night Garden and Swallows and Amazons
How do ‘the lure of the real’ (Bogan,A.2006) and the ‘power of the fantastic’ (EA300,Block 4) work together in any two of the set texts in Block 4?
‘The lure of the real’ (Bogan,A.2006) and the ‘power of the fantastic’ (EA300,Block 4) are used to create dramatic effect and depth to narratives, in interesting and diverse ways. The two concepts are not mutually exclusive. When the real and the fantastic combine, truly delightful and often informative, stories are created. Novels differ in their proportional use of realism and fantasy. Realism is commonly used to convey a sense of believability, to give gravitas to characters and to enable a child reader to understand through the presentation of the familiar and recognisable. Fantasy can be viewed as a “departure from consensus reality.” (Hume cited in EA300. Block4.p169). This could exist in the form of imaginary play, dreams, unworldly creations or literal impossibility. This essay will concentrate on Swallows and Amazons and Tom’s Midnight Garden. Each text has different approaches to the use of reality and fantasy. However, they convey similar themes and messages through various presentations of ‘the real’ and ‘the fantastic.’
Ransome and Pearce anchor their stories in reality by creating a “powerful sense of place and” a “celebration of freedom underpinned by family security.” (EA300, Block4) Ransome achieves this by distinct geographical representation of the Lake District in his description. The Walker’s are allowed relative freedom under the watchful eyes of ‘natives,’ predominantly their mother. Pearce’s approach is quite different, however; yet still she portrays a strong bond between Tom, and his brother and mother. She also conveys a sense of place in relation to the garden. Tom “looked his good-bye at the garden, and raged that he had to leave it-leave it and Peter.” (Pearce, P.2008. p.1) Tom’s anger at forced separation from his brother and garden produces a parallel space, Hatty’s garden. He needs the garden to feel secure. After all, Peter and Tom planned their summer in the garden. This concept is reflected in Tom’s departure from Mrs. Bartholomew’s house, and ultimately his severance from the garden and Hatty. Their creation may be fantasy but Tom’s need for space and companionship is certainly real. The sense of place creates an element of security for characters and readers alike. The ‘known’ location of objects and people is comforting. Tucker comments few critics would “begrudge a young reader an idealised glimpse of the Lake District.” (1995). This can be applied to both texts, becoming somewhat complex as we unpick the narrative webs underpinned by realism in each book.
Ransome’s depiction of reality is secured by lengthy detailed descriptions of sailing procedures, locations, maps, tracking methods, weather commentary and so on. The ‘lure’ comes from the acquisition of “practical life skills” (Haslam,S.2009) and perceived independence of child characters conveyed to a young reader. The linchpin is the constant reference to the wisdom of adults and their attempts to impart knowledge, providing experiences whereby the children can ‘grow.’ This is not only true of events, such as Roger learning to swim and the practicalities of marine travel, but is evident in the erudite commentary containing explicit references to Treasure Island and Robinson Crusoe. (Haslam,S.2009). The implication is the children have ‘learnt’ from adults. The protective hills surrounding the lake are a metaphor for adult protection, reinforcing adult supremacy. Despite this pertinent use of realism Ransome’s achievement in delighting the reader comes from the “blend of the real and the imaginary” where he “seldom betrays a dividing line.” (Bogan, 2006) This “intersection between the imaginary and the real” (Bogan, 2006) is an intelligent mechanism, framing action and consequence with authenticity, capturing the nature of children’s imaginations. When we consider Titty alone on Wild Cat Island, it seems a daringly uncomfortable position for a child to be in; certainly from an adult perspective. However, the narration offers an alternative. By using the third person to describe Titty’s activity interweaved her direct speech, the writer massages reader anxiety. One can enjoy her childish fantasy as it is enclosed by factual expediency such as, ‘“Weren’t you scalded?” said Robinson Crusoe. ‘“Badly,” said Man Friday…And then Man Friday forgot about being Man Friday, and became Mother again.’ (Ransome,A. 2001,p.221)
In contrast, Pearce uses reality to mobilise Tom’s mind into creating a fantasy world, enabling him to make good his situation’s deficiencies. Montgomery (2009) comments “the garden [is] physically and morally redemptive” and contains a “restorative magic.” Pearce achieves this through use of a “time-shift narrative” which alludes to a parallel healing of the young and old. (Montgomery,H.2009) The childlike egocentric pain Tom feels at his “Exile” corresponds with Mrs. Bartholomew’s tenderness from a lifetime’s experience. (Pearce,P. p1) Through Mrs. Bartholomew’s memories and Tom’s dreams, a reader can experience “the compelling power of the imagination” exquisitely projected through the “intense power of metaphor.” (Rustin,M .Rustin,M. 1987) However, the reality comes from the dynamics of the novel’s relationships and what they represent. Hatty is resented by her Aunt who views her as a burden. Similarly, Tom resents his Uncle and Aunt. The two situations mirror each other, giving Tom an opportunity to reflect upon his feelings and appropriate their significance. After all, Hatty’s deprivation is deeper. (Rustin,M. Rustin,M. 1987) Pearce’s implicit commentary on relationships and family is projected by the use of the omniscient narrator. By sharing Tom’s inner thoughts the writer engages the reader at a deeper level. When Tom writes of his distress at being at the Kitsens, the ‘all knowing’ narrator plugs the gaps by revealing his thoughts behind direct speech. Tom says, ‘“Take me away. At once.” But no, that was perhaps cowardly, and would worry his mother dreadfully.’ (Pearce,P. 2008,p.13) There is a certain quality in this approach which allows a child to experience reflection, and even empathy with adult characters. It is interesting the fantasy based story of Tom’s Midnight Garden conveys instructive messages; smothered with the intimate cosiness of the garden, interwoven with excitement and anticipation of the time switch.
Tom’s Midnight Garden and Swallows and Amazons communicates a theme of wish fulfilment expressed through the “power of nostalgia and make-believe over…adult readership.” (Haslam,S.2009) Cosslett(2002) remarked Tom’s Midnight Garden was “nostalgic and conservative, extolling the virtues of the past over those of the present…over-romanticising the rites, rituals and hierarchies.” This criticism can be applied to both texts. The overly polite Walker children don’t exhibit sibling infighting’ and as John says, “I shall be going to sea some day and so will Roger” which projects imperialist ideology. Similarly, Pearce allows a reader to travel back in time, absorbing the landscape descriptive, commentary on costumes and vocabulary. Ransome and Pearce both use dialogue appropriate to the time they depict. For example, Susan says,” What a place for a camp,” and John uses phrases like, “She’s in a splendid place,” and “Properly.” (Pearce,P. 2008 p35,p56,p14) The children’s speech is somewhat formal, exhibiting middle class patterns of the 1930’s. Tom’s speech changes when he switches times but also reflects relationships formed in both zones. His child friendship with Hatty is quite different to relationships with adults. Therefore, there are nostalgic elements in both books. However, rather than criticising this component, it may be more enlightening to celebrate their contribution. On balance, the choice of setting and narrative style appears to be a direct reflection of the authors’ ideologies and gives us insight into the beliefs of the eras represented. Pearce commented that she based her novel on memories of her own childhood. (DVD02, EA300). This is reflected in her location choice and spanning of generations. She could be Hatty or Mrs. Bartholomew. She uses “biological immaturity [to assign] social meanings.” (EA300, Block 1) Ransome (2001.Author’s note), too, employs this effect as he states, “Swallows and Amazons grew out of those old memories.” Pearce’s fond memories are intrinsically incorporated into the narrative. The importance of memories and passing of time are explicitly revealed to the reader, not only putting Mrs. Bartholomew “back in contact with [her] own childhood” (Rustin,M.Rustin,M.1987) but Pearce with hers and adult readers with theirs. Ransome may not explicitly refer to memories or time passing, but these themes are implicit throughout the novel when we consider his authorial motivation was his childhood enjoyment of Lake District holidays. This supports Hunt’s argument that “children’s literature is deeply concerned with issues of power and politics, and…adults impose…their own particular ideologies on children.” (EA300, Block1) In fact, there’s an element of wish fulfilment for authors.
Furthermore, Hunt’s views are sustained when we consider ideology in terms of the “adult-child relationship” which is “inevitably an unequal one.”(EA300, Block1) Generally, children have limited power to control people, events and outcomes. Pearce challenges this, using the “power of the fantastic” (EA300, Block4) to empower Tom. He didn’t choose to stay with the Kitsen’s, or be confined and lonely. By using Tom as the focaliser, Pearce produces a dynamic of independence and control children may find illuminating. Montgomery (2009) asserts Tom’s Midnight Garden “confronts the inevitable losses of growing up and growing old and recognises…childhood is a transient phase…that [cannot] be revisited.” Although this is true in a literal sense, we revisit our childhoods by exploring memories and, sometimes, through dreams. This comforts adults, evidenced by Mrs. Bartholomew’s reference, “When you are my age, Tom, you live in the Past a great deal. You remember it; you dream of it.”(Pearce,P. 2008.p222). Tom’s engagement in the ‘dream’ allows him freedom to explore and obtain company. It is somewhat liberating. Alternatively, the ‘dream’ can be portrayed as fearful or damaging. In Swallows and Amazons wish fulfilment and dreams are represented quite differently. Instead of interlocking with fantasy, they are exposed as desires and fears. Roger’s longing to travel to Wild Cat Island is fulfilled by practical solution. Realism ensues when his father grants permission through correspondence. John had “disturbing thoughts of Captain Flint” that “bothered him even in his dreams.” (Ransome,A. 2001. P.175)
The delineation of time is intrinsically linked to authorial reminiscence. Both holiday adventures have to end. Linear time is constant. Locke (cited in EA300, Block1, p.23) surmised children with potential “could develop into reason with correct training and the right sort of experience.” When we examine Swallows and Amazons, one can evidence Ransome’s acquisition of knowledge and experience has enabled him to incorporate a catalogue of sailing ‘know-how’ and remind a reader the adventure must end. Mother iterates, “You know you’ve only got three days left.” And “The weather can’t keep on like this… when it breaks you’ll have to come away…” (Ransome,A.2001 p289). The conclusion is proof time has passed; characters have learnt. Adults may view the acquisition of knowledge as a linear process from adult to child, forgetting empowered children engage in cyclical development. Consider the contrasting purposes of recorded information described. Tom’s “archival research” serves to ratify the truth. (Cosslett, 2002) This element of realism provides Tom with the security his midnight garden experiences have some validity. He is able to place Hatty in time, and on finding her note, confirms her existence. Contrary to this, Titty’s log serves to record events with a child’s imagination, seeking to assimilate reality and fantasy. The adventures of the most famous literary pirates are now hers. In fact, the fantastic duality between the imaginary and the real encourages one to beg the question, “Is Mr Turner, Jim Hawkins?” Similarly, the presentation of the map acts as a factual backdrop to the story but encapsulates a fantasy element through the personalisation of places identified.
In conclusion, it seems the diverse use of narrative voice and dialogue conveys a certain tone, inviting a reader to explore the characters at different levels. The sense of place is immensely important in anchoring the story, either in the truly ‘real’ sense or in framing fantasy. The issue of time is key in both novels. It persuades the reader to consider the passing of time from children’s and adults’ perspectives, and indeed, the anxieties attached to growing up. Indeed, there is a certain delight enjoyed in Swallows and Amazons instructive nature and an education in Tom’s Midnight Garden’s delightfully magnificent fantasy. It seems diversity in blending fantasy and reality creates a powerful lure.
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