By Farah Mendlesohn
First released in 2005. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Additional resources for Diana Wynne Jones: The Fantastic Tradition and Children's Literature
Crucial to the ethical and narrative structures of Jones’s work is the belief that knowledge, and specifically knowledge of each other, is the key to perceiving each other as human and to understanding what bravery is. 26 The desire to produce the female hero (not heroine), or at least not a predictable one, is one of the distortions that affect this book. As I have already pointed out, the cast is evenly balanced; three boys, three girls, carefully composed according to class, with Frank and Jess as the fulcrum.
2 The patterns occur in books for children of all ages: magic is an effective metaphor for growth and the process of constant change, and negotiation with the change that is adolescence. 19 20 DIANA WYNNE JONES However, in children’s and adult’s fantastic fiction, all too frequently adulthood is reduced to a mere matter of power, disengaged from emotional maturity or complexity. The element of the fantastic suffers because it becomes an adventure playground in which the depiction of the fantastic becomes a description of what happens if you press a particular button.
Delany’s Dhalgren, and Diana Wynne Jones Archer’s Goon. These novels could not be less alike. The second most common form of categorization has been through the cast of fantasy. This is seen most clearly in bookshops, where supernatural fiction has been categorized, at least in part by the presence of ghosts, werewolves, and other creatures of the night, and placed on the shelves marked horror, whereas the presence of “other peoples,” either those of an elvish–dwarfish persuasion or exotic orientals, will send a book to the fantasy shelves.
Diana Wynne Jones: The Fantastic Tradition and Children's Literature by Farah Mendlesohn