The secular angel in contemporary children's literature: David ...

character and an idea. The artist’s ideas of the Contraries and the world we must work to see
beyond, in conjunction with Darwin’s theory of evolution of all species, including the human,
enrich and further support the story’s transcendence. Natov describes Skellig as a link
between the earthly and the heavenly, but the latter need not necessarily be linked to the
religion of the Western world or the institution of the Church. The meanings that derive from
Skellig may range from the religious to the secular, and each side can offer arguments
supporting one or the other accordingly. Furthermore, the fact that the author has carefully
‘avoided’ making any explicit comments favouring either side—contrary to Pullman and
McNish who wished to clearly define where they stand—alludes to the choice of allowing
readers to decide for themselves and see Skellig in whichever way they wish. Regardless,
however, of the absence of any religious didacticism on the part of the author, the element of
faith—in one another, and in the otherworldly—remains one of the most prevalent issues in
the story. Although Michael struggles with the idea that he had “to keep praying for [his
sister], but [he] didn’t know what to pray” (Almond, 2007, 10), he finds it comforting and
reassuring to keep her heartbeat next to his in his mind. For Mina, as well, the notion that her
father is in heaven is much more difficult to take in and accept than the knowledge that a
creature like Skellig exists. The children in the novel thus provide a framework, urging
children readers to look around them and ask the same questions, hoping that, in the process,
they will discover as much about the world, as they will about themselves.
95