The author analyzes the way the girls discuss pleasure in becoming "the eye" of the reader, use film to decode the genres of literature, master forms such as fantasy and Gothic, describe the differences between reading and viewing films, and identify only with animal rather than human characters. Blackford intertwines the vivid voices of her girl respondents with her own story of moving beyond her feminist and multicultural assumptions of how children are shaped by the stories we tell in literature. This breakthrough text presents surprising findings about how girls appreciate literature and what they enjoy about reading.
The author analyzes the way the girls discuss pleasure in becoming "the eye" of the reader, use film to decode the genres of literature, master forms such as fantasy and Gothic, describe the differences between reading and viewing films, and identify only with animal rather than human characters. Blackford intertwines the vivid voices of her girl respondents with her own story of moving beyond her feminist and multicultural assumptions of how children are shaped by the stories we tell in literature. This breakthrough text presents surprising findings about how girls appreciate literature and what they enjoy about reading.
This book explores the myth of Persephone and Demeter as it informs the development of a long discourse about civilization, the development of children, child psychology, and fantasy literature. The pattern in the myth of girls who descend into underworlds and negotiate a partial return to the earth is a marked feature of girls’ literature, and the cycle also reflects the change of seasons and fertility/death. Tracing the parallel between the myth and girls’ literature enables an understanding of how female development is mourned but deemed necessary for the reproduction of culture. Blackford looks at the function of toys in children’s literature as a representation of the myth’s narcissus, combining this approach with classic interpretations of the myth as expressive of female psychology, mother-daughter object-relations, hieros gamos (fertility coupling) rituals, transition from matriarchal to patriarchal order, and excursions into the creative/artistic unconscious. The story of Persephone’s separation from her mother and abduction into the underworld is explored as an expression of ambivalence about female development in works such as Hoffmann’s Nutcracker and Mouse King, Alcott’s Little Women, Brontë’s Wuthering Heights, Barrie’s Peter and Wendy, Burnett’s The Secret Garden, White’s Charlotte’s Web, Rowling’s Harry Potter and the Chamber of Secrets, Meyer’s Twilight, and Gaiman’s Coraline. With this book, Blackford offers a consideration of how literature for the young squares with broader canons, how classics flexibly and uniquely speak through novels that enjoy broad appeal, and how female traditions are embedded in novels by both men and women.
Blackford finds the basis of Mockingbird's broad appeal in its ability to embody the mainstream culture of romantics like Emerson and social reform writers like Stowe, even as alternative canons---southern gothic, deadpan humor, queer literatures, regional women's novels---lurk in its subtexts. Central to her argument is the notion of "passing": establishing an identity that conceals the inner self so that one can function within a closed social order. For example, the novel's narrator, Scout, must suppress her natural tomboyishness to become a "lady." Meanwhile, Scout's father, Atticus Finch, must contend with competing demands of thoughtfulness, self-reliance, and masculinity that ultimately stunt his effectiveness within an unjust society. Blackford charts the identity dilemmas of other key characters---the mysterious Boo Radley, the young outsider Dill (modeled on Lee's lifelong friend Truman Capote), the oppressed victim Tom Robinson---in similarly intriguing ways.
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