Kim Wilson argues in this essay that a sub-genre of historical fiction for children exists in which readers are positioned to align with modern perceptions of events and settings, experiencing the past in ways which are similar to the visual interpretative strategies promoted in contemporary Living history museums. She identifies two principal ways in which narratives position readers as consumers of Living history fiction: physical time travel (which may involve one-way or two way travel); and psychical cognitive connectivity. The latter may involves narrative strategies where protagonists slip into the minds of historical characters, experience dreams or ghostly visitations, or participate in contemporary events which mirror equivalent or related events in the past. The essay focuses on four examples of Living history fiction: Susan Cooper’s King of Shadows as one-way time travel; Jackie French’s Daughter of the Regiment as a novel incorporating a time-travel observer; Sue Gough’s Wyrd as an instance of the past/present parallel; and Nadia Wheatley’s The House That Was Eureka for its incorporation of whispering ghosts. She argues that Living history fiction positions readers to develop modern subjectivities while using the past as signifier and signified.