(Spinning off from a couple of recent threads)
― Tom, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― N., Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― Jonnie, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
and just before you start picking at this, i did say BROADLY SPEAKING.
― katie, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
I think I may have got a bit bogged down in this one on those other threads, and I fear the same might happen here. Of course intention (which we don't like to talk about too much) may be a good rule of thumb. If it was made for kids, then it's for kids.
― Pete, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― mark s, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― Edna Welthorpe, Mrs, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
true, but the fairy tale form is an incredibly ancient and psychologically complex structure . and if you think about it, hardly any fairy tales are actually "suitable for children" - they are the goriest things going. when i said kids stories have kids in them, i was primarily thinking of Narnia, Spot the Dog, Malory Towers, Bod, Harry Potter, Alice in Wonderland, Treasure Island, the Railway Children... to equate fairy stories with kids lit is WRONG.
intention, though - i was going to mention that. i do think that intention has a large part to play in creating kiddies lit. with LotR Tolkien was trying to create a world that would embody his academic ideas about language and to create a new mythology (myths = related to fairy stories) for England. the Hobbit he wrote for kids, LotR is the adult continuation of that i think.
though what you said about adolescence is interesting. Fairy stories are often about rites of passage and in fact the reading of them is a common rite of passage for the reader - introducing him/her to the idea of archetypes in language and in literature.
Yes Mark, I know that the author is dead, and intention is a dodgy thing to bring up, but presentation is going to be part of the art (no art in vacuum after all). So the presentation of a form "for children" - advertised as such, packaged as such, marks this intention out to this day. Which is why I find the Huck Finn comment above so interesting.
so why do so many adults still read them (and for that matter Greek myths etc). even more, so why do adult authors constantly write "updated" or "modern" fairy tales see e.g. Angela Carter? you can't tell me that the appeal of fairy stories and fairy story structures is limited to children only.
― Billy Dods, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
Ooh Pete: source for Othello = Cinthio, BTW.
Angela Carter, Tanith Lee style rewrites of said myths are doing almost the reverse of this. They are explorations of adult themes hidden within these archetypes, discussions of the assumptions made - the cosy made complex. Fairy Tales by the way may prepare children for adolescence, but by the time adolescence has set on I think we have left them behind (refering to another point above).
Ancient myths of course open a whole different (ahem - Pandoras) box. Not written for children but often written to explain the world or as history. History is not written solely for children, and certainly the most enduring works from said canon (Homer) are more complex than just the gods moving in mysterious ways.
― Nicole, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― Gage-o, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― Justyn Dillingham, Tuesday, 8 January 2002 01:00 (twenty-three years ago) link
― antihero, Thursday, 10 January 2002 01:00 (twenty-three years ago) link
― Sarah MCLusky (coco), Tuesday, 25 February 2003 17:30 (twenty-one years ago) link
― Sarah McLusky (coco), Tuesday, 25 February 2003 17:32 (twenty-one years ago) link