...those of us who write for children are called, not to do something to a child, but be someone for a child.

Shh" he said. "Look." "Where?" "Can't you see'um?" he whispered. "All the Terabithians standing on tiptoe to see you." "Me?" "Shh, yes. There's a rumor going around that the beautiful girl arrving today might be the queen they've been waiting for.

We can read the paper or current magazines and learn about national and world events, think about controversial subjects, learn how to disagree respectfully, and how, finally, to act on our convictions. We can read for pure delight, and if we do this as a family or classroom or other group we can build wonderful memories.

We all learn here by the honorable path of horrible mistakes.

I think if a book has the power to move a reader, it also has the power to offend a reader. And you want your books to have power, so you just have to take what comes with that.

A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.

I cannot, will not, withhold from my young readers the harsh realities of human hunger and suffering and loss, but neither will I neglect to plant that stubborn seed of hope that has enabled our race to outlast wars and famines and the destruction of death.