I have written the below text. Now I want you to use critical analysis of novels the catcher in the ray, the painted bird, the cement garden and some two texts more. With references and critic’s point’s verbatim using Complex vocabulary and sentence structures, including varied punctuation and transition words and Tone must be in active voice, informative and authoritative and writing style is coherent, consistent, and organized and the sentences are logically structured:

The elevation of the child and their perspective to a position of utmost importance in twentieth-century literature prompts an inquiry into the reasons behind this phenomenon. It is worth noting that the romanticized attitude towards children as innocent and uncorrupted beings, as famously espoused by Wordsworth in his assertion that “The child is father of the man,” gained even greater significance in the aftermath of the global conflict. Well, such subsequent prevalence of child narrators within adult literature may indeed be construed as an indication of the reassessment of underlying paradigms, established systems and sensibilities, set in motion, to a significant extent, by these cataclysmic wars. The propensity to view the world through the eyes of a child bespeaks, in a manner perhaps tinged with nostalgia, a longing for innocence and purity juxtaposed against a world that had, in the words of Matthew Arnold, “neither joy, nor love, nor light, nor certitude, nor peace, nor help for pain.” The advent of the World War brought with it a cataclysmic rupture in the fabric of the existing European social and cultural order, leaving in its wake an irrevocable transformation of the notions of self, identity, and nationality. Amidst the searing disillusionment and profound existential malaise that pervaded the subsequent decades, the figure of the child emerged as a compelling motif borne out of a nostalgic yearning for the lost innocence and purity of a prelapsarian past. More than a mere thematic concern, the preoccupation with the child in adult literature of the interwar era was, in essence, an intrinsically philosophical endeavour, engaging with the moral and metaphysical implications of its time, while simultaneously embodying a radical subversion of literary conventions and narrative techniques. It is within this liminal space, tenuous yet teeming with creative potential, that the figure of the child narrator arose as a veritable leitmotif in the canon of twentieth-century literature, providing authors with a unique and versatile narrative tool to engage with the fractured realities of the post-war world, while also affording a fresh and challenging perspective through which to reassess traditional cultural values and beliefs. In “The Children of the Poor,” Cunningham elucidates this transformation, opining that the child and his/her perspective appeared as an “antidote to war.” (218). In essence, the cult of the child became a response to an increasingly disillusioned and fractured society and a defensive reaction to a sense of cultural disruption. The child narrators that emerged in adult literature after War were more than mere artless note-takers of the adult world, they became oracles of humanity’s collective trauma, loss, and search for meaning. Spanning an array of literary styles and genres, these young narrators were often portrayed as grappling with questions of mortality, innocence, and evil, asking unanswerable questions about the human capacity for cruelty, the inevitability of suffering, and the essence of hope.