Unlike Tom Swift and most of the characters in the Sunday comics, Carl and Jerry grew up over the years. The very first stories make them sound quite young, perhaps thirteen or at most fourteen. By May 1959, the story states that the boys are 16. They got around entirely on their bikes until their respective fathers agreed to allow them to share a car in the June 1960 story, "Two Tough Customers," which may have less electronics in it than any other story in the series. (It does explain how to buy a used car sensibly.) They finally graduate from high school in June, 1961.
In 1989 and in 1991, the Cinderella community was shaken by the passing of its two founders, Craig Toler, Executive Director of the Cinderella Scholarship Program and Carl Dunn, the President of International Productions and Publications, Inc., the parent company of Cinderella. After the passing of its founders, Cinderella was put under the leadership of Fred Vollman , Jr. and its talented Executive Staff, led by Donna Breen. With their dedication and creativity, the Cinderella Scholarship Program prepared itself to enter the 21st century as the undisputed leader in the pageant industry.
It has been argued that Frye's version of archetypal criticism strictly categorizes works based on their genres, which determines how an archetype is to be interpreted in a text. According to this argument the dilemma Frye's archetypal criticism faces with more contemporary literature , and that of post-modernism in general, is that genres and categories are no longer distinctly separate and that the very concept of genres has become blurred, thus problematizing Frye's schema. For instance Beckett 's Waiting For Godot is considered a tragicomedy , a play with elements of tragedy and satire, with the implication that interpreting textual elements in the play becomes difficult as the two opposing seasons and conventions that Frye associated with genres are pitted against each other. But in fact arguments about generic blends such as tragicomedy go back to the Renaissance , and Frye always conceived of genres as fluid. Frye thought literary forms were part of a great circle and were capable of shading into other generic forms. (He contemplated including a diagram of his wheel in Anatomy of Criticism but thought better of it.)