EDU21ACL – Australian Children’s Literature FANTASY STORIES © La Trobe University, David Beagley 2006 Lecture 2 Australian Fantasy Literature

Recommended Reading Maurice Saxby (2002) Fantasy in Australia, in Images of Australia: a history of Australian children’s literature , Lindfield: Scholastic Press Brenda Niall (1984) Australia Through The Looking- Glass : Children's Fiction , Carlton: Melbourne University Press Charlotte Huck (1987) Modern Fantasy, in Children’s Literature in the Elementary School, pp Sheila Egoff (1996) Only Connect: readings on children’s literature, 3 rd ed. Toronto: Oxford University Press

Definitions The Dichotomies The Primary world and the Secondary world The Probable and the Extraordinary My Reality and the Other Inner reality and Outer reality

The Other in these Worlds of Magic Types of Magic/Other Time change – time slip/swap, past/future Animal - anthropomorphic Parallel worlds – slip between Utopia (perfect world), Dystopia, Apocalyptic Toys and dolls - animate Size change Beyond normal abilities – magic, psychic, super Types of Character Wish fulfilment – lonely child, loner child Heroic – prove self, go beyond limits – save the world Types of Genre Science fiction Historical worlds Traditional myth and legend

Australian Fantasy What types of Other? What is Australian in the Secondary world? Snugglepot and CuddlepiePlaying Beatie Bow The Wirrun TrilogyMary Poppins The GatheringTomorrow when the war began Sabriel, Lirael, AbhorsenThe Muddle Headed Wombat Mister MondayDragonkeeper RunestonesShædow master

What is Australian in the Secondary world? Elements that can be identified as specifically Australian: Landscape Characters History Culture Identity Humour Is there a commentary on Australia or is the Australian-ness simply a convenient setting?

What is Australian in the Secondary world? Snugglepot and Cuddlepie, Blinky Bill, Muddle headed wombat, The Magic Pudding, Dot and the Kangaroo Transposing the traditional European “butterfly and petal fairies” format to the Australian landscape Do not derive from any inherent Australian-ness but superimpose European (English) sensibilities Create a distinct Australian voice and identity through use of landscape and fauna

What is Australian in the Secondary world? Patricia Wrightson - Wirrun trilogy (The Ice is Coming, Behind the wind, The Dark Bright Water), The Nargun and the Stars, A Little Fear, An Older Kind of Magic, Shadows of time Use Aboriginal myths and motifs with respect for their spirituality and integrity (i.e. not to carry superimposed European views) Populate the Australian Primary world with a distinctive Secondary world

What is Australian in the Secondary world? Jenny Wagner – Nimbin stories, The Bunyip of Berkeley’s Creek John Marsden - Tomorrow when the war began (septology?), The rabbits Michael Pryor - The Doorways trilogy (The House of Many Doors, The Book of Plans, The Unmaker) Use settings and details that are Australian, to establish universal themes

What is Australian in the Secondary world? Sara Douglass - The Axis trilogy x2 et al Victor Kelleher - Master of the Grove, the Hunting of Shadroth, Forbidden paths of Thual, Brother Night, Del-Del, The Makers, Where the whales sing, Taronga Garth Nix - Keys to the Kingdom, Sabriel/Lirael/ Abhorsen, Shade’s Children Isobelle Carmody – Obernewtyn chronicles, The Gathering, Greylands Anna Fienberg - Tashi, The Magnificent nose, Shaun Tan, Graeme Base, Terry Denton, Dick Roughsey/Percy Tresize - illustrators

What is Australian in the Secondary world? The relationship between the Primary and the Secondary world Once you take away the fantasy element of the Secondary world, what of the Primary world do you see? Is there a commentary on Australia or is the Australian-ness simply a convenient setting? Is there any particular Australian-ness? Does it matter? Is there a commentary on universal aspects of the Primary world? How does the Outer Reality of the story inform the Inner Reality of the reader?