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

Lord of the Rings
films than read the novel. Yet, subsequent to watching the films, they are 
already familiar with the complexity of the plot and can understand the novel better. At the 
same time, adults watch and/ or read children’s fantasy either in connection with their 
children or to serve their own interests. Due to this mutual rapprochement of adults and 
children through films and texts in the fantasy genre and the resulting widening of the 
spectrum towards adult literature on the one hand and towards children’s literature on the 
other parody already is and will become even easier. The advantage of writing a parody of a 
popular classic is the readers’ familiarity with the original. Plot, characters and setting are 
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These are for instance Harry Potter, His Dark Materials, The Edge Chronicles, the Inheritance novels or 
Redwall.
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These comprise for instance The Lord of the Rings (2001-2003), The Chronicles of Narnia (2007), Eragon 
(2007), Inkheart (2008), Prince Caspian (2008) and The Golden Compass (2008). A remarkable feature of this 
current development is the fact that the interval between the publication of the novels and their film adaptations 
diminishes noticeably. Whereas in the case of both The Lord of the Rings and The Chronicles of Narnia almost 
half a century separates novels and films, in the cases of the others the film follows the novels in quick 
succession with only 5 years between novel and film for Eragon and Inkheart. Unlike traditional classics, their 
modern equivalents gain this status quasi over night rather than over decades – an interesting characteristic 
which needs to be analysed elsewhere.

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already outlined. Not having to design an entirely new story, the author of a parody can 
dedicate their attention to the parody itself, i.e. the allusions, puns and satire. Based on 
Carroll’s Alice novels, Beddor’s The Looking Glass Wars modify some of the characters, yet 
never beyond recognition. Aware of the prejudices against parody compared to original 
works, Beddor takes the offensive. In the preface to The Looking Glass Wars, the American 
author turns the tables on critics by passing the accusation of imitation on to Carroll. With this 
brazen reversal of the roles Beddor wards off any reproaches of cliché parody is tainted with: 
A humorous since self-ironic wink at the practice he is consciously using himself. As far as 
the Queen’s violence is concerned, Beddor surpasses Carroll’s model by far. Whereas parody 
is usually comical and funny, the author gives a serious, belligerent title and tone to his 
novel.
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By permanently rectifying and correcting Carroll’s minimised novels, Beddor alleges 
that Carroll was not able to grasp the gravity of the situation. In his novel, Alyss, so the 
“correct” spelling, is not surrounded by strange yet harmless beings like the cute white rabbit 
or the Cheshire cat. Instead, the Queen’s assassin hunts Alyss and Redd personally 
decapitates her rival, Alyss’ mother. The girl is shocked and outraged when she learns that 
Dodgson, whom she trusted with the account of her adventures, has changed important details 
of her memories, turning them into “foolish stuff of children. He was just another in a long 
line of unbelievers and this – this stupid, nonsensical book – was how he made fun of her. She 
had never felt more betrayed.”
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Reversing the roles of original and parody, Beddor thus 
gives Carroll’s novels a new twist.
Whilst Beddor has chosen to parody a traditional classic of children’s fantasy, new 
classics are just as suitable for this purpose. Such a modern work with a high degree of 
familiarity, thus predestined for parody, is the Harry Potter series. Gerber’s Barry Trotter is 
made to look very much like the original,
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even if it is of a much smaller format, as far as its 
actual size and its plot are concerned. As the title already suggests, Gerber’s novels do not go 
to great lengths to contribute own ideas. Some twisted letters in combination with a liberal 
since crude interpretation of the events of the original series have to suffice. However, this 
uninspired text is fully intentional and does not aspire to literary praise. In order to ridicule