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

James Bond
. Sandra L. Beckett argues along the same line when she points to the references to James Bond. 
Beckett, Crossover Fiction, 2009, p. 149.
48
Eoin Colfer. The Opal Deception. New York: Miramax-Hyperion Books for Children, 2005, p. 1. 

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technology is far ahead. Nevertheless, the Little People avail themselves of human 
technology, even if only for reasons of convenience.
By transferring authentic primary world technology into fairyland and simultaneously 
endowing it with unattainable, unheard-of modifications, the author achieves an astounding 
effect of alienation. Hard on the heels of this disenchantment follows re-orientation: The 
breathtaking speed at which the introduction and basic explanation of modified or entirely 
new devices and their functions takes place hardly leaves any time to genuinely miss the 
under-representation of traditional magic. The latter is edged out of its accustomed territory 
by high-tech, which appears just as fantastic as magic, if not more so.
Illustrative of this observation is Colfer’s adaptation of the new media in Artemis 
Fowl
. On the basis of the explosive spread of communication media in the real world, the 
author devises a scenario in which he thinks ahead of the present potential and presents a 
possible future outlook. As to what efficiency, bandwidth and top performance are concerned, 
the Little People’s success is enviable. Fully computerised, their ramified communication 
system relies on high-performance machines which support the use of the most varied means 
of communication. Like Brennan, Colfer invents elaborate communication devices which 
make use of the latest as well as future scientific inventions and discoveries, especially on the 
sector of nano-technology, surveillance and weaponry. However, Colfer surpasses Brennan by 
far with the wealth of technical gimmicks he introduces in the Artemis Fowl series. The fairies 
work truly magical things, but with technological devices. This way, Colfer, stressing the eco-
friendliness of the fairies’ inventions, suggests that technical progress takes over traditional 
magic.
It is only over time and by degrees that Artemis performs a change of heart from fairy-
hunter, “public enemy number one”,
49
to fairy-protector and supporter. Inconsiderately, the 
young boy initially has ulterior motives for his discovery and planned exploitation by means 
of extortion of the Little People. Driven by self-interest and profit, Artemis displays exactly 
that strategic and commercial calculation which the narrator denounces here in place of those 
humans with comparable attitudes. Negative light is not only thrown onto the main problem 
of aggressive and voracious greed, but also onto its consequences.
Primarily, this concerns ecological issues
50
such as the overexploitation of natural 
resources. Furthermore, through pollution, ecosystems are destroyed and the natural balance 
49
Eoin Colfer. The Arctic Incident. New York: Hyperion Books for Children, 2002, p. 78.
50
See for example Colfer, Artemis Fowl, p. 68 and Colfer, The Arctic Incident, p. 16.

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destabilised, thus impairing, curtailing or even extinguishing entire habitats. This actually 
means that the humans concerned deliberately ignore and often successfully escape the 
responsibility towards their planet. In Artemis Fowl, the negligent dealing with environmental 
care shows an essential aspect of social criticism. The issue of social criticism will be 
addressed and examined in more detail in 6.3.
 
Authors such as McGowan who, in Hellbent,
51
 
equips hell with the latest high-tech 
devices, Brennan and especially Colfer take on the challenge of contemporary science. With 
their new and original ideas of combining magic and science, these authors
usher in a 
rejuvenating “living cell therapy” for this traditionally moulded area. While time-honoured 
magic is still paid tribute to, the mechanisation of magic points the way ahead. 
The Artemis Fowl series illustrates this development. Here, traditional magic is limited 
to healing, becoming invisible and the necessary ritual for replenishing the fairies’ magic 
powers. As to what technology and science are concerned, it becomes clear that traditional 
magic has its limits and that the future of the fairies, already so unlike the cliché of Victorian 
fairies, lies in scientific progress.
Artemis Fowl and the Lost Colony
emphasises that the fairy genius Foaly has to 
manage entirely without magic.
52
However, his intelligence, expressed by his inventions, 
easily compensates the lack of magic. Not only the centaur, but also the fairy Holly Short 
experiences the limitations of magic herself when fatally wounded by a demon. Whereas 
magic alone cannot save her, “a combination of magic and science” can.
53
The goblin Opal 
Koboi resorts to science instead of magic for her evil deeds, and claims: “[s]cience will be my 
magic”.
54
Tolkien’s noble elves and Colfer’s fairies couldn’t be more different. Middle-earth’s 
Rivendell or Lothlórien clash with the bustling and crowded underground Haven City in 
Colfer’s novels. Whereas Tolkien is often said to be world-weary and escaping civilisation in 
his fantasies, Colfer meets the challenge of urbanising the fairy community. By transferring 
modern social realities to the fairy realm, the Irish author bets on a conscious confrontation 
and its possibilities. So far unprecedented in this form in British fantastic novels for children, 
this conflict is argued out between the two most intelligent representatives of their respective 
51
McGowan, Hellbent, 2006.
52
“Centaurs didn’t have magic. Not a drop. They got on by brains alone.” Colfer, Arctic Incident, p. 148. 
53
Colfer, Artemis Fowl and the Lost Colony, p. 338. 
54
Colfer, The Opal Deception, p. 27. 

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species, with Artemis on the human and Foaly on the fairy side. Both genii, the boy and the 
centaur strive to outdo each other. Their scientific rivalry takes advantage of the other’s 
achievements and knowledge, resulting in an extensive compatibility of the technologies 
involved. Thus, both parties profit from mutual espionage. Yet, for Artemis, this inter-species 
exchange grants him access to advanced technological inventions. Without their knowledge, 
the teenager would lack the necessary fundamentals for his creative flights of fancy. 
Interestingly, the boy does not merely copy fairy inventions but alters, adapts, combines or 
develops them even further for his own purposes; a fact which makes Artemis at least Foaly’s 
equal.  
Above, we have identified magic as one of four selected traditional elements of British 
fantasy literature for children. Firstly, traditional elements of magic were discussed and 
compared to their modern facets. We then inquired into the application of magical creatures 
before addressing topical innovations in the field of magic. Despite the fact that magic has 
been justly classified as a traditional element, it is no contradiction in terms to pursue current 
developments at this point. By means of a direct comparison between traditional old and 
innovative elements, their particular prevailing characteristics and mechanism emerge more 
clearly, thus permitting more discriminating individual studies.
Possibly the most graphic example of the ongoing development from old towards new 
is the portrayal of fairies. As we have seen, the Victorian interpretation of the Little People as 
cute butterfly-like creatures at the bottom of the garden has had its day. With the help of 
creative and innovative magic in the form of high-tech special effects and breathtaking action 
modern fairies escape from hackneyed clichés of old.