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

6.6
 
Social criticism 
At first glance, social criticism and fantasy for children do not seem to have much 
common ground. Firstly, fantasy is frequently considered being escapist literature and 
therefore out-of-touch with reality. However, the otherness of its worlds and the comparison 
with reality offers sufficient possibilities and fuel for social criticism. Secondly, due to their 
lack of experience children are just as often believed not to be capable or entitled to criticism 
of adult structures. Yet, it is through the eyes of children that injustices can become more 
obvious. Children already dispose of a marked sense of justice and are quick at detecting 
discords. In their world of a still manageable size discords carry much more weight than in the 
adult world. Current British fantasy for children is very conscious of social and ecological 
injustices. Representative of the genre, the corpus novels of this study cover a large spectrum 
of social and ecological criticism. The differences lie in the focus of their concerns and in the 
vehemence with which they are addressed.
Yet again, Tolkien’s fantasy novel The Lord of the Rings is a pioneering work in 
respect of the combination of social and ecological criticism in fantasy. Condescendingly 
smiled at as a tree-hugger, Tolkien was highly conscious of the progressive, wanton and 
mindless destruction of the planet by man and his boundless profit-seeking. Isengard and 
Mordor have become symbols of this ecological catastrophe. Current British fantasy novels 
for children also address various aspects of the ongoing exploitation and destruction of nature. 
Hussey’s The Valley of Secrets
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denounces
“the daily devastation of forests”
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illustrated by 
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The term “rejuve-maturation” which I propose for this phenomenon would take into account this bilateral 
rapprochement free of value judgement. Petzold suggests the term adultisation; yet this does not take the 
rejuvenating effect into account that reading children’s literature can have on adults. Cf. Dieter Petzold. “Große 
Kunst, juvenile trash oder kollektives Spielzeug? Zum Erfolg der Harry-Potter-Bücher bei Jung und Alt”. In: 
Maren Bonacker (Ed.) Peter Pans Kinder: Doppelte Adressiertheit in phantastischen Texten. Trier: 
Wissenschaftlicher Verlag Trier, 2004, pp. 82-93, p. 83. 
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Hussey, The Valley of Secrets, 2005.

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the clearing of the Amazonian rainforest by contrasting the destruction of the Indians’ and the 
animals’ habitat with the eponymous Valley of Secrets. Here, a variety of Amazonian animals 
and an Indian have found an idyllic refuge and can continue their lives in harmony and peace. 
The novel is interlarded with critical comments on man’s careless behaviour towards his 
fellow men as well as nature and attempts to heighten the reader’s awareness for these issues. 
In the novel topics such as human rights, lack of respect towards man and nature, exploitation, 
slavery, violence and murder are illustrated by the Amazonian rain forest and its inhabitants. 
The pacifist life of the Indians in line with nature, represented by the hermit Murra-yari, is 
held up as an example. It is suggested that were all men like him, life in harmony with man 
and nature would be possible.
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A deep regret is voiced that only a small part of humankind 
has chosen a peaceful way of life like the Indians. The extent and intensity of the suffering 
and injustice are emphasized by means of an eyewitness report. In the form of a diary, the 
main character’s relative has left him a legacy which captivates and shakes up by its urgency 
and authenticity. Furthermore, the – albeit secret - presence of the exotic animals and of the 
Indian in the UK shows more immediacy than the distant Amazonian rain forest ever could. 
Recurrent appeals to reason concerning a restoration of the balance between man and nature 
constitute Hussey’s ecologically oriented social criticism.
In the Artemis Fowl series, a comparable concern about world ecology, in particular 
the relation between man and nature, is voiced. Repeatedly it is pointed out that the human 
race forced the faeries to hide underground and that the discovery of the latter by the humans 
would mean their end. Whereas the narrator in Hussey’s novel appeals openly to the reader, 
Colfer’s narrator uses satirical sideswipes and irony for his social criticism. With acerbity 
injustices are denounced and it is made understood that mankind should know better than to 
behave how it does.
In an allusion to Rowling’s Muggles, humans are called Mud People by the fairies.
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This open depreciation and resentment is not without reason, since the humans are blamed for 
the state the planet is in. Amongst other things, the ruthless exploitation and pollution of 
nature is criticised. As a countermeasure, the narrator suggests using eco-friendly 
technologies such as recycling and the use of solar power. Humans are portrayed as socially 
incompatible with nature on the one hand and with themselves on the other.
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Ibd., p. 176. 
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Ibd., p. 346. 
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Colfer, Artemis Fowl, p. 68.

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The violation of nature is also addressed in Nix’ The Keys to the Kingdom series. Even 
within The House, which ought to serve as a role model in every aspect, the overexploitation 
of resources leads to a dramatic instability of the inner balance of the realms. With Grim 
Tuesday turning his realm into a huge pit in which he makes his workers mine Nothing, his 
profit-seeking almost causes a catastrophe.
In Nicholson’s The Wind on Fire trilogy, the social criticism opposes various aspects 
like customs and practises of the presented society. Above all, society’s prevailing socio-
political structures are denounced. The most prominent example for this is the main city of 
Aramanth’s circular structure which reflects
the hierarchical order and achievement-oriented 
status of its inhabitants. According to their social rank and the varying results of the 
unrelenting performance tests they have to take,
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the citizens are assigned to the respective 
colour-coded district. There, clothing, colour of the buildings and living standards match the 
citizens’ position in society. Whereas the most distinguished and powerful inhabitants live in 
the very heart of the circle, the lower someone’s status, power and rights, the further away 
from the centre he lives and the less respected is his occupation. In The Wind on Fire, social 
criticism is directed towards the colour-coded ghettoisation as well as against the 
discrimination resulting from it. This injustice is emphasised by society’s punishment of the 
Hath family. In particular, Kestrel’s conscious and vehement rebellion against the totalitarian 
system and the ensuing punishment of her father pillory comparable situations in the real 
world. Further points of departure for social criticism are not only human rights and their 
violation but also abuse of power and oppression through despotism. The latter is the main 
theme of the trilogy’s second volume The Wind on Fire: Slaves of the Mastery. While the 
megalomaniac Master considers himself a sensitive musician and aesthete,
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the fallen Singer, 
parallel to a fallen angel, is unsurpassed in his cruelty. Instead of creating a state of harmony, 
the Master effectively causes nothing but fear and destruction.
Rowling’s Harry Potter series is also concerned with despotism, injustice and human 
as well as wizard and elf rights. Hermione’s campaign for elf rights and their liberation may 
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The constant pressure to perform to better or just to maintain one’s social rank is seen as being very 
discriminating against people. Aramanth’s performance-oriented society thus reduces humans to their 
performance and functioning in the system only. As in reality, incessant competition and the psychological 
pressure can cause burnout syndrome and depression. This negative side-effect of modern society and its high-
speed-living is illustrated by the treatment and the suffering of Hanno Hath. Interestingly, the slogans “Better 
today than yesterday”, Nicholson, The Wind Singer, p. 11, and “Harder. Higher. Better”, Nicholson, The Wind