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

6.5
 
Infantilisation or rejuve-maturation? 
The phenomenon of crossover literature and its liberal crossing and mixing of borders, 
standards, rules, norms, expectations and reader groups implies a form of merging of adult 
and children’s literature; independent of the question from which angle or direction it may be 
viewed. Despite the fact that this rapprochement concerns both sides, it is often considered as 
being only one-sided. Children’s literature moving closer to adult literature is guaranteed to 
be considered a natural maturation and a growing up of the reader through the assumed higher 
demands of the lecture. By contrast, any concession of adult literature towards that of 
children’s is very likely to be frowned upon, since it implies an assumed lowering of 
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Compare: Kümmerling-Meibauer, Kinderliteratur, Kanonbildung und literarische Wertung, p. 249.
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Ibd., p. 250.
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Ibd., p. 250.

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standards, demands and quality. As a result, this possible second aspect is either avoided, or, 
if acknowledged, then connotated in a negative way.
The question that poses itself is whether one side-effect of crossover literature can be 
an infantilisation of literature for adults. Does the rapprochement between adult and children’s 
literature, in our case fantasy, ring in the approaching end of high quality literature? Or is for 
some people the fact that it concerns fantasy already a loss in quality, since they do not 
consider the genre high literature in the first place? As the study’s analysis of selected fantasy 
novels has revealed there is no indication for a discernible “threat” of a slip of adult literature 
into infantilisation. Rather, the structure and quality of this study’s corpus novels show that 
such concerns are unfounded. In particular the work of Pullman is a prominent example of 
highly demanding fantasy literature for children as well as adults. With its complexity, depth, 
philosophical and ethical potential, the trilogy – on behalf of a large number of the current 
publications in the genre – takes the wind out of the sails of anyone who sees an 
infantilisation in the fantasy genre. Far from losing out by opening up towards children’s 
literature, adult literature can gain by the impetus of children’s literature in respect of minor 
protagonists, structure and themes.
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As much as children can gain by reading adult literature, 
adults in reaction may profit from the more direct, hands-on perspectives and emotions 
children’s literature offers.
As we have already seen, the corpus novels of this study do not justify the negative 
labelling “infantilisation”. On behalf of other novels of the genre, they actually show the 
opposite and do not fail to impress by the maturity of their subjects and, eventually, their 
characters. Be it Lyra, Will, Harry, Kestrel, Bo or Nathaniel, young heroes in current British 
fantasy reveal a potential and depth that equals that of adult counterparts in the genre. The fact 
that the main characters are minors does not imply that they are incapable of great deeds. 
Instead, their courage at their young age is outstanding and thus more admirable than a 
comparable performance by an adult. Consequently, the term “infantilisation” has no 
justification for current British fantasy novels for children. Rather, their present development 
suggests a possible future merge with adult fantasy. So there should not be any talk of 
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Themes of children’s literature such as maturation, initiation, socialisation or finding one’s true self also 
concern adults. The latter have already experienced those processes first-hand during their own childhood. 
With today’s interpretation of childhood extended sometimes even into the early twenties through longer 
education timescales and adults having to adapt to new socialisation processes through moving, a change of job 
etc., those themes never cease to be topical, even for adults.

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“infantilisation”, but of “rejuve-maturation”.
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This term combines the potential of both sides 
by taking into consideration the rejuvenating effect minor main characters and their quests can 
have for adults as well as, for children, the importance of play for the development of a 
mature personality. In this respect, crossover literature offers possibilities for identification 
with youth for adults conform to the current trend of a pronounced youthfulness of the adult 
world. At the same time, it fulfils the wish of children for more knowledge and experience, 
i.e. maturity, without having to give up play.