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6.1.1
 
Is there a canon in this genre? - The classics 
Kümmerling-Meibauer writes chiefly about and with German children’s literature in 
mind. Yet, her findings and theories concerning the association and interplay of children’s 
literature and canon can be for the most part applied to British literature, too. Above all, this 
concerns her thoughts about the notion of “canon” and its existence and form. According to 
Kümmerling-Meibauer, stimulated by the impulses of deconstructivist approaches, 
established literary canons for adults all over the world are on trial. Whereas their contents, 
parameters, values and legitimacy are being scrutinised,
4
in the field of children’s literature it 
is still being vehemently discussed whether there already is or whether there should be a 
canon for children’s literature.
If one wants to establish whether there is such a thing as a canon of children’s 
literature, then surely the most obvious thing to do is to take a look at the classics. Within the 
scope of this study, we will not consider children’s literature in general but restrict the 
investigation to British fantasy literature for children. Here, if there was a doubt concerning 
the existence of a canon, the classics would be the prime candidates for admission, since they 
3
Kullmann labels this phenomenon the asymmetry of literary communication in children’s literature. Kullmann, 
Englische Kinder- und 
Jugendliteratur, p. 15.
4
Kümmerling-Meibauer, Kinderliteratur, Kanonbildung und literarische Wertung, p. xxv.

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are firmly established in the literary landscape, are widely read and popular and convey social 
and moral values.
Classic fantasy novels like Gulliver’s Travels, Alice in Wonderland, Through the 
Looking-Glass
, The Wind in the Willows, Peter Pan, Winnie-the-Pooh, The Hobbit etc. share 
the characteristics of conveying values and morals whilst offering children fascinating, 
fantastic adventures. What makes them a classic is the fact that they radiate timelessness, thus 
appealing equally to children of many generations without forfeiting their attraction. Since the 
basic needs of children remain the same over many years, the stability of these fantasy novels 
is experienced as being reassuring and comforting. Not only have the children accepted these 
novels as children’s literature but also the adults who mainly buy them. The criteria of 
stability and universality argue in favour of the classics’ affiliation to a potential canon, just as 
the fact that with such a large readership over many generations the classics have become an 
inventory or standard. Consequently, if there is a canon of children’s fantasy, then the classics 
- in their quality of models even for current publications – are definitely part of it.
As far as current British fantasy novels and their integration into a canon are 
concerned, it remains to be seen which works will prevail over the years. In this connection, 
Kümmerling-Meibauer states that children who do not yet have access to the adult canon still 
require and are entitled to high quality literature. Since this is exactly what a canon attempts 
to establish, they are entitled to their own canon of children’s literature and literary 
socialisation.
5
However, according to Kümmerling-Meibauer there is still some disagreement 
in the field as to whether or not there actually is a canon of children’s literature and if so, what 
it should comprise.
6
As stable and reassuring an established canon may be, representing a selection of 
works which are considered a collection of high quality literature, it also has an immanent 
disadvantage. Considered a bastion of good taste, any changes in the form of removals or 
additions of works take place with a temporal delay. With a canon being the last thing to 
change, current developments of a genre and society are not mirrored in real time. Therefore 
topical publications can influence the future development of a canon but will only be reflected 
out of sync with their temporal and social context.
For now, the question is whether there can be or there actually is such a thing as a 
canon of British children’s fantasy classics. In an overall context, fantasy is part of children’s 
5
Ibd., p. xxv.
6
Ibd., p. 3. The question of canon is a current issue in children’s literature criticism. 

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literature in general. Yet, the fantasy classics form a complex group which clearly 
distinguishes itself in style and content from other literature for children like picture books, 
fairy tales, detective stories, historical novels etc. With the fantasy classics transmitted over 
time and grouped together in a more or less standardised “list” of novels most children read, it 
would appear that a canon of British fantasy classics does indeed exist. Although the experts 
in the field may be in disagreement on the issue, everything seems to indicate that at least the 
fantasy classics form a canon. In the following we will inquire into the issue of the existence 
of a contemporary canon of British fantasy literature for children, its possible form, content 
and parameters as well as its implications for the development of the genre.