On a recent Saturday afternoon, people began filing into a community movie theater in Oakland, California known for its alternative films and sofa seating. They had gathered to watch the digital stories created by young people from the community—three-to-five minute multi-media compositions consisting of a narrative recorded in the author’s voice accompanied by photographs, video, and music. The event began with a story by Randy, “Lyfe-n-Rhyme.” “Mama’s only son is mama’s only gun with a guillotine tongue,” rang one rhythmic powerful line, as images of Randy and his mother morphed into photographs of the county jail, while the music of Miles Davis floated in the background. So proceeded Randy’s social critique and commentary on life and opportunity, or the lack thereof, in his city and country.

This essay outlines the beginnings of a political economy of the children’s literature publishing industry. Central to the analysis is a consideration of the continuing commodification of children’s literature, the increase in the licensing and merchandizing of characters from children’s books and popular films, and the proliferation of series books that have assumed the status of brand names comparable to other commercial commodities.