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FINAL Current Developments at the Intersection of British Children ONLINE VERSION
Inkheart
have already been adapted for the screen and the sequels to Inkheart are bound to 4 As we have seen, hybridity also concerns the forms of texts. In the future, traditional print media will have to compete even more with electronic narratives. Hybridity further concerns its elements, for instance the secondary world or the hero(es). In Brisingr, the third novel of the Inheritance cycle, Paolini emphasises this very point. By being no longer a boy and not yet a man, no longer a human and not an elf, the hero Eragon has become a hybrid form himself. Compare Christopher Paolini. Inheritance. Brisingr. London: Doubleday, 2008, p. 659. 256 follow suit. Ralf Isau is also a promising candidate, particularly with the novel Pala. Compared to the genre’s share of original English-speaking novels, very few non-English novels, albeit in translation, make it into English literature. Yet, once they do, those fantasy novels for children gain popularity. 5 The future development of British fantasy novels for children will be decisively marked by the new media and other technical innovations, which play an increasingly important role. 6 Having become essential parts of everyday life, they will become integrated into the fantasy texts as naturally as online role playing games such as D&D feature old magic and new technology side by side. While traditional forms of fantasy, such as animal fantasy, historical fantasy or heroic fantasy will continue to exist, represented for instance by Jacques’ Redwall or Baldry’s Eaglesmount, Crossley-Holland’s Arthur or Paolini’s Inheritance cycle, the current developments of the genre reveal a gaining in strength of dark fantasy as well as the new hybrid form of high-tech fantasy. At the same time crossover forms, an active exchange between forms, will become even more frequent, perhaps even the norm one day, before new parameters will be laid down. Those will then testify the shift in definition, content and form of fantasy. In the meantime, the current developments at the intersection of British children’s literature and fantasy already show many interesting facets and potential of their own that future novels will have to consider when taking on the challenge set by the present. Meanwhile, we have come full circle. Not only does no one have to apologise and justify themselves for reading or studying children’s literature any more, but interestingly critics like Linda Hutcheon apologise for not having developed a serious interest in children’s literature any sooner. 7 Furthermore, the memorable opening sentence of The Hobbit now has a competitor. In Rowling’s version, the message “In a cupboard under the stairs there lived a 5 In this connection, a highly interesting field of study suggests itself: The analysis of how much national colouring of original works gets lost in translation in order to make the text more accessible to readers with a different cultural background. Keenan points out the loss of Irishness in Artemis Fowl through translation and the ensuing implications globalisation has on culture-specific references in non-English national literatures. Cf. Celia Keenan. “Eoin Colfer”. In: Valerie Coghlan; Siobhán Parkinson (Eds.) Irish Children’s Writers and Illustrators 1986-2006. Dublin: Church of Ireland College of Education Publications and Children’s Books Ireland, 2007, pp. 25-26. 6 Compare Andrew Burn. “Multi-text Magic: Harry Potter in Book, Film and Videogame”. In: Fiona M. Collins; Jeremy Ridgman (Eds.) Turning the Page: Children’s Literature in Performance and the Media. Bern: Peter Lang, 2006, pp. 227-249, M. Mackey. Literacies Across Media. London; New York: Routledge, 2002, as well as G. Kress; T. van Leeuwen. Multimodal Discourse: The Modes and Media of Contemporary Communication. London: Arnold, 2000. 7 Linda Hutcheon. “Harry Potter and the Novice’s Confession”. In: The Lion and The Unicorn 32.2 (April 2008), 169-179. 257 wizard”, is rendered by “Mr and Mrs Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much.” 8 Banal as they are, the beginnings of both traditional and new classic open the door to a magical world that fascinates young and old alike and will continue to do so for years to come. 8 Rowling, Harry Potter and the Philosopher’s Stone, p. 7. 258 |
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