Microsoft Word final-current Developments at the Intersection of British Children-online-version doc

6.9
 
Parodies 
Yet, there are authors who parody popular forms or works of fantasy and who are very 
successful since very original. Terry Pratchett for instance has created a whole universe and 
each volume features a large range of parodistic elements. Pratchett’s Discworld series is so 
refreshing since he parodies everything and anything without simply copying other novels. 
Instead, the author works with subtle allusions, parallels or opposites, embedded in the fabric 
of a dense network of intertextuality within and outside of fantasy literature. The novels are 
interlarded with dropped hints, so that the reader becomes a detective, embarking on a 
treasure hunt for clues. Amidst all those déjà-lus the reader is facing a constant challenge: 
One cannot get rid of the impression that no matter how meticulous the reading, one still 
misses many allusions and puns. Layered as Pratchett’s novels are, a superficial reading of 
them will reveal superficial aspects. Like an archaeologist, one has to expose the lower strata 
of the work. Such discoveries are two-edged swords: Any achievement, however rewarding it 
may be, is accompanied by the nagging feeling that something far more precious has been 
overlooked.
Among current British fantasy novels for children range many originals and a growing 
number of parodies of such works. Qualitatively there are big differences between what we 
have labelled “parasitical” literature and parodies. Whereas “parasitical” literature either 
bluntly imitates content and/ or structure of an original or thinly disguises the imitation by 
means of other names, places or through the introduction of a new character, well-made 
parodies can even have the potential of becoming an original in their own right. It is only 
natural that parodies follow the current trends of the genre. By basing themselves on popular 
original works, they aim at a correspondingly large readership. In the first place parodies are 
96
The term “parasitical” is offensive. It was chosen to point out the common practice of imitators in fantasy 
literature who attempt to sell their novels to the fans of the genre. By largely copying contents and structure, 
yet not keeping the demanding style of originals, those authors write for the sake of profit, not of 
craftsmanship, aesthetics or conviction. Still, not every apparent imitation is a poor spin-off of an original. 
Parodies can be witty and original in their own respect. Although parodies can be parasitical, humour requires 
hard work. Parasitical works are written with the aim of quick success with the least
effort input possible, 
whereas parodies have the potential of success in their own right if they are well done.

---

244 
intended to amuse those readers who already like the original novel and who can now see it 
from a new, humorous angle. Yet there are also those readers who do not like the original and 
who therefore enjoy fun being made of it.
Since our corpus novels also include bestsellers,
97
which follow or even set current 
trends of the genre, they are bound to be parodied by other authors. In the majority of these 
cases the parodies modify the original’s title slightly so as not to openly plagiarise whilst 
keeping the resemblance as an eye-catcher. This way, The Lord of the Rings becomes Bored 
of the Rings
in one version and Muddle Earth in another, Alice in Wonderland/ Through the 
Looking-Glass 
are the basis for The Looking Glass Wars, and Barry Trotter’s origin is self-
explanatory, too. As with all parodies, they can only work to their full extent if the reader is 
already familiar with the original novel. Otherwise
allusions, parallels and puns are lost. Due 
to their high affinity to fairy tales, the classic literature for beginners, fantasy novels are a 
popular continuation for advanced young readers. Therefore many children are familiar with 
the bestsellers of the fantasy genre and consequently understand the parodies.
The rapprochement of fantasy for children and fantasy for adults raises an interesting 
issue regarding the spectrum of parody. Aided by the current trend of screen adaptations of 
bestselling fantasy novels,
98
children rapidly expand their knowledge of “adult matter” and its 
respective parodies. It goes without saying that more children will have seen the three The