With critics analysis and points verbatim I want you to critically analyze texts at each point 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 to create a clear and progressive flow of ideas. Maintain connection and flow between paragraphs 
In recent years, the child narrators have established a robust presence in the literary market, capturing the interest of a diverse and discerning audience which can be observed in the growing number of publications and scholarly works devoted to the subject: Mark Haddon’s The Curious Incident of the Dog in the Night-Time (2003), Stephen Kelman’s Pigeon English, Matt Haig’s The Dead Fathers Club (2006), Annabel Pitcher’s “My Sister Lives on the Mantelpiece” (2011), Emma Donoghue’s Room, and Jonathan Safran Foer’s Extremely Loud & Incredibly Close (2005) are only a few examples of novels with child narration. Indeed, the twenty-first century has witnessed not only a quantitative upswing in terms of the sheer number of novels featuring child narrators, but also a qualitative shift in their deployment and function within the narrative and thematic texture of these works. This meteoric rise of child narrators and perspectives in adult literature is underpinned by the evolution of our understanding of children in modern times. No longer subscribing to the homogenized portrayal of childhood as a linear progression from naivete to enlightenment, contemporary writers have excavated the profundities of the child’s mind. The romanticized idea of the innocent, untainted child has gradually given way to a more multifaceted conception that recognizes children as dynamic social agents, capable of wielding power and knowledge. Today, children are no longer seen as just miniature adults or predominantly innocent or naive creatures but as “knowing, manipulative, destructive, and sexual beings.” (childhood in the contemporary novel DINTER 3) Instead of adhering to a linear narrative of childhood as a progression from “innocence to experience, from ignorance to knowledge, and from dependency to autonomy,” contemporary research has shifted its focus toward an exploration of the ways in which child “is shaped by the power dynamics of the generational order.” (Dinter and Schneider, 36)As a result, modern works of literature break away from the traditional ideas of childhood as simply a stage of life. Instead, they delve into the factors, motivations, and struggles that shape its cultural creation. (Dinter, Introduction, 2020) Basically the change reflects a broader cultural shift where children are increasingly exposed to the adult-level consumer world, becoming consumers themselves. The ease at which children today can access information in various domains once deemed inappropriate or unsuitable for them is unprecedented. The advent of technology and the ubiquity of globalized media networks have enabled these young individuals to become active participants in their own socialization, simultaneously empowering them with knowledge and insight as Sandra Dinter says, “Child protagonists” or narrators “have probably never been as diverse as they are today.” (3