Category: School

Children’s Literature Doesn’t Matter.

Who cares about children’s literature?

Children’s literature isn’t important.

Not only is it easy to write, the content is simplistic and the target audience isn’t particularly discerning.  Real writers pen works for adults: novels full of multi-syllabic words and sophisticated, philosophical themes.

Unfortunately, these are relatively common opinions.  The worth of children’s literature is rarely regarded as meaningful or significant, and the value of children’s literature is often overlooked.

Children’s literature is just as important, if not more so, than adult literature. Both reading and writing literature for children has the ability to offer insight, power, discovery, and help in processing and understanding emotions and events. Furthermore, “We should also take children’s literature seriously because it is sometimes subversive: because its values are not always those of the conventional adult world” (Lurie, xi). Because children are in the process of growing, and they “lack experience in the world, they are able to accept the possibility of many things that adults know are impossible” (Paul, 16).

Children’s literature isn’t important; it is vital. It has the unique ability to make the impossible possible.

Reading Matters:

That the reading and writing of children’s literature are so disregarded and undervalued is a severe detriment to our society. Well-written children’s literature is crucial to developing healthy perspective, positive growth, and an open mind. Through reading, children can learn that there are “alternative ways of being in and thinking about the world” (Meek-Spencer, 547). This mindset is crucial for growth and development both of an individual as well as of a society, as “our society can only grow stronger as we teach our children to be stronger” (Trites, 138).  It is through reading and learning that this growth is nurtured – by illustrating, sometimes literally, a range of perspectives, possibilities and potentials.

Children especially are in need of relevant literature because well-written children’s literature develops and strengthens a child’s cognitive and imaginative skills at a time when they are most open to learning. Experiencing a variety of perspectives helps to “make abstract ideas concrete, inviting young readers to consider complex philosophical, theological, and political questions in uniquely accessible ways” (Baker, 125). Children’s books can also provide and illustrate coping mechanisms for dealing with changes, and things unfamiliar, of which there are many during childhood. The stories and concepts found in children’s literature frequently “help (children) through hard times and let them know they’re not alone” (Paul,192).  Books can help create “a place apart from the demands and stresses of daily life, a sanctuary in and from which the child can explore the many worlds” (Parravano, 6), and it is in this place a child can develop methods to help them both“understand and control the world” (Lurie, 202).

A well-developed imagination is a necessity in order to shape and understand the world.

While creativity should be “kindled and honored and treated with respect” (Lamb, 218), “the problem is, from early childhood, most of us are taught that imagination is inferior to intellect – that creativity is inferior to logic” (Lamb, 217). Children’s literature encourages creative thinking and problem-solving, opening the doors to a limitless array of possibilities.  Reading “stretches the imagination, intellect, and emotions in ways that enhance, rather than discourage, children’s engagement with real life” (Baker, 125), which can lead to a more imaginative and intelligent society.

Children are an essential audience because they have such potential to shape the future – after all, “without a thoughtful, educated, and well-read population, how can we solve the many problems – environment, health care, schools, wars – facing us?” (Paul, 242).  Through children’s literature, children learn that “what’s going on in their everyday lives matters” (Hepperman, 239) and they “emerge on the other side of the book as more capable, confident human beings” (Smith, 173). Words, stories, and ideas are “entering their minds, maybe making them see the world in a new way, maybe becoming part of them” (Levine, 155). Seeing the world in new and different ways allows children the opportunity to improve their situation and society by improving their minds.

Writing Matters:

Just as reading children’s literature grows and develops a child’s mind, writing children’s literature allows an author to grow and develop the mind of a child in themselves.

While “most people think writing for children is easier than writing for adults” (Lamb, 2), authors of children’s literature deserve just as much praise and recognition for their work, for they are “the first step up the ladder to create lifetime readers” (Paul, 242).

An author needs to utilize the same principles and fundamentals of the craft, and also translate these essentials into something applicable and appealing, to the viewpoint of a child – not an easy task!

In addition, children’s authors need to appeal to a more diverse audience, one that is composed of a multitude of subdivisions. Adult literature has a range of genres, but children’s literature consists of the same genres for a diverse variety of subdivisions of children’s literature, primarily based on age and developmental levels; from picture books to early readers to young adult.

It takes a great deal of skill in the craft of writing to appeal to an audience from which one is so far removed, and it is “the particular gift of some writers to remain, in a sense, children all their lives: to continue to see the world as boys and girls see it and to take their side instinctively” (Lurie, 14). This gift is one that has the potential to, through changing lives, change the world.

“When you write a book for a child, you give him or her words – you give a voice to the voiceless. You open new worlds, introduce new ways of thinking and lift that child closer to the light. This is the power and purpose of story. And this is the gift the storyteller can give” (Lamb, 5).

Writing helps both the reader and the writer find their voice. And at what better time than when you are a child do you need help discovering your own voice?

Both reading and writing not only embolden people to discover and use their unique voices, they “deepen and widen and expand our sense of life: they feed the soul” (Lamott, 237).

Reading and writing are both severely undervalued, but never more so than when it is the literature for children literature that is being written and read. It is unfortunately typical of an adult to see a children’s book as only a teaching tool for direct conceptual learning.

The potential of children’s literature is so much greater.

“Don’t think of books for young people as tools; try instead to treat them as invitations into the reading life – that life can be a rich place” (Sutton, xiv).

Literature can teach cognitive and emotional understanding, encourage creativity and empathy, and increase awareness and acceptance of different points of view.  Children’s literature allows both readers and writers the strength and ability to “appeal to the imaginative, questioning, rebellious child within all of us, renew out instinctive energy, and act as a force for change” (Lurie, xi).

Literature for children matters immensely if we want to foster a future of kindness, respect, and harmony. And I hope we do.

Works Cited:

Baker, Derirdre F. (2010). Your Journey Is Inward, but It Will Seem Outward. In  R. Sutton and M. Parravano (Editors), A Family of Readers.  (pp. 124-132). Crawsfordville, IN: Candlewick Press.

Heppermann, Christine. (2010). Telling the Truth. In  R. Sutton and M. Parravano (Editors), A Family of Readers.  (pp. 239-244). Crawsfordville, IN: Candlewick Press.

Lamb, Nancy. (2001). The Writer’s Guide to Crafting Stories for Children. Cincinnati, Ohio: Writer’s Digest Books.

Lamott, Anne. (1994). Bird by Bird. New York: Anchor Books.

Levine, Gail Carson. (2006). Writing Magic. New York: HarperCollins Publishers.

Long, Joanna Rudge. (2010). What Makes a Good “Three Little Pigs”?. In  R. Sutton and M. Parravano (Editors), A Family of Readers.  (pp. 76-82). Crawsfordville, IN: Candlewick Press.

Lurie, Alison. (1990). Don’t Tell the Grown-Ups: The subversive Power of Children’s Literature. New York: Nack Bay Books.

Meek Spencer, Margaret. (2003). What More Needs Saying about Imagination? In Reading Research Quarterly (Vol. 38, pp. 546-551).

Parravano, Martha V. (2010). Overview. In  R. Sutton and M. Parravano (Editors), A Family of Readers.  (pp. 1-6). Crawsfordville, IN: Candlewick Press.

Paul, Ann Whitford. (2009). Writing Picture Books. Cincinatti, Ohio: Writers Digest Books.

Smith, Vicky. (2010). Know-How and Guts. In  R. Sutton and M. Parravano (Editors), A Family of Readers.  (pp. 172-179). Crawsfordville, IN: Candlewick Press.

Sutton, Roger. (2010). Introduction. In  R. Sutton and M. Parravano (Editors), A Family of Readers.  (pp. i-xviii). Crawsfordville, IN: Candlewick Press.

Trites, Roberta S. (1997). Waking Sleeping Beauty: Feminist Voices in Children’s Novels. University of Iowa Press, ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/pensu/detail.action?docID=1021700.

For Want of a Bathroom: A Modern Fairytale Retelling with a New POV

A fun, playful modern fairy tale reinterpretation exploring the oft-ignored father in the Cinderella story and how he might have felt suddenly living with so many ladyfolk!

For Want of a Bathroom

The sun filtering in through dusty blinds confirms what the dogs next door were already telling the entire neighborhood: the day is officially beginning. Ugh! Every morning with those dogs and their barking.  From beneath my heavy wooden desk, Max looks up at me with wide-eyed disapproval.

“I know – They’re not good boys like you, are they?”

Sighing, I gently place my lukewarm cup of coffee on the wooden desk, trying to savor my last precious moments of calm before the storm. Soon, the house will erupt with clamor and clatter and racket as the girls spill down the stairs, each vying for attention, and, of course, highly coveted bathroom time.

If I hear just one more complaint about somebody stealing somebody else’s makeup or using up all the hot water, – I swear I’m going to shower first, then purposefully let the hot water run down the drain. The make-up can all go in the trash. They don’t need it anyway.

With a grimace, I close my eyes and massage my temples. One bathroom was plenty when it was just the two of us! I should have considered more closely the practicalities of adding three additional females to the family. There are bras everywhere! Each time I turn around, there’s another bra! It’s as if they’re multiplying! Just how many bras does a girl even need!?

Well, an adjustment period is natural for all of us, I suppose. But this house is simply overflowing with femininity.

Remembering the events of last night, my somber frown turns to a grin, and an appreciative snort. It really wasn’t funny, but the looks on my stepdaughters’ faces when Ella bluntly informed them of the purpose of a plunger – I tried to keep a straight face – I really did!

I guess today will include plunging lessons for Payton and Sloane. We should probably all sit down together to discuss bathroom-related chores and scheduling. I wonder if a chore chart would help? We probably still have those gold star stickers stuck in a drawer somewhere. But how to divvy up the responsibilities and duties? I can already hear the whines of “It’s not faaaaaaair!” sung in ringing discordance.

Even my beautiful new wife is not immune from the discontent – every morning, she laments not only the lack of an ‘appropriate’ master bathroom, but also the lack of space in our closet for her expensive designer clothes and her ever-expanding shoe collection. Every time I pull her into me, nuzzling her neck with, “Vivvy – you don’t need all that – you’re beautiful to me whatever you wear!” she just laughs and pushes me away “It’s Vivienne – you know I hate that silly nickname!”

This modest home is full to bursting! But today I’ve a surprise for my girls. All my girls. Each so precious and special in such different ways. I’ve been hard at work planning some additions to the house, and today is the day construction begins. I can’t wait to see their faces! Maybe today will be the first day of no bickering, no snark, and no eye-rolling! Okay that’s probably not that realistic. They are teenage girls. Honestly, even half the current amount of drama would be a miracle.

Expanding the second floor over the garage will not only allow for the addition of a private bathroom and larger closets in the master bedroom, but also – not one, but TWO extra bathrooms! Sure, one will be little more than the size of a closet, but each of my girls shall have a bathroom of her own!

I hear an increase in grumblings and irritable stomping from upstairs, and I gently roll up the blueprints, and prepare myself for the looming hurricane that is living with four women.

At my feet, Max perks up his ears at the crescendo of bickering voices that tumble and bounce down the stairs.

“At least you’re on my side, right buddy?” I ask, scratching his ears affectionately. “We fellas have to stick together.”

As the footsteps cascade into a thunder, and the tempest approaches, Max eyes me dubiously. With a stretch, and twitch of his tale, he scampers toward the door, and I am left alone to face the squall.

Cinderfeminism

Blah blah blah fairy tales and feminism.

The typical fairy tale uses limiting and oppressive sex-role stereotyping.

Fairy tales are often restricted to fulfilling the role of
“fictive conduct manuals for girls, teaching normative values. ”
– Jacqueline Reid-Walsh

When fairy tales portray females in ways that are reflective of the cultural-societal interpretations of women as weak, inferior, or lacking agency, they perpetrate that flawed and damaging perspective.

Females should be portrayed as they are: diverse individuals whose worthiness and value is not defined by masculinity or the lack thereof.  Because traditional fairy tales often reflect the values and perspectives of the patriarchy, they are a frequent target of critique and reinterpretation.

Fortunately, literature has the ability to reclaim these fairy tales by developing female characters into unique figures with their own agency and worth, while promoting feminist perspectives and values.  Through acts of rereading, reclaiming, and redirection, a retold fairy tale can have a substantially positive influence on a reader’s experiences and perspectives regarding feminism.

Gail Carson Levine’s retelling of the Cinderella story, Ella Enchanted is an excellent example of this. 

In this re-imagining, Ella struggles with the fact that she was forced into obedience by a fairy’s curse at birth. Literary portrayals of girls, girlhood, and femininity are frequently consistent with promoting patriarchal and traditional gender roles, and obedience is a large part of that. Historically, viewpoints on obedience and adherence to tradition encourage these values, but in this retelling, strict obedience is depicted as an undesirable and horrifically restrictive trap.

Through Ella’s consistent questioning and creative rebellions, she dispels the assumption that women should be always obedient. She develops her own unique identity, one that asserts her right to be included, and through which she is able to supply valuable contributions to develop and enrich her world. The tale of Cinderella is a common and familiar one,  but this retelling provides more depth and detail about the protagonist as she forges her own path to discover herself and break free of her curse through the use of her own intelligence, power, and creativity.

Oppression is not always familiar, recognizable, or visible, but we can give ourselves the power of the freedom to make our own choices. Like Ella.

Ella Enchanted is easy to relate to because it provides a universe that is similar to one we have already experienced, and shares many patterns and connections to the traditional Cinderella story.

However, it refreshingly includes a great deal more in the way of explanations, possibilities and self-driven opportunity.  It is a great example of a way to challenge a reader to see beyond more simplistic explanations and search for new perspectives and explanations.

Because the concrete universe has already been established, by telling the same tale from a new perspective, new questions can be unearthed, alternate mindsets discovered, and previously unconsidered horizons can be expanded.  The author and the reader can construct the structure and meaning together, and Levine seamlessly incorporates her structural detail into each aspect of the story:

“We don’t dig the foundation after the house is built.”
-Lloyd Alexander

This structure and interconnectivity encourages imaginative exploration as well as addresses very real concepts, dilemmas, and threats.

Levine’s reassuring attention to detail grounds the story and characters in reality.  I mean, was there really only one girl in the entire kingdom whose feet could fit the glass slippers?! Seems unlikely!  Thankfully, n Ella Enchanted, Ella’s rare fairy ancestry (in Levine’s mythology, fairies have significantly smaller-than-average sized feet) is responsible for the fact that the slippers fit only her.  Thank goodness for this solid structural attention to detail that made the story infinitely more believable! Each explanation was logical within the framework Levine created and expanded upon.  And each supportive and believable detail just drives home the believability and truth of the positive feminist ideas and messages.

This conceptual transference into the real world is inspiring and congruent with the idea that

“children’s literature can provide sources of comfort and pleasure, models for behavior, and identity, reflections of self and reality, and visions of better or less painful possibilities.”
– Eric Tribunella

If someone as seemingly average and insignificant as Ella can create such a vast and positive impact, surely this will inspire those who read about her to feel hope and optimism that they, too, can overcome significant challenges and obstacles to create a positive impact on themselves and the world around them.

This structural integrity is also applied to the characters within Levine’s constructed world.  While female characters may often seem to be portrayed as developed individuals in many books, they still often accept (succumb to) traditional gender roles.  Ella’s character is so refined and developed that this is specifically addressed in the final chapter.  While she does marry the prince, becoming a wife and a mother, she refuses to let those terms alone define or restrict her:

“I refused to become a princess, but adopted the titles of Court Linguist and Cook’s Helper. I also refused to stay at home while Char traveled, and learned every language and dialect that came our way.”
-Ella (Gail Carson Levine)

Ella retains her unique identity and refuses to be bound by limiting conventionalities while ALSO acknowledging that this does not necessarily require the rejection of her own values and desires that happen to be consistent with traditional female roles.  She has the power to choose. She doesn’t reject traditional female roles just out of spite, she keeps the aspects, ideas, and roles that she values.

Ella is an ordinary hero and her defining battle, like many of ours, is fought internally.  Conflict and change are dynamic elements of any story, and the primary conflict in a fantasy or fairy tale is often a large-scale, complicated, cosmic quest or physical battle

But, as in this case, the conflict-response behavior of a single person is just as meaningful and has just as much of an impact. 

While internal conflicts such as the one found in Ella Enchanted may seem to lack cosmic significance, the mental and emotional adventures and battles still have consequences that are cosmically momentous to the characters experiencing them.  And this consequential impact, while it may seem small-scale, has the potential to have a much larger-reaching affect on the world in many ways.

Ella is a self-rescuing hero whose outwardly small triumph affects the entire kingdom, ultimately saving many more – monumental results stemming from seemingly insignificant beginnings. You don’t need a confrontational ninja battle or an evil uncle with a talking snake and a devious plan to depose the prince, (***LOOKING AT YOU ELLA ENCHANTED MOVIE***) for the story to be meaningful, relatable, or enjoyable.

⇒ For more about Ella Enchanted:

Ella Enchanted and Being an Ordinary Hero

Literature and all forms of storytelling have an immense impact on society and the assumptions about a woman’s characteristics, roles, and overall place in the world.  Literature seems to frequently struggle with how to portray feminism and equality. Even when a protagonist is female, the story itself may not be in line with feminist ideas.

To determine whether or not a work of children’s literature can be deemed feminist in nature, there are a variety of aspects to observe and analyze.  A close reading of the text and illustrations is necessary.  Does the way the character is depicted take advantage of or conform to unhealthy gender stereotypes?  Do the things the character says reaffirm typical gender roles and inequalities or do they support female worthiness, value, and empowerment?

Movies have a way to evaluate gender bias and positive female representation – it’s called the Bechdel test.  To pass this test, a movie has to meet these three requirements:

  1. Two female characters (preferably named),
  2. Who talk to each other,
  3. About something other than a man.

It’s not perfect, but it IS eye-opening!

“Why the Bechdel Test Fails Feminism”:
https://www.huffingtonpost.com/anna-waletzko/why-the-bechdel-test-fails-feminism_b_7139510.html

Why is the original Cinderella story acceptable, but if genders were switched, it would be deemed unacceptable, as in the below version of Cinderella, CinderFELLA?

Even though Ella is the main character in her own Cinderella story, she is limited severely by a number of barriers and restrictions. She fulfills both powerful and powerless roles, sometimes simultaneously.  She both speaks, and is silenced, she acts, and is acted upon, she fights for honor, but also suffers.

In the end, through her journey, she becomes someone who does indeed have the freedom to act as she chooses and make her own decisions.  However, this culmination is a difficult one full of strife and struggle in many forms.  Through her struggle towards understanding of her own role as a female, a reader can gain insight into reciprocal and familiar struggles in their own life, especially those regarding gender and gender roles.

“gender has historically (whether overtly or covertly) been a tool of negotiation between our understandings of bodies, and meanings derived from and attributed to them.”
– Erica Hately

We have access to the the power to use this tool to shape and promote certain viewpoints and perspectives. Literature often reflects and shapes peoples’ understandings of themselves and others and the associated gendered identities, usually in adherence with the

“specific binary logic of gender relations, which historically subordinated the feminine to the masculine.”
-Erica Hately

Like traditional binary gender roles, fairy tales have been around for a long time.  And like interpretations of acceptable gender roles, fairy tales continue to change and grow over time.  Ella Enchanted is a distinctive example of a retold fairy tale, still attached to a familiar and long-standing framework, that promotes changing perspectives on both of these ideas.

This story is valuable in so many ways, especially because it addresses the real-life issues of the importance of being strong by making your own decisions, standing up for what you believe in, and the worth of sacrifice in relation to love and the protection of those you love.

I’ve said it before, but I would tell everyone I know to read this book, and if they were Ella at the beginning of her story, they would be forced to obey.

As it is, both she and everyone else, has the freedom to choose:

“Decisions were a delight after the curse. I loved having the power to say yes or no, and refusing anything was a special pleasure.”
-Ella (Gail Carson Levine)

References/For further reading!

Alexander, Lloyd. (1981). The grammar of story. In Betsy Hearne and Marilyn Kaye (Eds), Celebrating children’s books: Essays on children’s literature in honor of Zena Sutherland. (pp. 3-13). New York: Lothrop, Lee, and Shepard Books.

Hately, Erica. (2011). Gender. In P. Nel & L. Paul (Authors), Keywords for children’s literature (pp. 86-92). New York: New York University Press.

Meek Spencer, Margaret. (2003). What more needs saying about imagination? In Reading research quarterly (Vol. 38, pp. 546-551).

Reid-Walsh, Jacqueline. (2011). Girlhood. In P. Nel & L. Paul (Authors), Keywords for children’s literature (pp. 92-95). New York: New York University Press.

Tribunella, Eric L. (2011). Boyhood. In P. Nel & L. Paul (Authors), Keywords for children’s literature (pp. 21-25). New York: New York University Press.

Whitley, D. (2000). Fantasy narratives and growing up. In Eve Bearne and Victor Watson (Eds), Where texts and children meet. (pp. 172-182.) New York: Routledge Press.

Zipes, Jack. (1999). Hans Christian Andersen and the discourse of the dominated. In When dreams came true: Classical fairy tales and their tradition (pp. 80-110). New York: Routledge.

Also… this picture, created by ImEevee in Spain, is amazing.

https://www.redbubble.com/people/imeevee/works/25119610-space-book?grid_pos=1&p=poster&rbs=05a22953-5ea0-49f3-b4a5-c54b5b63d990&ref=shop_grid

Feminist Fairy Tales: Research Problem Statement

…cause everyone LOVES reading research papers!

Feminist Fairy Tales and Retellings of Empowerment

The original and conventional fairy tale most frequently portrays its females in ways reflective of the cultural and societal interpretations of women as weak, inferior, or lacking agency, placing their value solely on their relationship with a man: “Girls and women play dead or doormats (as in ‘Snow White’, Cinderella,’ and ‘Sleeping Beauty,’) or are severely mutilated (as in ‘The Little Mermaid’)” (Paul, 1999, p. 117). Instead of including and representing women as unique individuals in their own right, sex-role stereotyping is used to portray female characters as characters whose worth is defined in terms of masculinity or the lack thereof.  Because traditional fairy tales often echo and amplify patriarchal values and perspectives, they are a frequent target of critique and reinterpretation, especially from a feminist perspective. Children’s literature has the ability to reclaim these fairy tales by developing the female characters into unique and diverse figures with their own agency and worth as well as portraying and promoting feminist perspectives and values.

While there are certainly a variety of examples of feminism to be found in every category and genre of literature retellings of fairy tales are unique in their ability to reclaim outdated and outmoded themes and stories.  Because they tell and reimagine an already familiar tale, the staid obsoleteness can be developed into a more relevant tale capable of both maintaining the original meaning, and supporting more forward-thinking perspectives that “provide sources of comfort and pleasure, models for behavior, and identity, reflections of self and reality, and visions of better or less painful possibilities” (Tribunella, 2011, p. 25).  Fairy tales introduce a somewhat predictable framework that is quickly and easily graspable by children and models simplistic ideas about identity and reality.  Retold fairy tales can develop the simple and familiar landscape into new stories, viewing the same ideas from new angles to produce more accurate and positive views of a variety of concepts and roles.  While new ways of supporting these perspectives are constantly being developed and explored, this is a particularly powerful and relevant way feminism is explored and reclaimed. Classic fairy tales, which typically feature limited, powerless, and one-dimensional female characters with little to no agency or character development need more empowering retellings.

While recent interpretations of fairy tales are portraying more and more progressive female characters and protagonists, there is still a sad lack of including developed females in modern fairy tale retellings, and feminist theory insists on “the right to be included but not just as an honorary white man” (Paul, 1999, p. 113), but as a valuable person in their own right.  Representations of strong female characters congruent with feminist ideals are crucial to the healthy development of young girls into confident young women. Retold fairy tales that feature female characters in a positive and empowering ways have the power to positively affect perspectives of femininity.  This positive affect is not limited to females only. Staid and traditionally patriarchal gendered identities are usually congruent with the “specific binary logic of gender relations, which historically subordinated the feminine to the masculine” (Hately, 2011, p. 87). Historically prevalent literary representations of gender have subscribed to the patriarchal binary and constructed and promoted restrictive models of femininity and masculinity that are ultimately inaccurate, unhelpful, and damaging.  Feminism is integral in producing gender representations in children’s literature that is more accepting and empowering for both males and females.  Increased exposure to female-centered books educate and benefit boys versus girls in many ways, and books with powerful female characters have the potential to help both females and males feel more acknowledged and comfortable, as well as inclusive and positive toward others.

Accurate and affirming female representation in literature is constantly changing over time.  This is extremely apparent when looking specifically at fairy tales and comparing original tales to more modern interpretations based on these original fairy tales. This positive and affirming representation is on the rise, but needs to be encouraged through education and information in order to maximize the societal benefits. It should be noted that a feminist retelling of any kind doesn’t need to eliminate any and all female characters in traditionally, socially, or culturally feminine roles. What is needed is an admission of the agency of female characters in choosing their own path and having value of their own, unconnected from a man.  A more equal representation of strong and empowering, identifiable and variable roles and narratives for women is required.  While identification equality has improved, the ways we communicate effectively about feminism and equality in children’s literature should continue to be emphasized in order to correct the historical imbalance.

While there are many theoretical perspectives from which this topic can be considered, the primary viewpoint used in assessing this imbalance will be that of Feminist criticism.  Fortunately, this critical theory is adept at incorporating key aspects of many various theories as well as relevant and applicable to each of them in turn.  This social construction of the patriarchy, which “promotes the belief that women are innately inferior to men” (Tyson, 81) through many avenues, both overt and discreet, such as words, body language, tone of voice, facial expressions “creates the failure that it then uses to justify its assumptions about women” (Tyson, 2015, p. 83). It is a patriarchal construction that is vastly apparent in many examples of children’s literature, but particularly in fairy tales.  Because fairy tales can provide guidelines for both boys and girls that teach normative values, it is important to look at the literature being published through a feminist lens in order to observe and evaluate the accuracy and helpfulness of the messages being presented – do they promote patriarchal standards and traditional gender roles, or do they promote equality and feminine empowerment?

Feminist criticism examines “the ways in which literature and other cultural productions reinforces or undermines the economic, political, social, and psychological oppression of women” (Tyson, 2015, p. 79) in these works of literature.  The adaptability, flexibility, and comprehensive nature of feminist critical theory makes it an impressively thorough and versatile tool with which to observe children’s literature.  It is capable of utilizing a variety of theoretical perspectives and taking advantage of the most useful aspects of those perspectives while disregarding the more irrelevant and outdated components. Patriarchal conditioning is destructive for men as well as women, which is why it is so important to encourage positive role models, both female, and male, in children’s literature, such as these retold fairy tales. While feminist theory is an “interdisciplinary theory that can connect divergent thought” (Tyson, 2015, p. 90), and can, indeed, adapt and assimilate ideas from other theoretical critiques and disciplines, this must be done with caution because so many of these critical theories and ideas are deeply entrenched in patriarchal frameworks that emphasize male experience and power. Extracting the merits from the engrained patriarchal perspective can be a dauntingly difficult process, but it can be done.

There is a vast deal of interconnectivity between feminist critical theory and many other critical theories.  Feminist criticism can incorporate diverse aspects from a variety of theories and perspectives, including postcolonial criticism, and lesbian, gay, and queer criticism.  These critical theories are all alike in their goals of deepening understanding, as well as being closely aligned with the idea of “providing a welcoming climate for texts by people marginalized by patriarchal colonial societies” (Paul, 1999, p.114).

Similar to feminist criticism in many ways, postcolonial criticism possesses a unique hybridity as well as the potential to be applied to any marginalized or oppressed group of people typically found being dominated, such as children, women, persons of color, the poor, and more.  It is a discourse that sheds light on “ways in which authority over the ‘other’ is achieved in the name of protecting innocence” (Paul, 1999, p. 120). Both discussing and understanding people perceived as inferior and emancipating them in order to return their power and worthiness in society’s eyes is incredibly consistent with feminist ideas. In traditional fairy tales, females, as well as those classified as ‘other,’ are routinely stripped of their own identities.  Postcolonial critical theory views these discrepant power dynamics and portrayals in new light through a variety of theoretical approaches, which makes it, just like feminist critical theory, extremely versatile and effective in its broad application.  The perspective of lesbian, gay, and queer criticism also explores portrayals of marginalized individuals and the dynamics of power in society. Literary interpretations in this critical theory also deal with similar recurring themes of marginalization and ‘otherness.’

Popular retellings of fairy tales continue to explore and expand on ideas consistent with these critical theories by introducing strong and developed characters in familiar narratives.  Reworking a fairy tale takes work, but fortunately, the familiar nature of a fairy tale provides a strong and solid basis on which to build upon.  With structure, imagination and applied alternative viewpoints, classically traditional fairy tales can be developed and transformed into entirely unique constructions.  Retold fairy tales have a structural advantage in the creation of their retellings, because they already have the base of their world constructed, and can build upon those “identifiable and workable laws underpinning it” (Yolen, 1996, p. 173). Because the concrete universe has already been established, the same tale can be told from a new perspective, spurring on critical thinking, new questions, and the expansion of previously unknown horizons.

Building on a familiar universe, but including additions of explanations, possibilities, developed characters to create a solid feminist message is epitomized in Gail Carson Levine’s Ella Enchanted. This book is a prime example of challenging readers to look beyond simplistic and repetitive explanations to search for more meaningful perspectives.  In contrast to the traditional Cinderella story, Ella becomes, through her own strength of will, her own knight in shining armor.  She saves herself, her princes, and her entire kingdom.  In Levine’s retelling, there is substantially more depth and detail about the protagonist and her quest to break the curse herself, and discover herself in the process.  Her story is applicable to many real-life situations and encourages the questioning of blind obedience, the value of making your own decisions, the importance of standing up for what you believe in, and the strength and courage of making sacrifices to protect the people you love.  Such depictions of self-rescuing female heroes can inspire readers that they, too, have the power and strength to overcome challenges and obstacles in their lives.

Gail Carson Levine may not have intended that Ella Enchanted become an icon of feminism, the book as well as the title character have certainly become empowering and inspirational to many readers, never losing its relevance to feminism. The book’s message of encouragement to be an independently powerful woman and refusing to be confined by obedience, never lessens in its impact.  It both encourages and emboldens readers to be true to themselves and confidently pursue their dreams and ambitions, however unconventional those may be.  Oppression is not always familiar, recognizable, or visible, but, like Ella discovers, we can give ourselves the power of the freedom to make our own choice.

This message of freedom is accessible in its relevance to many.  Ella’s depth of character and the powerfully realistic and relatable message combine to portray the importance of internal battles, as well as external.  The main conflict in Levine’s book is simply the struggle between one seemingly insignificant girl and the unwarranted and random restrictions to which she finds herself bound.  Her inner strength and conviction communicate a resourcefulness easy to admire and aspire to in the struggles and challenges of the real world.  While this retelling of Cinderella deviates from the original substantially, its feminist message is one that accentuates the positives of the original, while decreasing the negative associations.  The alterations are minimal, but they drastically contribute to a vastly more positive and empowering message for readers.

Wildwood Dancing by Juliet Marillier deviates from the original tale quite a bit more than Levine’s Ella Enchanted. The story is unrecognizable in many ways. A primary alteration is the reduction of the number of sisters from twelve to five. As a result, each sister is afforded the attention on their individual characters instead of representing mere place-holder personalities with little to no character development. It would be difficult to delve completely into the character of each sister if there were so numerous.  This way, the reader can more easily connect to and distinguish between the sisters as they each have their own unique characteristics.

Not only are individual characters more fully formed, but the relationships are more fully formed as well.  The included romances are fleshed out and seems more natural and realistic, each developing organically through genuine connection and believable interaction.  In addition, romantic relationships are not the focus.  The story is primarily about the importance of family, the strong relationships between the sisters, and the sisters discovering their own agency rather than being caught by a male power.  The book has a strong feminist message, one that is rare in most classic fairy tales.  Furthermore, this telling has the second sister as the protagonist, emphasizing the removal of typical fairy tale restrictions and tropes, as in such fairy tales, it is invariably the oldest or the youngest sister who receives the primary narrative attention.  By breaking from this needlessly restrictive tradition, the message can be appreciated by a greater range of readers, those typically excluded, or overlooked, just as females tend to be in general.

A frequently retold fairy tale is that of Rapunzel.  Donna Jo Napoli’s Zel, and Cameron Dokey’s Golden approach this classic tale in vastly different ways, while still accentuating vastly similar themes and ideas.  Donna Jo Napoli’s Zel updates the Grimm brothers’ Rapunzel in ways that enhance and amplify the original message and delve more deeply into the characters and their relationships.  Napoli revitalizes the Rapunzel story with her plural narrative, realistic behavior patterns, and insightful relationship depictions, allowing the tale to resonate more believably with modern value systems.  The detailed character development enhanced the story and provided more satisfying character interactions and empathy for their thoughts, feelings, and actions.   The Grimm brothers’ version doesn’t make any mention of Rapunzel’s parents after she is taken away, and their Rapunzel is perfectly content to live alone in a tower. but Napoli’s Rapunzel reacts more realistically, growing depressed, panicked, frantic, miserable, and angry by turns.   The reader can see the goals, desires, and motivations of each of the characters, in a display of imaginative literature that discloses “alternative ways of being in and thinking about the world” (Meek-Spencer, 2003, p. 547).

Golden by Cameron Dokey takes a different view of the Rapunzel story. This retelling of Rapunzel turns the traditional tale completely on its head, provoking questioning of the entire tale.  The main character isn’t technically even Rapunzel. Or is she?  It is a story of how two girls come to terms with their own limitations and strengths to accept their unique identities and defining features for what they truly are.  This retelling explores questions not only of identity, but also of what it means to be a girl in terms of the body and physical features.  Depictions of the body in shape their perceptions of what a natural body should look like.  The relationship between the body and gender has “historically (whether overtly or covertly) been a tool of negotiation between our understandings of bodies, and meanings derived from and attributed to them” (Hately, 2011, p. 86). Golden provides a positive portrayal of girls with marginalized bodies, encouraging a more accepting perception of diversity and an understanding, tolerance, and celebration of those with a body shape that is in some way different.  The ability of literature to shape human behavior, power structures, and ideologies is exemplified here in the explicit acceptance of girls and their value regardless of their physical appearance.

The effects and promotion of feminist children’s literature, particularly the representation of empowered female characters in retold or reclaimed fairy tales is one that necessitates further exploration through a closer looking at various retold fairy tales such as Ella Enchanted, Wildwood Dancing, Zel, and Golden. In order to ascertain how representations of positive and empowering females affect children’s perspectives of femininity, and discover how these affirming representations can be encouraged and improved further study is needed, especially the instigation of a research survey looking at peer-reviewed articles about and reader responses to feminist perspectives in retold fairy tales.  With the combination of primary source material and scholarly sources obtained through research methods and databases, these books can be assessed as to their efficacy in teaching about key feminist concepts, improving acceptance and positive attitudes in readers towards females, and increased self-esteem based on increased positive representation for females.

Literature has an immense impact on society and the understanding of assumptions about a woman’s characteristics, roles, and overall place in the world. Not only are female characters frequently lacking from the majority of children’s literature, the books that do feature female characters may not meet the requirements of feminism as far as promoting positive portrayals of femininity or equality of the sexes.  To determine whether or not a work of children’s literature can be deemed feminist in nature, there are a variety of aspects to observe and analyze and a close reading of the text and illustrations is necessary.  What is important in these works is that the characters are portrayed, in words and image, as strong, capable, and worthy, regardless of their gender, and that harmful stereotypes are not used to influence perception of limiting gender roles.

Reclamation of fairy tales in particular “seem to have enjoyed the most dramatic revival as a result of twinned interests in women’s studies and children’s literature studies, (Paul, 2005, p. 121),” there is still farther to go. Children’s literary portrayals of girls, girlhood, and femininity have historically been consistent with promoting the patriarchal and traditional gender roles. Even female characters who begin by representing atypical or rebellions gender behaviors often grow up to “accept and extol conventional female norms” (Reid-Walsh, 2011, p. 93).  This reinforcement of patriarchal ideals is blindingly evident in when examining traditional fairy tales.  Fortunately, as attention is called to the significant lack of empowering feminist characters and messages in children’s literature, more books, both fiction and non-fiction, are emerging, and the discussion about the importance of feminist literature, especially for children, has also become noticeably more prevalent. It is this prevalence that can be observed very effortlessly in the retold fairy tale, and one that merits further investigation into its impact on communicating and understanding feminist ideas.

References

Alexander, Lloyd. (1981). The grammar of story. In Betsy Hearne and Marilyn Kaye (Eds), Celebrating children’s books: Essays on children’s literature in honor of Zena Sutherland. (pp. 3-13). New York: Lothrop, Lee, and Shepard Books.

Conli, Roy (Producer), & Greno, Nathan (Director). (2010). Tangled [Motion picture]. United States: Walt Disney Pictures.

Crew, H.S. (2002) Spinning New Tales from Traditional Texts: Donna Napoli and the Rewriting of Fairy Tale. In Children’s Literature in Education (Vol. 33, pp. 77-96).

Dokey, Cameron. (2006). Golden. New York: Simon Pulse.

Dudek, Debra. (2011). Multicultural. In P. Nel & L. Paul (Authors), Keywords for childrens literature(pp. 155-160). New York: New York University Press.

Grimm, J., & Grimm, W. (2006). Rapunzel. In the Complete Grimm’s Fairy Tales. (pp. 73-77). New York: Pantheon.

Hately, Erica. (2011). Gender. In P. Nel & L. Paul (Authors), Keywords for childrens literature(pp. 86-92). New York: New York University Press.

Hooks, Bell. (2015). Feminism is for Everybody: Passionate Politics. Vol. 2, Routledge.

Levine, Gail Carson. (1997). Ella Enchanted. New York: Harper Trophy.

Marillier, Juliet. (2007). Wildwood Dancing. New York: Alferd A. Knopf.

Meek Spencer, Margaret. (2003). What More Needs Saying about Imagination? In Reading Research Quarterly (Vol. 38, pp. 546-551).

Napoli, D. J. (1998). Zel. New York: Puffin Books.

Paul, Lissa. (1990). Enigma variations: What feminist theory knows about children’s literature. In Peter Hunt (Editor) Children’s literature: the development of criticism. (pp. 148 – 165). New York: Routledge.

Paul, Lissa. (2009). Feminism revisited. In Peter Hunt (Editor) Understanding Children’s Literature: Key Essays from the Second Edition of The International Companion Encyclopedia of Children’s Literature. N.p.: Routledge.

Paul, Lissa. (1999). From same-sex role stereotyping to subjectivity: Feminist Criticism. In Peter Hunt (Editor) Understanding children’s literature: Key essays from the international companion encyclopedia of children’s literature. New York: Routledge.

Tyson, Lois. (2015). Critical Theory Today: A User-friendly Guide. N.p.: Routledge.

Weyn, Suzanne. (2005). Night Dance. New York: Simon Pulse.

Whitley, D. (2000). Fantasy narratives and growing up. In Eve Bearne and Victor Watson (Eds), Where texts and children meet. (pp. 172-182.) New York: Routledge Press.

Yolen, Jane. (1996). Turtles All the Way Down. In S. Egoff (Ed.), Only Connect: Readings on Children’s Literature (pp. 164-174). New York: Oxford University Press.

Zipes, Jack. (1999). Hans Christian Andersen and the Discourse of the Dominated. In When Dreams Came True: Classical Fairy Tales and Their Tradition (pp. 80-110). New York: Routledge.

Read Into It: Wildwood Dancing

Wildwood Dancing

by Juliet Marillier

You know what’s annoying about most traditional fairy tales? Well… lots… but mostly the lack of details and character development, especially in female characters.  Even when the female character is the protagonist, she rarely has any depth, power, or agency of her own. Booooooo.

One of my favorite literary fairy tales is “The Twelve Dancing Princesses,” and my favorite version (so far) is Wildwood Dancing by Juliet Marillier.

This retelling deviates from the original quite a bit.  There were many alterations I enjoyed and understood the reasoning behind.  I appreciated the choice to reduce the number of sisters to five – it made a lot of sense.  It would be difficult to delve completely into the character of each sister if there were so numerous.  With twelve, there is less of an opportunity for each to have a unique character, and they devolve into more simple cardboard cutout representations of some unique interest, trait or feature.  With fewer sisters, the reader can more easily connect to and distinguish between the sisters as they each have their own unique characteristics. The characters of the sisters were not the only things given more detail and development.

Relationships in general had more depth and believability. I specifically always enjoy when a romance is fleshed out and seems more natural and realistic.  In this version of the story, the heroine knows her romantic prospect very well (even if she knows him mostly as her loyal pet frog.)  The relationships between the family were also more detailed and depicted well.  I also enjoyed that the story was more about the sisters discovering their own agency rather than about being caught by a male power.  The book had a strong feminist message, and I enjoyed that, as it is a rarity in most classic fairy tales.

This version is also exciting because of the backdrop – the story is set in a specific historical place and time (albeit with a bit of magic thrown in).  It takes place in Transylvania, and because the setting is so authentic, it adds to the realism of the characters and their entire story.  The fanciful tale of fairies, vampires, magic lands and frog ‘princes’ has a stronger message because of its underlying structure and the very solid foundation on which it was based.  Marillier was able to utilize the elements of historical fact to shape and impact the fantasy elements, making them more believable.  I love the idea that a fairy tale, like a Shakespeare play, can often transcend any specific time and place for its setting.

My favorite update to this classic was Marillier’s choice to have the second sister be the protagonist. In such fairy tales, it is invariably the oldest or the youngest sister who receives the primary narrative attention.  I thought this was a great break from tradition! It was unexpected and gratifying to see an oft overlooked character get to be the heroine in the spotlight for once.  Second daughters everywhere, rejoice!

ALSO, the Faerie Tale Theatre version of this is SUCH FUN.

OMG whut this is on YOUTUBE now!!?!?!?

Or you can buy it online:

WOW this is the one I have, but I did NOT spend $150 on it!!!

https://www.amazon.com/Shelley-Duvalls-Faerie-Tale-Theatre/dp/B001AZIRV8/ref=sr_1_2?ie=UTF8&qid=1513406293&sr=8-2&keywords=fairy+tale+theater+shelly+duvall

I guess this is the thing now…

https://www.amazon.com/Faerie-Tale-Theatre-Shelley-Duvall/dp/B014FXKLKG/ref=sr_1_1?ie=UTF8&qid=1513406293&sr=8-1&keywords=fairy+tale+theater+shelly+duvall

Illiteracy Weekly Newsletter

…. I wish I’d started this homework assignment earlier instead of 3 hours before it was due… it was A LOT of fun, and I’d love to have put more time and energy into it! I wish the content was better… but I guess it’s funnier if it’s NOT! 😉

If you can’t read the tiny text, no big deal… it’s mostly about articles we had to read for class.

This is what the ‘inspirational’ photo says, in case you can’t read it.  😉
(It’s in the rotation of backgrounds on my laptop)

WORDS, WORDS, powerful WORDS!

“Don’t ever diminish the power of words. Words move hearts and hearts move limbs.”
-Hamza Yusuf

Words are powerful.  And they are especially powerful in influencing and impacting young children, who have often not fully developed discerning critical thinking skills and are easily convinced that Santa is real, or eating carrots will make them see in the dark. Prevalent themes and topics in children’s literature are constantly changing – How these themes develop and change over time and how authors adapt to this transformation can be observed both in the progression of their individual works, as well as the progression of all literary works. The words about these themes and topics have the power to significantly influence people, not only about things trivial, or specific opinions, but also about beliefs, ideas, ways of thinking and how to be a human.

“Handle them carefully, for words have more power than atom bombs.”
-Pearl Strachan Hurd

Some consistently common topics and themes are those of obedience and questioning the traditional, looking beyond appearances, and envisioning and exploring the possibility of a better future.  While these overarching ideas have remained fairly stable in their appearance, associated opinions and perspectives regarding these portrayals are always in flux. With the power of words, the authors of children’s literature can spread awareness of current issues, encourage and develop new and modern viewpoints, and impact readers in a variety of ways.

“All I need is a sheet of paper and something to write with, and then I can turn the world upside down.”
-Friedrich Nietzsche

Historically, viewpoints on obedience and tradition have been more positive and encouraging of these values.  Today, strict obedience is more and more frequently depicted as undesirable, and the questioning and challenging of the traditional is depicted as more acceptable -thank goodness! We need a little healthy rebellion in our lives every now and then in order to fight for the creation and development of positive advances and an altogether better world. Literary characters question their reality by choosing alternative paths and practice critical thinking about the world around them, especially in regards to appearances. Frequently, characters that look beautiful, are, in fact, villains, and those with physical or emotional differences or defects prove to be heroes or redeemably praiseworthy. Even words can be misjudged based on their appearance. Interpretation is already subjective, and even when an author’s intent seems clear, language exists in such a way that they may actually be saying something entirely different!

“The pen is mightier than the sword”
– Edward Bulwer-Lytton

The protagonist of Philip Pullman’s Dark Materials series, Lyra, is often disobedient and rebellious, and grows to be suspicious of beautiful and/or powerful people, but these behavior patterns are not depicted as inherently negative, and are actually regularly rewarded.  Many of Ursula Le Guin’s characters rebel in similar way against traditional societal behaviors, those of their constructed literary world, as well as those of the world outside the books.  The dragons even reject gender at all! Fantastic! Let us all be more open-minded, like dragons! Through these consistent rebellions and questions, (now) standard fantasy characters develop unique identities and supply valuable contributions to develop and enrich their worlds. In this way, authors can influence readers to aspire to similar identity development and enriching contributions. Powerful. And hopeful.

“Raise your words, not your voice. It is rain that grows flowers, not thunder.”
– Rumi

It was initially a bit disheartening to read Ursula Le Guin’s intro of ‘Earthsea Revisited,’ just because it is sadly still so relevant that “women are seen in relation to heroes: as mother, wife, seducer, beloved, victim, or rescuable maiden” (1). She wrote this in 1999, and even today it is depressingly very applicable to the majority of ‘heroes’ in literature, film, and REAL LIFE!  It was really interesting to see how Le Guin herself was aware of society’s impact on her own writing choices in terms of female roles and limitations: “I simply lacked the courage to make my heroine doubly Other” (2).  Even when she included powerful female characters, they were not necessarily defined as typical heroes.  While Earthsea has a male-dominated society and emphasis, her series seems to develop over time in complexity and grow more organically inclusive.

“Words are, in my not-so-humble opinion, our most inexhaustible source of magic. Capable of both inflicting injury, and remedying it.”
– Albus Dumbledore

Through the convincing and compelling enrichments of fantasy worlds, the outside world can be enriched simultaneously through new developments and insights.  The words used in the exploration of possible peaceful and harmonious futures can encourage peaceful and harmonious futures for modern society.  Even exploring dismal futures can inspire change, also encouraging a future of peace and harmony. Le Guin’s dominating theme of her first trilogy was “the quest for inner harmony and personal wholeness” (Marek Oziewicz, “Rediscovering harmony: Ursula K. Le Guin’s Earthsea sequence”), a thematic quest idea that is congruent with the search for a better future.  “Le Guin’s vision is neither Utopian nor dystopian, but rather what may be called ‘melioristic,’ meaning tending to betterment through human effort – or maybe through the opening of human hearts.” (Lenz, 2001, pp.77) Through the encouragement of the development of personal peace and harmony, in literary works as well as reflections upon those works, perhaps a future of real peace and harmony can be achieved.

That’d be hella sweet.

“No matter what anybody tells you, words and ideas can change the world.”
– John Keating

I dunno… he’s telling me with words…. should I believe him?

…

… wait… I’m using words… Am I influencing YOU? Do I mean what I am saying? What message am I even communicating!!?

WORDCEPTION.

What is the use of stories that aren’t even true?

What IS the use of stories that aren’t even true?

The oft-asked question in Salman Rushdie’s Haroun and the Sea of Stories is, “What is the use of stories that aren’t even true?”

While Rushdie’s book is described as an example of a more comical and light subdivision of the fantasy genre, each form of fantasy contains within it a variety of aspects that resonate within additional fantastical categories. Rushdie’s question can be applied to and answered through any genre of fantasy.

There is truth in every fictional story, and the uses of fictional stories, while dependent to some extent upon author intent and reader response, are, in fact, infinite.

If fictional stories had no use, why would anyone write fiction or fantasy? 

Storytellers may not be aware of their subtexts, attitudes, or perspectives about the purpose or benefit of their words and stories, but that does not mean they are not present.  While ideas about use may vary and differ, each author must believe that their storytelling will be put to some use or another.  These uses are often subjective, multifaceted, and numerous.  Just as an author may communicate many different ideas, meanings, and uses, readers may also interpret or superimpose many different ideas, meanings, and uses.  C.S. Lewis communicated tenants of Christian theology through many of his works, but he also reiterated the use of fantasy as a way for readers to address real-life issues, through a fantasy world to explore “emotional dilemmas (they) feel faced by in their everyday lives” (Rustin, 1987, p. 40).  The Lion, the Witch, and the Wardrobe is clearly representative of the important use of fantasy as a tool to address cultural, societal, emotional, and psychological needs, understanding, and development – a prevalent perspective about fantasy’s value and use.

The primary, overarching importance of the use of children’s fantasy literature is the idea that the genre addresses and fulfills vital “psychological, cultural and aesthetic needs which are disregarded by most other forms of contemporary literature” (Oziewicz, 2008, p. 66). 

Fantasy allows the fears and worries of society to be addressed and explored, as well as providing a great deal of “potential as an emotional survival strategy” (Bharat, 2015, p. 305).  In addition, “stories can be a cohesive force in constructing a community” (Mukherjee, 1998, p. 175), a force that allows communities to overcome obstacles and experience positive growth and development.  Lloyd Alexander’s “The Grammar of Story” emphasizes this importance by detailing the ways in which words and storytelling can work magic.  Rushdie’s narrative in Haroun and the Sea of Stories provides valuable political and cultural implications about the intrinsic value and power of words and stories. This is just one narrative that articulates the importance of stories and storytelling and the ways in which they can be applied to resisting terror and oppression by conquering fears through living life instead of through grand, cosmic acts of courage.

Through the creation of a fantasy narrative such as this, an author can invent their own logic and use and incorporated it into each aspect of the story, so it has a sturdy base: “We don’t dig the foundation after the house is built” (Alexander, 1981, p. 10), and the fantasy world must have “identifiable and workable laws underpinning it” (Yolen, 1996, p. 173).  While each work of fantasy is unique, they are all bonded by their structure and interconnected in their capacity to encourage imaginative exploration and address very real concepts, dilemmas, and threats, such as the “tyranny of fear” (Bharat, 2015, p. 304).  New fears are constantly arising, and all types of fantasy literature can help to confront and explore these fears through large societal battles of terrorism and oppression as well as smaller, but no less important, battles of personal conflict, growth, and development.

Conflict is the dynamic element of any story, and the fate of the world can be affected by cosmic, mythopoeic quest and conflict as well as by the conflict-response behavior of a single person, as revealed through interactions with themselves, others, and the world around them.

While each fantasy story may be categorized according to a general consensus of its overall purpose, use, or tone, each fantasy story is an amalgam of diverse components that draw on a variety of ideas about the truth of untrue stories.  “What is the use of stories that aren’t even true?”  The use of Rushdie’s Haroun and the Sea of Stories is to answer this very question, and in many ways, this is the use of every work of fantasy literature.  Storytellers create illusions, and the truth in that illusion is “how thoroughly it convinces us of its reality; how strongly it resonates in our emotions; how deeply it moves us to new feelings and new insights.” (Alexander, 1981, p. 4).

Truth is not always convincing, and a fantasy story can help a reader to recognize and understand the truth in the world around them.

‘Untrue’ fantasy stories are incredibly valuable in an infinite number of ways.  Each fantasy genre, and each fantasy story, has unique and distinctive qualities.  In mythopoeic fantasy, adventure has momentous scale and consequences. However, while lighter fantasy genres may seem to lack cosmic battles of good versus evil, the adventures and battles still have consequences that are momentous to the characters experiencing them.

While mythopoeic fantasy suggests big answers to big questions, small answers to small questions are just as substantially cosmic to those affected by them.

A child can have an adult adventure that articulates hope for all humanity by the simple act of articulating the hope of one human. 

One human is a part of humanity, and the truth is that one child can change the world.

References

Alexander, Lloyd. (1981). The grammar of story. In Betsy Hearne and Marilyn Kaye (Eds), Celebrating children’s books: Essays on children’s literature in honor of Zena Sutherland. (pp. 3-13). New York: Lothrop, Lee, and Shepard Books.

Bharat, Meenakshi. (2015). Creative fear in Salman Rushdie’s Haroun and Luka: The ‘safe house’ of children’s literature. In Marvels & tales. (pp. 304-323).

Lewis, C.S. (1950). The lion, the witch, and the wardrobe. New York: Harper Collins.

Mukherjee, Meenakshi. (1998). Politics and children’s literature: a Reading of Haroun and the Sea of Stories. In Ariel: a Review of international English literature. (pp. 163-177).

Oziewicz, Marek. (2008). One earth, one people: The Mythopoeic fantasy series of Ursula K. Le Guin, Lloyd Alexander, Madeline L’Engle, and Orson Scott Card. New York: Simon Pulse.

Rowling, J.K. (1999). Harry Potter and the Prisoner of Azkaban. New York: Scholastic.

Rushdie, Salman. (1990). Haroun and the sea of stories. New York: Penguin.

Rustin, Margaret and Michael. (1987). Narnia: an Imaginary land as container for moral and emotional adventure. In Narratives of love and loss: Studies in modern children’s fiction. (pp. 40-58). New York: Verso.

Strimel, Courtney B. (2004). The politics of terror: Rereading Harry Potter,” In Children’s literature in education. (pp. 35-52).

Yolen, Jane. (1996). Turtles all the way down. In Sheila Egoff et al. (Eds) Only connect: Readings on children’s literature. (pp. 164-174). New York: Oxford University Press.

Identity, Assumptions, and Hope – OH MY!

Identity, Assumptions, and Hope – OH MY!

One of the papers for my fantasy literature class detailing the ways fantasy can offer new perspectives, help people cope with trauma and problems, and encourage critical thinking.

A common thread found in fantasy literature is the transposition of societal issues into fantastical forms to use perspective to better comprehend and process these issues. This transposition distances the reader from reality and abstracts the issues, allowing them to be more easily explained and understood through metaphorical connections.  Contentious and significant issues such as racism, classism, terrorism, power, identity, discrimination and stereotypes can often be explored through fantasy literature parallels and reflections.  Critical thinking concepts and overarching values of humanity can also be presented and investigated to great effect though fantasy. There is no end to the range of societal issues fantasy literature can introduce and examine to reach beneficial comprehension and valuable meaning.

Fantasy is so valuable because it “invokes the possibility of living under different terms and conditions” (Whitley, 2000, p. 175), and “can engage seriously with key issues within contemporary culture” (Whitley, 2000, p. 182).  J.K. Rowling’s Harry Potter and the Prisoner of Azkaban, and Nancy Farmer’s the House of the Scorpion are both excellent examples of demonstrating engagement with key contemporary cultural issues through living under different conditions.  Each book presents a narrative that challenges basic assumptions about identity, ambiguity, and power dynamics as well as encourages that the reader think more critically about and observe more carefully the interactions and interpretations around them.

Mistaken assumptions or interpretations and engrained stereotypes are present in each of these fantasy books.  In the Prisoner of Azkaban, Harry is told that Sirius Black is evil and wants him dead, and he believes it is the truth.  He hears this well-established interpretation from people he trusts and people in power, and they are all wrong.  Assumptions were made and cemented, which led to a flawed communal perception. This radical example of the promotion of misinformation encourages the reader to ask questions and think more critically. An information source may purposefully and knowingly promote a false perception, but a source may just be ignorant of the truth.  Even if a source is trusted, the truth may be vastly different from society’s common perception.

Society’s common perception in Nancy Farmer’s book is one that clones are unintelligent beasts.  Certain viewpoints are taught about clones and identity that are false.  Matt proves many assumptions wrong when he meets people who hold the entrenched negative opinions regarding clones.  His characteristics are inconsistent with their pre-conceived assumptions.  Those in power actively choose to spread these assumptions about clones to take advantage of them.  In Rowling’s book, there are also people in power who knowingly endorse fictitious or deceptive explanations to their own benefit.

Such conscious misinformation emphasizes the inherent ambiguity within the nature of humanity, which becomes tangled and complex in both books.  The characters are often ambiguous and contradictory within both their true and their perceived identities.  The identity can be a fragile thing.  It can be shaped by, or discovered by observing negative assumptions and prejudices.  Matt’s identity was shaped by the negative limited perspectives to which he had access.  Because of the marginalization he experiences, his perspectives are impacted. Being a clone in his world is to be inferior and unclean.  In Harry Potter’s world, some believe that being a muggle, or muggle-born is to be inferior and unclean.  However, appearances can be deceiving, and appearance doesn’t always mean physical appearance, it can also mean identity or perceived identity. Hermione is harassed for her muggle-born status, Hagrid is discriminated against for being a half-giant with a (wrongful) criminal record, and Remus Lupin is treated with unfair prejudice and disgust for being a werewolf.  Humanity is not always simple, nor is it always reflective of outward appearance or commonly-held beliefs about identities.  Rowling’s books force children “to consider characterizations of goodness and badness” (Strimel, 2004, p. 45), and the consequences and implications of these characterizations.  The ambiguity inherent in the characterizations presents another opportunity to think critically about people and events, both real, and imaginary.

In each of these books, the impact of the fantastical transposition is amplified due to solid foundations in real issues. Fantasy literature needs to have substantiality to be most effective in exploring society’s problems and possibilities.  The wish-fulfilment that fantasy literature offers “needs to be grounded in something substantial if it is to become fully satisfying” (Whitley, 2000, p. 175). Farmer bases her story on circumstances and prejudices that already exist between differing peoples, and scientific advances that are already happening.  Science fiction such as this presents a unique opportunity to explore the ramifications of future societal issues and problems.  By looking to the hypothetical potential good and bad of the future, it is helpful to “open our minds to all possibilities” (Greenfield, 2003, p. 9).  Rowling also presents a wide range of hypothetical situations and possibilities, as well as utilizes widespread prejudice in which to base her world. In addition, her fantasy is grounded in reality through common mythological, religious, and cultural viewpoints and archetypes that are relatable and familiar.

From terrorism to depression, from identity to religion, fantasy is constantly offering new perspectives and the hope to overcome the perpetration of harmful perspectives, opinions, and stereotypes.  Both Rowling’s and Farmer’s fantasy books emphasize the misleading potential of a limited viewpoint.  Hope exists, and with a little knowledge, creativity, and guidance, perhaps fantasy literature can help lead society into tolerance, acceptance, and open-mindedness.

References

Cohen, Signe. (2016). A postmodern wizard: The religious bricolage of the Harry Potter series In Journal of religion and popular culture.  (pp. 54-66).

Crew, Hilary S. (2004). Not so brave a world: The representation of human cloning in science fiction for young adults, In The lion and the unicorn. (pp. 203-221.)

Farmer, Nancy. (2004). The house of the scorpion. New York: Simon Pulse.

Greenfield, Susan. (2003). The future: What is the problem? In Tomorrow’s people: How 21st century technology is changing the way we think and feel. (pp. 1-9). London: Allen Lane.

Rowling, J.K. (1999). Harry Potter and the Prisoner of Azkaban. New York: Scholastic.

Strimel, Courtney B. (2004). The politics of terror: Rereading Harry Potter,” In Children’s literature in education. (pp. 35-52).

Whitley, D. (2000). Fantasy narratives and growing up. In Eve Bearne and Victor Watson (Eds), Where texts and children meet. (pp. 172-182.) New York: Routledge Press.

Yolen, Jane. (1996). Turtles all the way down.” In Sheila Egoff et al. (Eds) Only connect: Readings on children’s literature. (pp. 164-174). New York: Oxford University Press.

More About Dragons

Edith Nesbit is one of the authors whose works testify to the eternal flexibility of light fantasy. It was just recently that I became familiar with her work and her influence on children’s literature. I came across the story “The Dragon Tamers” through a sleep and meditation app on my phone, called “Calm.”  The app provides a variety of stories, fiction and non-fiction, read in soothing voices to help people fall asleep.  I listened to the reading of “The Dragon Tamers,” and stayed awake for the whole story, and I’m glad I did, as it quickly became a favorite.  This story is a perfect example of creative light fantasy.

This is a story about a dragon that the poor blacksmith John discovers in his dungeon, and over time, the dragon is actually the character who grows, changes and exhibits the most character development. John and his family’s various interactions with the dragon are what really drives the story and moves it forward. There are many unexpected twists and turns as well as fun Dr. Seuss-like word play, rhymes, and alliteration.

After becoming so interested in and taken with this story, I wanted to know more about Edith Nesbit, so I bought her biography, which says she is considered to be the first modern writer for children and to have basically invented the children’s adventure story, which is amazing.  It was so surprising to learn that this particular story had been published over 100 years ago. I would never have guessed that! This story really demonstrates the timelessness of fantasy and fantasy themes. If you want to know how to get your baby stop crying, apparently a dragon is extremely helpful, and you should be careful about what you feed your cat if you want your cat to stay a cat, and not turn into the beginning of dragons.

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