Recent research in England suggests that opportunities for children's and young people's reading for pleasure may have been curtailed as a result of other curriculum imperatives. Under pressure to raise standards, there has been a strong emphasis on meeting objectives and managing the curriculum, but reasons for reading in the first place appear to have been neglected. In particular, little explicit attention has been paid, either in research or policy documentation, to why literature still has a clear role to play in English education. Taking as its starting point a selection of surveys and policy documents before moving to consider views from theorists, writers and young readers, this article seeks to stimulate debate about why reading literature still matters.

Currently considerable interest is being shown in creativity by the government and bodies such as QCA and Ofsted. A ‘creativity agenda’ has emerged with important implications for teaching and learning in schools. Drawing on research literature, as well as work completed by Secondary PGCE English and Drama trainees, this paper aims to provoke discussion about how creativity in education is defined and the impact of more explicit understandings of creativity in classrooms.

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This article arises from a study of 12-13 year-old habitual and committed readers. The research foregrounds the sociocultural and spatial dimensions of their reading, exploring how encounters with other readers and different reading practices contribute to their readership. Many reading researchers favour survey-style methodology, whilst acknowledging the need to explore young people's reading in greater depth. The design of this research therefore involves different research methods. The article focuses on one of these methods which requires readers to create critical incident collages of their reading histories. I argue that it generates valuable data for both researchers and teachers and encourages a more intricate view of the complexity of reading.