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6.3
 
Single versus dual address 
Closely linked to allalderslitteratur, the aspect of address has been a crucial since 
contested issue among the critics for quite some time now. Whereas allalderslitteratur is 
based on the concept of literature for all ages without distinguishing between age groups, 
levels of competence or numbers of addressees, the approach of single versus dual address 
assumes that each book for children has one or more specific addressees. Single address 
means that either children or adults are addressed, whereas dual address implies that two 

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groups, children as well as adults, are addressed at the same time but on different levels 
according to their experience and knowledge. Consequently, the aim of the approach of single 
versus dual address is to analyse, establish and then to categorise the specific person(s) 
addressed by children’s books.
In The Narrator’s Voice: The Dilemma of Children’s Fiction, Wall investigates this 
aspect of different addressees in children’s books. Together with the approaches of 
allalderslitteratur
on the one hand and that of crossover literature on the other, single versus 
dual address dominates the current discussion in the field. Its main focus lies on analysing 
what makes a children’s book a children’s book and whether just children are addressed or 
whether adults are
reached at the same time. In her work, Wall sets the parameters of 
“children” as not exceeding the age of twelve or thirteen; thus purposefully excluding young 
adults from her investigation.
32
As we have already seen, attempting to set up clear dividing 
lines between age groups can be quite problematic. Nowadays borders are blurred or even 
dissolving so that one cannot necessarily draw unambiguous conclusions on the basis of a 
book’s first impression or its ostensible target group. Aware of the problematic situation, Wall 
nevertheless sets out to establish a sound definition of a children’s book. For this purpose, she 
requires a reliable method with the help of which categorisation parameters for children’s 
books can be laid down. Even though Wall admits to the impossibility of a precise definition 
of both children’s and adult literature,
33
she attempts to compensate for this fuzziness with the 
aspect of address. According to the author, both content and form, i.e. subject matter and 
readability,
34
have always been key parameters here. However, she assigns more weight to the 
form rather than the content
35
and emphasises the role of the addressee.
Traditionally reliable indicators such as simplicity, transparency and brevity define a 
book for children, as well as direct reader address. Since these structural features are mostly 
absent in literature for adults, a distinct differentiation is being made regarding the respective 
reader’s competence and demands. Here, Wall claims that under no circumstances children 
and adults are considered equals.
36
What is more, they should not be, either, as their 
experience of life diverges considerably. This problem has already been encountered in the 
subchapter of allalderslitteratur: Whereas adults can be transported back into their childhood, 
32
Wall, The Narrator’s Voice, p. 1.
33
Ibd., p. 2.
34
Ibd., p. 3.
35
Ibd., p. 2. 
36
Ibd., p. 15. 

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even if allowances have to be made for the temporal distance, children cannot anticipate their 
future development. On this basis, Wall argues that in children’s literature, authors have to 
write down to the children.
37
However, this downward slope should not be too apparent. 
Rather, according to the author, it has become a rule that in qualitatively outstanding works 
for children the addressees cannot be identified as children.
38
This statement is self-
contradictory. If one cannot disguise the fact that a book is addressed to children, then how 
can a qualitatively good book for children ignore the child-reader address? Should it at all?
Again, this leads back to the question of prestige and esteem. As literature for children 
is still frequently considered as something for beginners and thus of inferior quality, then a 
book explicitly addressed to children is regarded as being nothing more than that. If it 
happens to be not recognisably addressed to children, however, then it may not be considered 
a book for children in the first place. From this situation Wall has drawn the conclusion that 
the resulting discrepancy of address represents a very crucial point which requires to be 
solved in order to reach a satisfying solution. Consequently, she outlines her own concept of 
single versus dual address in children’s literature. According to her, single address turns out to 
be very obvious and straightforward. In the case of books for children there is no visible sign 
of adult co-readers.
39
Single address puts the needs, demands and interests of children, its 
target group of the genre, firmly in the foreground. Analysing dual address appears more 
challenging to Wall since it is more complex and profound. Therefore, Wall focuses her 
attention on dual address, i.e. the controversial role of adult readers of children’s literature. 
Here, she discerns
three possible roles adults reading literature written to children can take on: 
These are the “child-addressee, teller-surrogate, and observer-listener.”
40
The first possible 
role of the child-addressee reflects the condition of an unprejudiced adult reader who either 
gets fully involved in the story and can forget or consciously suspend his adulthood for at 
least
the duration of the lecture. By remembering back to childhood and by adopting the role 
of the child reader, the adult temporarily finds himself on the same level as the obvious child 
addressee. As the teller-surrogate, the adult reader takes on the role of an intermediary 
between the actual narrator and the child addressee. He does not class himself as an 
unconcerned adult or as the child who is addressed. Rather, the teller-surrogate finds himself 
37
Ibd. 
38
Ibd. 
39
Ibd., p. 35. 
40
Ibd., p. 18.

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on an intermediate level since he is no longer a child. Yet, at the same time, he does not want 
to be an adult on the outside. This role of the adult can be interpreted in two ways: Either as 
an only half-hearted commitment or as a lack of self-identification. As the observer-listener, 
the adult reader keeps emotional distance instead of participating actively. This way, he does 
not limit himself to one fixed role. The latter role is the most passive one an adult reader can 
take on during the reading of a book addressed to children.
In summary, allalderslitteratur describes the phenomenon of literature intended for or 
at least read by readers of all ages. Single address is the term for literature which is 
consciously aimed at only one specific reader target group. This specification is visibly 
anchored in the respective novel, be it by means of allusions exclusive to one reader group or 
for instance by direct reader address. Dual address addresses two different reader target 
groups at the same time, each in their own way. A further topical phenomenon in fantasy 
literature for children is the so-called crossover literature.
41
Presented in more detail in the 
following, crossover literature deals with the merging of literature for adults and that for 
children in form as well as in content. With these characteristics, crossover literature bridges 
“the gap between books for adults and books for children”.
42
On the basis of her distinction between single and dual address, Wall concludes that 
the topical challenge is to move away from an imbalanced double towards an equal dual 
audience.
43 
Equality of readers touches upon the question of what constitutes a “good” book 
for the respective readers. In children’s literature criticism, the question and judgement of 
quality criteria is one of the hard-core issues. Intended for children but produced, sold and 
often also read by adults, a book for children is judged by adult criteria. However, adult 
satisfaction alone cannot be an adequate criterion for judging the quality of children’s 
literature. Among the various contributing factors ought to be child interests and demands.
Yet, allalderslitteratur, single and dual address are not the only stylistic forms current 
British fantasy literature for children can take. A further aspect is the so-called crossover 
literature which we will examine in the following.
41
Crossover literature can be found in other genres as well. However, within the scope of the present study we 
will limit ourselves to fantasy literature only.
42
Dieter Petzold. “Spaß für Jung und Alt: Cross-writing in den ‘William-Büchern’”. In: Christiane Bimberg 
(Ed.) Perspektiven der Englischsprachigen Kinder- und Jugendliteratur./ Perspectives on Children’s Literature