There's some good in this world… and it's worth fighting for.
I tried to choose a book today,
Forgotten, on the shelf.
Do insides always match outsides?
I asked the book itself.
Wrapped up in paper, plain and brown
Concealed, its secret skin.
Do outsides always match insides?
Please tell me, what’s within?
I’ll learn the answers on my own.
That voiceless book remains unknown.
If you can’t read the tiny text, no big deal… it’s mostly about articles we had to read for class.
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.
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.
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.
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).
‘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.
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.
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.
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.
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.
One of my ultimate favorite fantasy books as a child, and still today, is the reworked fairy tale, “Ella Enchanted” by Gail Carson Levine. It retells the classic literary fairy tale of Cinderella with some new twists: Ella is, in fact, under a fairy’s gift (curse) to always be obedient. The tale is a familiar one, but provides more depth and detail about the protagonist and her own journey to discover herself and break the curse herself. In addition, it answers that question that was always infuriating to me about the size of Cinderella’s feet – surely there was more than one girl in the kingdom whose feet could fit the glass slipper! Well, in this story, Ella has fairy ancestry, and fairies have significantly smaller-than-average sized feet, so THERE! Levine’s attention to details such as these really grounded the story and made it more believable to me – it was definitely logical and made sense within the framework she created and expanded upon. While it certainly shares many patterns and characteristics with both more traditional fairy tales as well as reworked fairy tales, this is by far my favorite retelling of Cinderella. I like that 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.
“Ella Enchanted” provides a universe that is similar to one children have already experienced, but 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. A retold fairy tale is a great example of this, because the concrete universe has already been established, and by telling the same tale from a new perspective, new questions can be unearthed, alternate mindsets discovered, and previously unconsidered horizons can be expanded. This particular retelling is also consistent with the idea of concepts carrying over from the fantastical worlds to the real ones. In “Ella Enchanted,” Ella is a real girl with a flaw that she has to work to overcome. This is certainly a concept that is applicable to many people. While Ella may not fit the traditional archetype of ‘hero,’ she is still heroic. She becomes, through her own strength of will, her own knight in shining armor – in the process, saving herself, her prince, and the entire kingdom. 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.
Fairy tales have been around for a long time. And with each retelling, they have continued to change and grow ever since their inception. “Ella Enchanted” is a distinctive example of 21st century fantasy with an alternate world that is still attached to a familiar and long-standing one. While it may lack the grandeur of Tolkien, or the epic tragedy of Rowling, it is accessible in its realism and its message – one that, while not political or catastrophic, speaks to the more personal internal battles that still must be fought and are no less important than those larger-than-life clashes between good and evil. “Ella Enchanted” has no evil villain to be abolished or grand quest to be completed. There are good characters and bad characters, but the main struggle is simply one between a girl and the unwarranted chance restrictions and conditions to which she finds herself bound. Ella is ordinary, but she is strong. And it is that kind of inner strength and conviction that is an amazing resource in struggling through such challenges as anxiety, depression, and insomnia.
Read it. Or else.
(If you were Ella, you’d HAVE to obey me, but as it is, you have the freedom of choosing.)
It was called “The Art of the Picturebook,” and I never knew that school could be so interesting and fun!! I’ve enjoyed some classes throughout my college career, but none so much as this! I was actually excited to do homework! WHUUUUT!?? weird… I never really felt like I fit in in any of the other classes or programs I took in the past. I guess I just needed to find the right program. And books have always been important to me. And now I can explore that further! Yaaaaayyyy!!!http://www.worldcampus.psu.edu/degrees-and-certificates/childrens-literature-certificate/overview
(For this class anyway…)
FIRST PARAGRAPH:
“Fol-de-rol and fiddle dee dee and fiddley faddley foddle
all the wishes in the world are poppy cock and twoddle.
Fol-de-rol and fiddle dee dee and fiddley faddley foodle
all the dreamers in the world are dizzy in the noodle.”
This is what the sensible people of the world say, according to Cinderella’s fairy godmother in the Rodger’s and Hammerstein’s musical in a song they sing together about Cinderella’s wish to go to the ball. But together, they discover by the end of the song, that “impossible” can be changed to “it’s possible” with creativity, imagination, hard work, and someone who loves you to help. Like Cinderella and her fairy godmother, I am learning and exploring how to grant my own wish of forging a career doing what I love: writing, being creative, and helping others. I don’t yet know what that career will be exactly, but every day I am making choices to steer myself down the path to get there. And I plan to use every tool and asset I have to help shape my wish out of the supplies I have. And with a little help, and a little magic, I know I will get to the ball!
SUMMARY:
Turning the impossible to the possible is a process – one that requires many things. It requires creativity and imagination. Every day, I am thinking and brainstorming, searching for different ways to achieve my goals. I am on the lookout for new opportunities to embrace that will keep me moving forward, eyes focused on the path ahead. It requires commitment, dedication and hard work. Sometimes the path is thorny, or blocked by a tree. I continue to apply my imagination to identify creative and efficient solutions to remove such obstacles. It requires bravery, and it requires stepping out of your comfort zone. There is a certain degree of anxiety about the uncertainty of where the path leads, but you can’t turn back. It also requires help and support. Not all of us have a fairy godmother to turn our everyday objects into the perfect materials to achieve our dreams. But we do have people who love us. Asking for help is scary and hard, but it is something I plan on practicing. Most of all, it requires hope, and I plan on keeping that hope alive, nurturing it, and seeing it bloom and grow into something even more beautiful.
“But the world is full of zanies and fools who don’t believe in sensible rules
and won’t believe what sensible people say..
and because these daft and dewey eyed dopes keep building up impossible
hopes impossible things are happening every day!”
I didn’t know his name. But he knew mine. It was written in clear, bold letters on the hard, plastic nametag that adorned my green apron.
He knew my name, but he wanted to change it.
“Isn’t Emerald a boy’s name?” he asked.
I was used to strange reactions to my rare and somewhat unusual name, so I laughed. I didn’t choose my name, but I’ve learned to love it.
“No,” I replied, with a puzzled grin, only a little uncomfortably. Did he think I was a boy? My uniform was standardized regardless of gender, and my visor concealed most of my long hair, but I didn’t think I looked like a boy. Did I? My confusion bubbled up exponentially. Why would he ask that? What an odd thing to ask. I’m a girl. My name is Emerald. Emerald is a girl’s name.
I pushed aside my uneasiness and continued to assist him with a friendly smile.
I thought that was the end of it, but then he came to his unpleasant conclusion.
He told me he would call me “Emmy” instead. He didn’t ask. He told.
“No,” I replied, still polite, but somewhat taken aback. Only those select few people very close to me called me by a nickname. To hear those private syllables directed to me by a complete stranger was strange and jarring. It felt wrong. I was confused. I felt that my personal rights had been infringed upon. Surely he understood that a nickname is a sign of familiarity, of intimacy. I had never even seen this man before and he expected to be allowed to bastardize my name? To reduce and minimize it, and therefore me, to fit his own personal inclination. He didn’t have that right, did he?
Brashly, he nodded. “I’m going to call you Emmy,” he reiterated, regardless of my gentle protestation.
Had he not heard me? I had said no. I didn’t want him to call me Emmy. He was old, maybe he had bad hearing? I stayed firm.
“I would really prefer you didn’t. My name is Emerald.” I was still smiling, albeit more hesitantly, but inside I felt violated. Customer service policy as well as common courtesy required that I treat this man with respect and kindness, so I did. He followed no rules, written or socially implied. No one required that he treat me with the same respect and kindness.
The truth was that it should have been my decision. It is my decision. He was rude and he was wrong to insist on calling me a name that I didn’t feel comfortable with. I could have insisted on calling him a name he wasn’t comfortable with. Inconsiderate jerk, maybe? Or stupidhead mcfartface? How would he have felt then? Instead, I told him, I didn’t ask him, again not to call me Emmy, finished helping him, and he complained about me to my manager. He complained because I wasn’t okay with him disregarding my feelings and making me uncomfortable.
I didn’t know his name. But I knew him. And I know I will meet him again in some other incarnation. But I also know that I was right. I am right. It isn’t okay for anyone to call you a name you are not comfortable with. And some things are more important than following a grocery store code of conduct.
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