Watch Out! Here Comes the Wolf!

  • Publication date May 27, 2025

Maria Noelia Merino Avila

Introduction

This unit, titled “Watch Out! Here Comes the Wolf!”, aims to explore the evolution of the wolf character in children’s literature through a series of stories. Students will investigate how the wolf is portrayed across various narratives, from being a villainous, fearsome creature in The Three Little Pigs to a misunderstood and sympathetic figure in The True Story of the Three Little Pigs. They will also examine a more humorous and vulnerable version of the wolf in I’m Going to Eat You! and the traditional manipulative figure in Little Red Riding Hood.

The unit provides students with an opportunity to reflect on the varying representations of the wolf and understand the significance of character development over time. By engaging in creative activities like mask-making, sculpture, and group murals, students will actively reinterpret the wolf’s character and relate it to real-life scenarios. Through discussion, reflection, and artistic expression, students will develop critical thinking and empathy, learning to appreciate the complexities of human nature and the nuances of moral judgment in literature.

Learning Objectives

The main objective of this unit is to guide students in understanding the crucial role monsters play in children’s literature, with a special focus on how characters like the wolf reflect social norms, family values, and cultural fears. Through the exploration of classic tales like Little Red Riding Hood and The Three Little Pigs, students will not only examine the concepts of safety and transgression but also the implicit lessons these stories convey about social behavior and the consequences of disobedience.

This unit aims for students to reflect on monsters as cultural symbols, following the ideas proposed in Cohen’s and other scholars’ theories about the meaning of monsters in society. Students will analyze how monsters, like the wolf, act as “guardians” that patrol and reinforce the boundaries of socially acceptable behavior, helping them think more deeply about the norms and values that influence their own behavior.

Classroom activities will align with these educational objectives, focusing on literary analysis and the critical interpretation of texts, while fostering skills in reading, writing, and discussion. Students will be encouraged to make connections between literary monsters and their own reality, facilitating their understanding of the symbolism behind these characters and how stories can teach lessons about morality and social coexistence.

This unit asks students to…

  • Analyze the evolution of children’s storytelling through the character of the wolf.
  • Present the character of the wolf from different perspectives, transforming it from a wicked being to a kind and sometimes lovable character.
  • Learn to analyze different points of view before forming a personal judgment in each situation.
  • Enjoy listening to and engaging with different stories that have evolved throughout history.
  • Read stories from both the past and present.

Rationale

Through this project, students will engage in deep, critical reflection about the concepts of morality, perspective, and identity. By analyzing the symbolic role of the wolf in children’s literature, they will be encouraged to examine how characters are not always easily classified as “good” or “bad” and to recognize the complexity of individual motivations. The following guiding questions will help students explore these themes and encourage them to challenge preconceived notions:

  • Are there truly “good” and “bad” characters in real life, or is morality more complex than that?
  • What role does the wolf play in children’s literature, and how has it evolved over time?
  • If we were wolves, would we be good or bad, and what would influence our actions?
  • How can we practice empathy by putting ourselves in others’ shoes to understand their choices and behaviors?
  • In which situations have we ever acted in ways that could be considered “wolf-like,” and what does that say about human nature?
  • Do we all have both a good side and a bad side, and how do we reconcile these aspects of our identity?

These questions will help foster critical thinking, as students not only analyze the wolf as a literary symbol but also relate it to their own experiences and understanding of human behavior. They will reflect on the concept of duality in characters and consider the broader implications of labeling actions and people as “good” or “bad.” Ultimately, this project will inspire them to think more deeply about the stories they consume, encouraging empathy and self-awareness as they begin to form their own values and judgments.

Learning Environment and Teaching Background

This unit will be implemented in a first-grade classroom at Springdale Elementary School, located in the northern part of Tulsa. The school serves a predominantly Hispanic student population. The percentage of American students who do not speak Spanish is very low. The school has a Dual-Language Program in place, and I teach Spanish to those students whose primary language at home is Spanish.

I have 28 students in my SLA class, and the socioeconomic level of the community is generally low. Most students come from families with limited resources, which sometimes presents challenges in providing them with academic support outside of the school.    

I have been a teacher for 24 years, with 23 of those years spent teaching in Spain. During that time, I developed a passion for storytelling, which I shared with my students through various forms of narrative. For the past year, I have been teaching first grade at Springdale Elementary, and I have continued to bring the power of storytelling into my classroom. The fascination children have for the character of the wolf, as well as their constant interest in playing the roles of the wolf or escaping from it, transcends time and geography. This universal interest is what inspired me to focus on the figure of the wolf in children’s literature. It is a timeless character that remains relevant across cultures and generations, making it an excellent subject to explore in the classroom.

Unit Content

The character of the wolf can be interpreted as a figure that embodies social surveillance. According to Cohen’s fifth thesis on monsters, “The monster always polices the borders of the possible.” In this context, monsters act as guardians who ensure that social, cultural, and political boundaries are respected. The wolf in children’s literature, for example, can be seen as a “watcher” who keeps characters within the acceptable boundaries of behavior, symbolizing the punishment for those who deviate from norms or cross established limits.

This “surveillance” role of monsters is a recurring theme, where the monster represents a threat to those who transgress what is considered socially and morally correct. The wolf, in particular, serves as a figure that warns characters about the dangers of straying from the well-trodden path or breaking rules, reinforcing the idea of maintaining order within a controlled environment.

Children’s literature, by its nature, seeks to present ideas, values, and moral lessons to young readers. As such, stories featuring wolves often contain deeper messages about social and moral boundaries. These tales reflect the dangers that lurk outside those boundaries and the consequences of venturing too far. The wolf, as a symbol of these dangers, serves to illustrate the importance of following societal and familial rules.

Children’s Literature and the Wolf as a Symbol

We define children’s literature as that which, due to its presentation, format, and content, especially attracts children. Based on Cervera (1992), we believe that “Perrault is the most recognized predecessor, both qualitatively and temporally, who opens the door to children’s literature” (38). He is especially known for his fairy tales, including Cinderella, Little Red Riding Hood, The Sleeping Beauty, and Tom Thumb, which he gathered from oral tradition in Tales of the Past (1697), also known as Mother Goose Tales due to the illustration on the cover of the original edition. He became a member of the French Academy and gained his greatest fame by writing and telling stories specifically for children.

Later, Hans Christian Andersen was recognized as one of the great authors of world literature, having written over 150 children’s stories. Andersen used a style for child readers, with everyday language and the expression of the feelings and ideas of young audiences. Among his most famous stories are The Ugly Duckling, The Snow Queen, The Steadfast Tin Soldier, and The Little Mermaid, all of which were compiled in Selected Tales (1879). These stories have been translated into over 80 languages and adapted into plays, ballets, movies, cartoons, CD games, and works of sculpture and painting.

Some believe, however, that children’s literature began in the early 19th century with the Brothers Grimm. They published a collection of Fairy Tales in 1857, apparently aimed at children, but the depth of the stories could only be understood by adults. The book became so popular that censored editions for children were soon published since the original was extremely harsh. The stories are interesting and varied, characterized by concise, rustic, simple narration with a folkloric air. Notable tales include Snow White, Hansel and Gretel, and Rapunzel.

Connection Between Cohen’s Theory and the Choice of the Wolf

Cohen’s theory about the role of monsters in maintaining boundaries is central to understanding the figure of the wolf in children’s literature. The wolf’s role as a border patrol aligns with Cohen’s notion that monsters protect the limits of what is socially acceptable. In many tales, the wolf serves as the agent of punishment for those who break the rules. This is most evident in stories like Little Red Riding Hood, where the wolf preys on Little Red Riding Hood when she strays from the safe path prescribed by her mother. Similarly, in The Three Little Pigs, the wolf represents the consequences of not following wise and careful behavior (i.e., building a strong house).

By choosing the wolf as a central character in my unit, I aim to explore the themes of obedience, safety, and the consequences of transgression. The wolf symbolizes the dangers that lie outside of societal norms. For children, the figure of the wolf captures a mix of fear and fascination, making it an ideal way to discuss these complex ideas in an engaging manner.

In addition to Cohen’s work, scholars such as Jack Zipes have highlighted the role of fairy tales and monsters in shaping children’s understanding of social norms. Zipes suggests that fairy tales often act as a tool for transmitting moral lessons, and the wolf, as a symbol of danger and consequence, fits perfectly into this educational framework. Through these stories, children learn about boundaries, both literal and metaphorical, and the consequences of stepping outside those limits.

I chose the wolf as the central figure in this unit because it is a recurring character in many classic children’s stories. The wolf serves as a symbol of the consequences of disobedience and the importance of adhering to societal rules. Its role in these stories goes beyond just being a villain—it represents the threat of chaos and danger that lurks beyond the safety of established norms.

The wolf is a compelling character because it speaks to fundamental childhood fears: the fear of the unknown, the fear of breaking rules, and the fear of facing the consequences of one’s actions. By using wolves in this unit, I aim to encourage students to think critically about the social and moral lessons embedded in the stories they read. How do these stories use the wolf to teach lessons about obedience, safety, and the dangers of deviating from expected behaviors?

Through activities such as story analysis, role-playing, and writing exercises, students will be able to explore the moral implications of the wolf’s presence in these stories. The aim is not only to understand the stories themselves but also to think critically about the broader societal values they reflect.

Connecting the Unit to Cohen’s and Other Scholars’ Ideas

The choice of the wolf also aligns with Cohen’s thesis that monsters patrol the boundaries of the possible. By focusing on the wolf, I can engage students in a discussion about the moral and social boundaries that these characters represent. The wolf, as a “watcher” or “vigilante,” reinforces the idea that society has rules, and there are consequences for transgressing them.

Additionally, the work of scholars like Jack Zipes and other folklorists can be incorporated into the unit to deepen students’ understanding of the role of monsters in literature. Zipes, for example, argues that fairy tales function as both entertainment and educational tools, using monsters like the wolf to teach children about the realities of the world they live in.

By drawing on these theoretical frameworks, I can guide students to understand not only the stories themselves but also the deeper social functions they serve in shaping ideas about morality, safety, and the consequences of actions.

The Story and its Educational Value

The art of storytelling is as ancient as humankind, and the origin of the fairy tale dates back so far that we cannot pinpoint when the first one was created. However, the oldest known tales originate from Eastern people. According to (Heising, 1976), the most famous collections of tales, such as One Thousand and One Nights, come from there, including the famous Aladdin and the Magic Lamp. Fairy tales have great pedagogical value as they serve as a window to magic, fantasy, imagination, and the inner world of children. They provide a wealth of information about life, hardships, successes, failures, fears, and how to face them.

According to Lowenfeld, cited in (Tomás, 2010): “Fairy tales are the only ones that seriously address the cognitive problems and conflicts children face. Aspects such as fear of abandonment, bravery, loyalty, fear of not being loved, fear of death, companionship, cunning, and the battle between good and evil are all addressed in stories, and through them, children can confront their own conflicts.”

Reading a fairy tale has intrinsic educational value as it serves as an introduction to reading for children. In other cases, storytelling leads to activities of expressive and artistic nature. Reading or telling stories to children helps develop various skills related to different aspects of human development:

  • Develops creativity: Stories not only foster an appreciation for aesthetics but also give children the opportunity to imagine what they would like to be, do, and experience. The expressiveness and liveliness with which characters, scenes, and situations are presented contribute to educating the imagination and creativity of children.
  • Develops language: As previously mentioned, stories provide children with new expressive models. They help structure language, organize sentences, give them meaning, increase vocabulary, and especially influence the communicative function of language. We should promote both correct word usage and expressiveness, working on intonation, voice, guttural resources, onomatopoeic sounds, etc.
  • Develops affection: The story is a simple and effective means of creating bonds of affection and trust between the storyteller and the listener. Furthermore, stories are a means of getting to know children as they allow us to read their faces to see the emotions that the story evokes, which can then be externalized and shared.
  • Develops psychological development: The child can understand the meaning of values through characters, as well as the consequences of certain actions. Young readers identify with the characters, projecting their fears, needs, and fantasies onto them. In addition, quality stories with rhythm and repetition transmit security, stimulate memory, and facilitate the structuring of time in the child’s mind through the ordered succession of events. These factors contribute to the development of logic and broaden the child’s field of experience.
  • Develops socialization: Stories fulfill the need for empathy and teach sensitivity. Children at this stage are egocentric, and it is important to seize the opportunity to nurture their interest in others. Reading age-appropriate narratives gradually expands their worldview and constructs spaces that allow them to understand, structure, and organize new data and sensations. Stories satisfy their desire to learn, providing teachings in an attractive and accessible way.

The Evolution of the Monster Character in Children’s Literature

As we know, for generations, parents, teachers, and educators have used characters from children’s literary tradition to shape the behavior and attitudes of young children. Monsters and other creatures of the dark have been used as tools to scare us into obedience. From the “bogeyman” to the monster in the closet or the one under our bed, they have been indirectly used to frighten us into behaving well or eating something we didn’t like.

“From antiquity to the present, adults tell their children stories with terrifying situations and scenes. Myths of evil and cruel gods, children abandoned in the forest, jealous and murderous stepmothers, and Little Red Riding Hoods of various eras always about to be devoured by the big bad wolf. Reinforced by the versions of the Brothers Grimm and Charles Perrault, reinterpreted by other authors and Disney cinema, kids hear, read, and watch terrible stories, now joined by new remixed monsters and vampires.” (Baby, 2016)

However, this tradition is no longer as common. Today, monsters—especially wolves—depicted in stories with varying personalities teach us many values as they face their own fears and anxieties. In this way, they encourage and urge children to confront their own fears. Contemporary storytelling moves away from the monstrous figures that once frightened children, giving them human traits that children can relate to. This change in the generic characteristics of fantastic characters serves a triple purpose: first, to separate the figure of the monster from the evil and harmful stereotype; second, to help children overcome specific fears from their wide range of emotional experiences; and finally, the combination of these two elements—the transformation from villain to hero, becoming a model that teaches and provides resources to help children overcome their fears, just as the character does in the story.

Psychologist Judith Rodríguez (cited by Baby, 2016) claims that fairy tales allow children to project their fears through the characters in the stories—fear of abandonment when a sibling is born, the theme of death, darkness, etc.—resolving these through a happy ending; for this reason, she encourages continuing to read stories of witches and ogres, not just children’s literature that sanitizes monsters of their ferocity and primal traits.

Softening or diluting these fears may be a necessary gesture, but it also carries a risk. Ana Garralón (cited by Baby, 2016), a specialist in children’s literature, uses the term “decaffeinated” to categorize those monsters and creatures that have lost their most frightening qualities in favor of evoking emotions like empathy or pity.

The productive aspect of this evolution—from the terrifying monster of the past to the modern monster that helps us confront our own fears—is that children’s literature adapts and evolves alongside the needs of its readers: children. Moreover, the explosion of illustrated books has fostered the use of artistic and narrative techniques that treat classical themes from innovative and original perspectives, flooding bookstores with true works of art in the form of fairy tales.

Throughout history, monsters have always been attributed to negative qualities. A monster is defined as a being that presents anomalies in its species, or it may be a fantastic being, excessively large, ugly, and/or extraordinary, causing fear, cruelty, and perversity (DRAE, 2020). This explains why the monster has persistently been “the bad guy” in most stories and legends. Today, we know that this stereotype is fading; the concept of the terrifying and sinister monster in children’s literature is evolving into a monster that, although still frightening to younger children, also piques curiosity and is attractive. The contemporary monster no longer only presents negative qualities; it now embodies various personalities and is no longer shown solely as a villain to be feared, but also has a heart and, at times, even speaks to us about its feelings.

But why do we choose monsters to explain certain feelings or attitudes to children? As psychoanalyst (Jung, 1995) pointed out, the monster symbolizes the dual nature of humanity, the inner conflict we all carry, corresponding to aspects that society categorizes as negative and tells us to suppress. However, Jung’s reflections in the current context encourage us to think that this suppression should transform into management and acceptance, so as not to poison our inner selves. Literature, as a natural method for humans to tell stories, provides a way to externalize those fears and conflicts. In the realm that concerns us, childhood is ideal for addressing these issues, as children are in the process of personality development. Fairy tales and their monstrous protagonists will help children establish relationships and connections with their problems, projecting their fears and freeing themselves from the thoughts that trouble them.

We could teach through stories that do not expose or reveal these fears, but if we as adults and educators shield children from such imaginary suffering, we are denying them reality and, therefore, indirectly inviting them to hide and suppress all those feelings and emotions they perceive as negative. As Bruno Bettelheim explained, “if our fear of being devoured is made tangible in the form of a witch, we can rid ourselves of it by burning her in the oven” (147). In other words, fairy tales equip children with invisible tools to defend themselves from their fears and guide them toward creative solutions that free them from their worst fantasies, “but none of this occurred to those who deprived children of fairy tales” (Bettelheim, 1994, p.147).

We can affirm that including the monster, and in this case, the wolf, in all his variations, has become an opportunity to transform children’s fears into learning and to create strategies for overcoming them through literature.

Classroom Activities

Teaching Overview

To explore the evolution of the wolf character across different fairy tales, analyze its various facets (from the fierce wolf to the kinder one), and develop the children’s empathy so they understand that people and characters can act in different ways for various reasons.

In this unit, the objective is to guide students through the exploration of the wolf’s transformation within the world of fairy tales. Initially, students will be introduced to the classic image of the wolf as a villainous, fearsome character in stories like Little Red Riding Hood and The Three Little Pigs, where it embodies danger and evil. Through group readings and discussions, students will examine how the wolf is presented in different contexts, and what the characteristics of this wolf represent in terms of human fears, norms, and societal expectations.

Next, the students will explore how the wolf is portrayed in more contemporary or alternative versions of fairy tales, such as The True Story of the Three Little Pigs by Jon Scieszka, or even stories where the wolf is depicted as a misunderstood or sympathetic character, such as in The Big Bad Wolf from Shrek. By comparing these contrasting representations, students will analyze the nuances in character development, recognizing how the same character can embody vastly different traits depending on the perspective from which it is viewed.

To deepen their understanding, students will engage in activities such as role-playing and creating their own versions of wolf characters, where they are encouraged to think critically about why the wolf might act the way it does in a given story. They will also have the opportunity to discuss and reflect on real-life situations where individuals may be misunderstood or judged unfairly, helping them build empathy for others and encouraging them to consider different perspectives before making judgments.

Through these activities, students will recognize that characters—just like people—can be complex and multifaceted. The objective is for them to understand that behavior is often influenced by context, experience, and perspective, and that by viewing situations from multiple angles, we can better appreciate the reasons behind actions. This unit aims to foster empathy, critical thinking, and a deeper understanding of the human experience, as students see the wolf not just as a villain, but as a character with layers and motivations that are worth exploring.

Week 1: The Three Little Pigs (Joseph Jacobs, 1959)

This story presents us with a wolf without morals who wants to cause harm for no reason.

Objective for the week: Introduce the wolf as a bad, fierce, and dangerous character.

Read aloud The Three Little Pigs.

https://www.youtube.com/watch?v=WgMHXShyrGc (SPANISH VERSION)

https://www.youtube.com/watch?v=NCeGrmecZz0 (ENGLISH VERSION)

Discussion:

  1. What is the message of the story?
  2. Who are the main characters?
  3. The wolf: is he good or bad?
  4. Why does the wolf act the way he does?

Reflection: Discuss how the wolf is presented as a scary figure and why he behaves this way.

Art activity: The students will create wolf masks using cardstock, markers, paper, and stickers to represent the fierce wolf. This will allow them to visualize and recreate the character in an interactive way.

Week 2: The True Story of the Three Little Pigs (Jon Scieszka and Lane Smith, 1989)

This story presents us with the same narrative we read earlier, but from the wolf’s point of view. In this case, the wolf is a being with morals who acts according to principles and values.

Objective for the week: Explore the wolf from his point of view, showing that he might not be as bad as he seemed in the first story.

Read aloud The True Story of the Three Little Pigs.

https://www.youtube.com/watch?v=dIfBpZOQwls (ENGLISH VERSION)

https://www.youtube.com/watch?v=8R4FTQ1xqec (SPANISH VERSION)

Discussion:

  1. What is the message of the story?
  2. Who are the main characters?
  3. The wolf: is he good or bad?
  4. Why does the wolf act the way he does? How does this change our view of the wolf in this story?

Reflection: Compare the wolf’s actions in this story with the wolf in The Three Little Pigs (from week 1). Why does the wolf seem a bit more sympathetic and justified in his behavior?

Art activity: Create an illustration of the wolf from this story using recycled materials (bottles, cardboard, etc.) to highlight the difference in how we view him.

Week 3: ¡Voy a Comedte! (Jean-Marc Derouen, 2013)

In this case, the wolf in our story is one who wants to be bad and dishonest, which is what a wolf is supposed to be. He wants to follow the established patterns to be a true wolf, but in the eyes of the other animals in the forest, he is nothing more than a being who can be deceived and mocked by everyone.

Objective for the week: Explore the wolf as a goofy character who is tricked by the other animals.

Read aloud ¡Voy a Comedte! or I’m Going to Eat You!

https://www.youtube.com/watch?v=elHXcRmOjWQ (SPANISH VERSION)

Discussion:

  1. What is the message of the story?
  2. Who are the main characters?
  3. The wolf: is he good or bad?
  4. Why does the wolf seem so silly in this story? How do the other animals trick him?

Reflection: Compare this wolf to the one in The Three Little Pigs and The True Story of the Three Little Pigs. How are these wolves different? Why do they change?

Art activity: The children can create a sculpture of the wolf using playdough or clay, but in its silly and goofy version, as seen in this story.

Week 4: Little Red Riding Hood (Classic Version) + Lo Que No Vio Caperucita

In this first story, we return to the wicked wolf without principles, who tries to take advantage of the innocence and goodness of a little girl.

Objective for the week: Compare the wolf as a clever character who manipulates and deceives to achieve his goals but is also defeated in the end, with the wolf as a good animal.

Read aloud Little Red Riding Hood (Classic version).

https://www.youtube.com/watch?v=XXqNjzJgSCg (SPANISH VERSION)

Read aloud Lo que no vio Caperucita (Mar Ferrero)

https://www.youtube.com/watch?v=nCN-8dmb1S8 (SPANISH VERSION)

Discussion:

  1. What is the message the stories?
  2. The wolf: is he good or bad?
  3. Why does the wolf act the way he does?

Reflection: Compare both wolves to the wolves in the previous stories. How has the character evolved?

Art activity: The children will act out the stories in teams. They will create their own dialogues in which they highlight the role the wolf plays in each story.

Week 5: Evolution of the Wolf Over Time

Objective for the week: Analyze how the figure of the wolf has changed over time, from being a completely evil character to having different facets in modern stories.

Recap: Review all the stories and the different types of wolves presented. How has the wolf changed from The Three Little Pigs to the wolf in I’m Going to Eat You!

Reflection: Discuss why authors have transformed the wolf from a fearful figure to a character with nuances, and what this means in how we view others.

Art activity: Create a group mural where each child will draw their own version of the wolf based on what they have learned from each story. This will serve as a visual representation of the character’s evolution.

Week 6: Final Conclusions and Reflections

Objective for the week: Reflect on what has been learned throughout the project and consolidate knowledge about the wolf character and its various representations.

Final discussion: What have we learned about the wolf? How can we relate his evolution to our own thinking about people we consider “bad” or “good”?

Art activity: The children can create their own story or fairy tale where the wolf is the protagonist, using what they’ve learned about the character’s different facets. They can do this either through drawings or a written story, which they will then present to the group.

Conclusion

The goal of this project is for students to explore how an iconic character like the wolf can evolve over time and across different contexts. Through a combination of storytelling and creative activities, they will delve into the transformation of this character and understand the significance of looking beyond initial impressions of others. By developing empathy and reflecting on characters’ actions, students will learn that everyone has complex reasons behind their behavior.

This approach will provide students with tools to better understand and reflect on the behavior of others, both in literature and in real life. Through this process, they will not only enhance their critical thinking skills but also gain a deeper appreciation for the complexities of human nature.

Bibliography

Andersen, Hans Christian. The Complete Fairy Tales of Hans Christian Andersen. 1879.

Baby, F. La transformación del monstruo en la literatura infantil y juvenil. Madrid: Editorial Infantil y Juvenil, 2016.

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. 1976.

Cohen, Jeffrey J. Monster Theory: Reading Culture. 1996.

Derouen, Jean-Marc. I’m Going to Eat You!. 2013.

Ferrero, Mar. Lo que no vio Caperucita. 2016.

Grimm, Jacob, y Wilhelm. Grimm’s Fairy Tales. 1857.

Heising, J. The Thousand and One Nights: A Folk Tradition of the East. University Press, 1976.

Jacobs, Joseph. The Three Little Pigs. 1959.

Lowenfeld, Viktor. Creative and Mental Growth. New York: Macmillan, 1950.

Perrault, Charles. Little Red Riding Hood. Classic version.

Rodríguez, Judith. Cited in Baby, 2016.

Scieszka, Jon. The True Story of the Three Little Pigs.

Tomás, M. El poder de los cuentos en la educación infantil. Madrid: Editorial Graó, 2010.