With critics analysis and points verbatim I want you to rewrite the below in your own words but maintain the same style Using Complex vocabulary and sentence structures, including varied punctuation and transition words and Tone must be in active voice, informative and authoritative and writing style is coherent, consistent, and organized and the sentences are logically structured to create a clear and progressive flow of ideas
The study of child narrators and focalisers has become increasingly popular in recent years. This can be observed in the growing number of publications and scholarly works that have emerged, highlighting the growing desire to comprehend and explore the unique and nuanced perspectives of young individual. One of the key reasons for this growing interest in children’s perspectives is the recognition of the unique and valuable insights that children can offer. Today, children are no longer seen as just miniature adults or predominantly innocent or naive creatures but as “knowing, manipulative, destructive, and sexual beings.” (childhood in the contemporary novel DINTER) Instead of adhering to a linear narrative of childhood as a progression from “innocence to experience, from ignorance to knowledge, and from dependency to autonomy,” contemporary research emphasises how “childhood is shaped by the power dynamics of the generational order.” (Dinter and Schneider, 36) Modern works of literature break away from the traditional ideas of childhood as simply a stage of life. Instead, they delve into the factors, motivations, and struggles that shape its cultural creation. (Dinter, Introduction, 2020) 
Novels for adults about childhood are a booming genre within the con- temporary British literary market. Since the 1980s, many established authors have published such works – among them Salman Rushdie with Midnight’s Children (1981), Jeanette Winterson with Oranges Are Not the Only Fruit (1985), Doris Lessing with The Fifth Child (1988), Kate Atkinson with Behind the Scenes at the Museum (1996), Pat Barker with Another World (1999) and Border Crossing (2001), Zadie Smith with White Teeth (2000), Ian McEwan with Atonement (2001), Kazuo Ishiguro with Never Let Me Go (2005), A. S. Byatt with The Children’s Book (2009) and Maggie O’Farrell with The Hand That First Held Mine (2009). Emerging authors, including Stephen Knight in Mr Schnitzel (2000), Toby Litt in deadkidsongs (2001), Helen Dunmore in Mourning Ruby (2003), Diana Evans in 26a (2005) and M. R. Carey in The Girl with All the Gifts (2015), have contributed to this trend. The longlists and shortlists of Britain’s most distinguished literary prizes, the Man Booker Prize and the Costa Novel Award (formerly the Whitbread Award), feature many of these works too. Other novels about childhood, such as J. G. Ballard’s Empire of the Sun (1984), P. D. James’s The Children of Men (1992), Meera Syal’s Anita and Me (1996) and Nick Hornby’s About a Boy (1998), are perhaps even better known for their film adaptations. Furthermore, childhood novels from other Anglophone countries have been immensely successful in Britain. Patrick McCabe’s The Butcher Boy (1992), Roddy Doyle’s Paddy Clarke Ha Ha Ha (1993), Lionel Shriver’s We Need to Talk about Kevin (2003), Jonathan Safran Foer’s Extremely Loud & Incredibly Close (2005), Anne Enright’s The Gath- ering (2007) and Kathleen Winter’s Annabel (2010) come to mind here. The popularity of childhood is not limited to fiction alone. ‘Misery lit’, memoirs about “challenging, often dramatic childhoods – characterized by abuse, poverty, and identity struggles” (Douglas 1), has been thriving since the early 1990s, with Dave Pelzer’s A Child Called ‘It’ (1995) and Frank McCourt’s Angela’s Ashes (1996) becoming classics.
