magic swords and talking bears, American children sat at their mother’s knee listening to tales larded with moral messages about a world where life was hard, obedience emphasized, and Christian morality valued. Each style has its virtues, but the British approach... See more