the gruffalo and me the remarkable julia donaldson

Why is it, apparently, so much richer than its transatlantic rival? EB White (Charlotte's Web) and Maurice Sendak (Where the Wild Things Are) have their place, but our American cousins will know far more about Narnia and Hogwarts.

What is it about the British literary scene that inspires such a marvellous variety of children's writing? Even before you mention CS Lewis or JRR Tolkien, you have to acknowledge an extraordinarily powerful tradition, a wonderful mix of make believe and nonsense, poetry and prose. They, in turn, stand on the shoulders of some remarkable postwar writers for children: Joan Aiken, Leon Garfield, Alan Garner, Mary Norton (The Borrowers), Rosemary Sutcliff, Philippa Pearce and Richard Adams. Contemporaneous with Donaldson's masterpiece was a remarkable new generation of writers for children: Philip Pullman, Eoin Colfer, Charlie Higson, Michael Morpurgo, Michael Rosen, Francesca Simon, Jacqueline Wilson and, of course, JK Rowling. The Gruffalo, currently the subject of many 10th birthday celebrations and a forthcoming movie, is based on a Chinese folk tale but its word-of-mouth success speaks to the great tradition of British storytelling for children, a tradition that flourishes today as vigorously as ever. The verse fable of the brave, clever little mouse who ventures 'a stroll in a deep, dark wood' and meets that fearsome fantasy creature, the Gruffalo, has the symmetry and simplicity of the perfect story. From its first review in these pages in 1999, The Gruffalo by Julia Donaldson, illustrated by Axel Scheffler, moved effortlessly from contemporary cult to modern classic status.

D uring the approximately 10 years I was literary editor of the Observer, there was just one book published that you could confidently predict would be read and admired by readers of all ages 100 years hence.

The gruffalo and me the remarkable julia donaldson