Emma in Winter is a children's novel by British writer Penelope Farmer, published in 1966 by Chatto & Windus in the UK, and by Harcourt in the USA.

The main settings of both these books are a small village school in the South Downs in southern England, and Aviary Hall, the girls' home.

[3] Penelope Farmer stated that while writing Emma in Winter, she did not realise that identity was such a predominant theme in the novel until she encountered Margery Fisher's comments in on the book in Growing Point.

Emma's older sister Charlotte leaves Aviary Hall to stay with a schoolfriend, and then to return to her second term at her London boarding school.

Emma, along with her classmate Bobby Fumpkins, simultaneously begin a series of dreams of being able to fly again, as they were able to do in The Summer Birds.

They stand on a rocky shore facing the sea, and are confronted by the evil being, revealed as a grotesque, distorted form of their teacher, Miss Hallibutt.

After transforming itself into replicas of Emma and Bobby themselves, its attempts are defeated by the two children being able to concentrate on reality and of their home and their school.

Children's literary critic Margery Fisher reviewed Emma in Winter in her journal, Growing Point, writing that it "uncovers the subconscious a little and gives tangible form to the emotions of children in a dream-sequence brilliantly sustained in the author's elegant, rhythmic style."

"[7] Amy Kellman reviewed Emma in Winter in Library Journal, writing that "Miss Farmer has a gift for creating character and mood, with the natural setting of a small English village or the larger world of the dreams.

The author displays her usual wizardry at evoking sensations, but youngsters are likely to become impatient with the psychological and psychic unravelling of Emma and Bobby long before the end.

"[10] Mary Hill Arbuthnot and Zena Sutherland reviewed Emma in Winter, along with the other books in the series, The Summer Birds and Charlotte Sometimes.

They write of the three books that, "…the style is smooth, the mood subdued, and the characterization perceptive…"[11] Writer and psychologist Hugh Crago reviewed the trilogy in Signal.

He continues, "Emma in Winter is charged with a sense of the enormous stature of emotions, which dwarf the humans who have them in a most frightening way.