Dr. Mínguez López is an Associate Professor at the University of València, in the Teachers Training Faculty. He is specialized in Children’s Literature and Animation from educational perspective. Recently, he is conducting research on interdisciplinary work for the Artistic Education (music, audiovisual arts, literature, etc.).
Greetings, Dr. Mínguez! Thank you for your time and for accepting the interview with Cootermag.
Of course! Here is the full interview translated into English, preserving the tone, depth, and intellectual style you’d expect from Xavier Mínguez-López—academic, writer, and researcher in Children’s Literature (LIJ).
1. As my first question, could you please talk a bit about yourself and let our readers get to know you more?
I’m a literature professor at the University of Valencia, a researcher specialized in children’s and young adult literature, and also a writer of books for young readers. My professional path has always been connected to the world of words, creation, and reading. I’m especially interested in how literature helps to shape critical thinking in younger generations—how it articulates ideologies, transmits (or questions) values, and reflects the societies it emerges from. My work is rooted in a humanistic perspective, but also deeply committed to the present and to cultural analysis.
2. Could you please tell us more about yourself as a specialist in Children’s Literature? What pushed you toward this field of study?
I come from a cultural context—Valencia—where children’s literature has played a central role in language normalization and in transmitting collective values. Early on, I understood that children’s literature is not a minor genre but a space where major questions are addressed: identity, power, justice, belonging. I began studying it with academic rigor because I was fascinated by its ability to transform readers—through fantasy, realism, and profound symbolism. My research approach is always interdisciplinary and ideological: I’m concerned with how children’s literature educates emotionally, politically, and culturally.
3. I know that you’ve also been given a grant to do research on animé? You worked on Dragonball, no? Could you please tell us more?
Yes, that’s right. I did a research project focused on Japanese pop culture, particularly the narrative and symbolic structure of animé series like Dragonball. What fascinated me was how animé functions as a contemporary form of storytelling, constructing values around community, perseverance, individuality, and identity. I wrote an article in 2014 titled “Folktales and Other References in Toriyama’s Dragon Ball”, where I explored how the series draws on traditional narratives like Journey to the West, Japanese folklore, and mythology. I analyzed how these cultural elements are reimagined for modern audiences—especially young viewers—through characters like Son Goku and themes like the search for the Dragon Balls. The study shows how Dragon Ball blends popular culture with deep intertextuality, offering both entertainment and a gateway to literary and cultural education.
4. Now, what about your research at the International Youth Library in Munich?
My research residency at the International Youth Library in Munich was incredibly enriching. It’s a unique institution with a vast, multilingual archive of children’s literature from around the world. There, I had the opportunity to deepen my study of children’s literature—particularly multicultural books. I accessed materials that are rarely available elsewhere, which allowed me to explore identity narratives and the political tensions embedded in texts for young readers. The chance to exchange ideas with international researchers was equally valuable, broadening both my perspective and methodology.
5. Definitely! I just wish every scholar in Children’s Literature had this chance to visit IJB at least once. So, I’m also aware that in January, you got a scholarship from Harvard University. Tell us about your experience at Harvard, please.
Being awarded a research scholarship at Harvard was a pivotal moment. Working in Harvard’s Libraries, with access to any kind of books about children’s literature, allowed me to develop an interesting research about the real impact of multicultural books in intercultural competence. Harvard’s intellectual environment is intense and stimulating—interdisciplinary dialogue is constant and enriching. I was also able to present my work in several seminars and received critical feedback that helped me refine my theoretical framework and deepen my analysis.
6. Wow! Excellent! Now, I also know that you’re a writer and have published many works for children. As a writer, a critic and also as a parent how do you look at the world, and the younger generation?
With both hope and responsibility. As a parent, I see that children need stories to help them understand the world—not simplified stories, but narratives that respect them as thinking beings. As a writer, I try to create worlds that invite reflection without losing their sense of wonder. And as a critic, I can’t ignore how the publishing industry sometimes trivializes children’s literature. Still, I trust that today’s younger generation—more conscious, more critical—will demand and create braver, more meaningful literature.
7. Has being a literary critic in Children’s Literature had any influence on you as a writer?
Absolutely. Being a critic has made me a more demanding writer. When I write, I’m constantly aware of the ideological implications of my choices—what kind of worldview am I offering? What stereotypes might I be reproducing? That doesn’t mean I write didactically, but I do write with awareness. I also try to play with genre, structure, and language, knowing that young readers are far more complex than they’re often given credit for. Above all, I value quality as the most essential element in writing.
8. Excellent job! But what’s your opinion on Children’s Literature in Spain?
Children’s literature in Spain is vibrant and diverse, but it’s also facing challenges. There’s a rich production—especially in picture books—but often a lack of strong public policy that values and supports it. There’s also a tendency toward commercial simplification, which can sometimes flatten the potential of the field. However, there are also bold independent publishers and authors pushing boundaries and creating innovative work. The key challenge is to ensure that our educational and cultural systems treat children’s literature as literature in its own right. Besides, I write in Catalan language from a region where our language is in danger and that also influences the kind of books are published.
9. What do you think of the future of Children’s Literature in the world?
The future of children’s literature depends on how society views children. If we continue to see them as passive consumers, literature will reflect that. But if we recognize them as critical, creative citizens, then children’s literature can become a powerful tool for change. I believe the future lies in the diversity of voices, the blurring of format boundaries, and a commitment to complexity—even in seemingly simple stories.
10. Excellent! And as my last question, what’s the message you’d like to give the whole world? Listen to children. Read with them. Write for them as full citizens of the present, not just the future. Literature is not just entertainment—it’s a way of seeing the world, and perhaps changing it. And children’s literature, when it is honest and ambitious, can be one of the most revolutionary forms of storytelling we have.
Interview by: Dr. Neda Farnia
