A glance at a country such as Turkey will show that the constant and recurrent presence of classics on the literary market is a matter not of literary aesthetics but solely of market mechanisms. Unlike oral narrative with its traditional characters and themes  and folk and children’s drama, children’s literature in book form does not have a long, established tradition in Turkey. The number of genuinely new publications is correspondingly small. The market for printed children’s literature is largely dominated by the so-called classics, since no royalties have to be paid for these titles, and they enjoy the bonus of prestige and familiarity independently of the character of the version concerned. On the Turkish market in 1994, for instance, there were twenty-three editions of Tom Sawyer, twenty of Pinocchio, nineteen of Robinson Crusoe, nineteen of Pollyanna, sixteen of Treasure Island, thirteen of Ali Baba and the Forty Thieves, twelve of Alice in Wonderland, ten of Five Weeks in a Balloon, ten of The Bremem Town Musicians, and seven of Uncle Tom’s Cabin. The majority of these were ‘simply – unforunately often extremely simple — adaptations, … badly distorted in some editions.’

— from Comparative Children’s Literature by Emer O’Sullivan, quoting Schneehorst’s Buch und Bibliothek.