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

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eceive and absorb –either actively or passively– according to Peter Hunt, even the most seemingly simple children’s book will not be “innocent of some ideological freight” (Hunt, 1992, 18). He explains that this ideology may surface in the work of each writer through their social, political or moral beliefs. But even if one acknowledged this to be the rule, there will always be powerful exceptions that seek to overturn the authority of didacticism, the traditional example being Lewis Carrol’s Alice in Wonderland (1865). Chris Powling writes that “Writing for children has always had an ethical dimension but we must thank Lewis Carroll’s Alice for showing us that the moral traffic is by no means all one-way –nor does it need to be confronted head on” (Hunt, 1992, 37). This ethical dimension exists in the works of all three authors as the values they advocate, and the didactic purpose involved in their stories, have to do with helping children to think for themselves, exercise free will, but also learn to take responsibility for their moral actions and choices. This follows Carrol as it challenges traditional notions of authority, but at the same time it empowers children and encourages them to engage in the creation and development of their own identity by making their own choices and deciding on their own moral compasses. Pullman and Almond use several intertexts both directly and indirectly, with the use of quotations, epigraphs and general concepts and ideas originating in another work. Wilkie states that there are three main categories of intertextuality: texts of quotation, texts of imitation, and genre texts –“those texts that are identifiable, shared, clusters of codes and literary conventions grouped together in recognizable patterns which allow readers to expect and locate them, and to cause them to seek out similar texts” (Wilkie, ed. Hunt, 1996, 132). However, she asserts that “texts of quotation are probably the simplest level at which child readers can recognise intertextuality” (Wilkie, ed. Hunt, 1996, 132). These difficulties are not only a result of the cultural and social backgrounds from which a child may come, but also of the vast differences and characteristics that define children in the different stages of their 26
childhood. Almond has mainly used direct quotations originating in several of Blake’s poems, primarily from Songs of Innocence and of Experience. It is important to note that these are not always spoken by the characters, but sung by Mina and her mother, as if they were lullabies. The element of music and song seem to reinforce the message of Blake’s words, despite the fact that Mina’s mother sometimes sings them while Michael and Mina are talking. The ideologies behind the quotations, however, are strewn across the narrative, and the children pick them up along the way, followed, of course, by the child readers. Pullman makes use of numerous intertexts, but without integrating them within the texts itself. Instead he introduces each chapter of AS with an epigraph: a short quotation which, as will be shown in Chapter 2, demarcates each chapter, offering the reader a preview and a conceptual, as well as a moral and ideological, framework of what will follow. Intertextuality for Pullman does not cease with his use of the epigraphs. Susan R. Bobby claims that Pullman’s most powerful and dominant element in the trilogy is his creation of the daemon; she believes that without this visible manifestation of a person’s soul in animal form the story would not have had the same impact. She states that the nature of this creation, as well as the way it is portrayed and analysed in both form and function, enables both children and adult readers to enjoy the trilogy alike, but for different reasons. Pullman has often mentioned that his primary influence for the daemon was the painting “Lady with an Ermine” by Leonardo daVinci. Bobby, however, writes that despite this visual stimulus that facilitated the author in his conception of this other ‘self’, there are other sources for the daemon. Research reveals that the daemon is “[…] a concept developed from ancient Greek mythology” (Townsend 416). Socrates, for instance, believed he had a daemon, an entity much like the daemons in Lyra’s world, that would warn him of consequences of his actions 27
Page 1 and 2: THE SECULAR ANGEL IN CONTEMPORARY C
Page 3 and 4: ABSTRACT This thesis explores the r
Page 5 and 6: ACKNOWLEDGMENTS I believe this thes
Page 7 and 8: Faith vs. Science & Innocence vs. E
Page 9 and 10: INTRODUCTION This thesis explores t
Page 11 and 12: to one’s morality based on the et
Page 13 and 14: part-angel, part-human, and through
Page 15 and 16: subject of angels, is indicative of
Page 17 and 18: the Book of Enoch (or 1 Enoch) and
Page 19 and 20: God with the scientific notion of D
Page 21 and 22: (Keck, 1998, 69). McNish’s angels
Page 23 and 24: your small existences?’ ‘But yo
Page 25 and 26: 1980, 7). In order to grasp Blake a
Page 27 and 28: and, in the final analysis, its som
Page 29 and 30: was the strongest and kindest of al
Page 31 and 32: This reference to Blake points to o
Page 33: deconstruction-, its function “is
Page 37 and 38: argument, and the heroes of the sto
Page 39 and 40: act of killing God, to the slow sec
Page 41 and 42: mentioned, the intertextual element
Page 43 and 44: meaning of words” (Allen, 2000, 3
Page 45 and 46: Transformation Transformation is a
Page 47 and 48: narrative the process is set into m
Page 49 and 50: secondly, it bears testament to Fre
Page 51 and 52: the crude awakening of the fact tha
Page 53 and 54: CHAPTER ONE DAVID ALMOND’S SKELLI
Page 55 and 56: appalling at first. His first meeti
Page 57 and 58: him, and serves as a mirror through
Page 59 and 60: are some of the parallels that can
Page 61 and 62: Blake & Intertextuality William Bla
Page 63 and 64: With these verses she is signalling
Page 65 and 66: Blakean passages that Almond has in
Page 67 and 68: a process which ultimately leads hi
Page 69 and 70: Michael’s mother, who faces a cer
Page 71 and 72: are not only symbolic and allegoric
Page 73 and 74: the first time, whereas Skellig has
Page 75 and 76: Mina read the sentences out loud. S
Page 77 and 78: see and closely observe the two met
Page 79 and 80: Mina is the one who teaches Michael
Page 81 and 82: however, does not constitute the ep
Page 83 and 84: that such a change in our nature an
Page 85 and 86:
trepidation, there is no surprise w
Page 87 and 88:
doctors whose responsibility it is
Page 89 and 90:
have ultimately learned and exercis
Page 91 and 92:
This very process of change, of bot
Page 93 and 94:
may be offered along the way, this
Page 95 and 96:
of by doctors, Michael tries to hel
Page 97 and 98:
this entire process for Michael and
Page 99 and 100:
in Almond and McNish’s work, as b
Page 101 and 102:
witnesses the wings on his own back
Page 103 and 104:
character and an idea. The artist
Page 105 and 106:
Pullman wished for this story to re
Page 107 and 108:
concepts. As a result, the Fall’s
Page 109 and 110:
case of these three authors it is i
Page 111 and 112:
Malone, who often voices opinions s
Page 113 and 114:
Roger, true fear and loneliness ove
Page 115 and 116:
egins by gathering all the elements
Page 117 and 118:
intertextual umbrella under which t
Page 119 and 120:
driven by malevolence and revenge.
Page 121 and 122:
have to be considered as they are d
Page 123 and 124:
drawn between the two girls, Lyra a
Page 125 and 126:
the end of the GC where Lord Asriel
Page 127 and 128:
considered preferable or superior i
Page 129 and 130:
act is what brought sin into the wo
Page 131 and 132:
punishment for disobedience is not
Page 133 and 134:
work of the General Oblation Board
Page 135 and 136:
Especially in the case of Asriel, h
Page 137 and 138:
Lyra finds Dr. Mary Malone, a scien
Page 139 and 140:
opposite to the religious one; whil
Page 141 and 142:
subject to the laws of optics. They
Page 143 and 144:
homosexuality to child readers as p
Page 145 and 146:
could be, according to Schweizer, a
Page 147 and 148:
as adults. Although she knows what
Page 149 and 150:
conception of the angel Uriel” as
Page 151 and 152:
however, could be intentional on th
Page 153 and 154:
‘I propose to send a man to find
Page 155 and 156:
substitution of this erroneous fait
Page 157 and 158:
come after death. In this way, Pull
Page 159 and 160:
towards adulthood is not always rel
Page 161 and 162:
Pullman parallels childhood and inn
Page 163 and 164:
double significance. In Lyra’s ca
Page 165 and 166:
Instead, he seems to willingly and
Page 167 and 168:
and its innocence, as well as the s
Page 169 and 170:
eligious views myself, and therefor
Page 171 and 172:
The issue of intertextuality is not
Page 173 and 174:
style: shining, fully-robed, [their
Page 175 and 176:
fails to pass the first time. Freya
Page 177 and 178:
McNish appears to harbour the idea
Page 179 and 180:
species closer together to the poin
Page 181 and 182:
this point, it is important to atte
Page 183 and 184:
guardian angels was as conscious as
Page 185 and 186:
has created his own moral code and
Page 187 and 188:
where Luke and Tate are standing in
Page 189 and 190:
2011, 100). He writes that the Jewi
Page 191 and 192:
with this everlasting feeling of de
Page 193 and 194:
to assist and comfort each other. W
Page 195 and 196:
Faith vs. Science and Innocence vs.
Page 197 and 198:
education, and social structures wh
Page 199 and 200:
in angels is not out of the convict
Page 201 and 202:
McNish’s portrayal of innocence a
Page 203 and 204:
All this changes when Freya first m
Page 205 and 206:
enters a state of experience which
Page 207 and 208:
The debate between state-school edu
Page 209 and 210:
or strict, he also draws attention
Page 211 and 212:
following peer victimization” (Tr
Page 213 and 214:
Stephanie feel accepted and more se
Page 215 and 216:
house. Furthermore, he has also had
Page 217 and 218:
Stephanie wants to become her frien
Page 219 and 220:
called from the window. ‘It’s n
Page 221 and 222:
elationship with Stephanie and its
Page 223 and 224:
This he exemplifies both in Mestraa
Page 225 and 226:
thesis, however, it was argued and
Page 227 and 228:
increasingly accurate perceptions o
Page 229 and 230:
interesting things” (Franks, 2011
Page 231 and 232:
strength of the book, and I made ea
Page 233 and 234:
225
Page 235 and 236:
227
Page 237 and 238:
Anonymous, “A Dark Agenda?” Sur
Page 239 and 240:
Bleich, D. (1978) Subjective Critic
Page 241 and 242:
Chambers, A. (1985) Booktalk: Occas
Page 243 and 244:
Damon, S.F., Eaves, M. (1988) A Bla
Page 245 and 246:
Fairer, D. (2002) “Experience Rea
Page 247 and 248:
Gibbs, N. (1993) “Angels Among Us
Page 249 and 250:
Hunt, P. (1994) An Introduction to
Page 251 and 252:
Kochenderfer-Ladd, B., Troop-Gordon
Page 253 and 254:
Manlove, C. (1999) The Fantasy Lite
Page 255 and 256:
Mishna, F., Scarcello, I., Pepler,
Page 257 and 258:
Pfeiffer, J. (1999) “‘Dream not
Page 259 and 260:
Rosenblatt, L. M. (1982) “The Lit
Page 261 and 262:
Squires, C. (2004) Philip Pullman
Page 263 and 264:
Warner, N.O. (1982) “The Iconic M
Page 265:
Yampbell, C. (2005) “Judging a Bo
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