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

6.1.2
 
Towards a (new) canon in British children’s fantasy
Whereas the affiliation of the classics of British fantasy literature for children to a 
canon – be it either a general canon of children’s literature or even a more specific one of the 
fantasy genre – should not give rise to much dispute or opposition, the situation of current 
publications of fantasy novels turns out to be more difficult. Among experts and researchers 
in the field the current situation is contested. According to Kümmerling-Meibauer, whose 
study provides a clear and detailed overview and stocktaking of the ongoing debate, the key 
questions concern the generally desired establishment of an internationally sanctioned canon 
of children’s classics as well as a consensus of opinion with regard to canons on a national 
level.
7
The assumption is that, at least on an international level, the wealth and variety of 
children’s literature would become clearer and more structured by the introduction of 
standards. Here, a canon is clearly understood as a literary seal of quality.
As long as on both national and international levels binding canons have not yet been 
fully established and accepted, temporary, makeshift ones are being set up by magazines, 
literature awards, publishers etc. in order to compensate for the lack of standardisation. 
Kümmerling-Meibauer labels this phenomenon as the process of “secret canonisation.”
8
This 
reveals that there is a demand for a canon which offers certainty, reliability, stability and 
obligation in a world which becomes increasingly uncertain and non-committal through its 
crumbling norms, standards and values. Against this background one can understand the 
demand for regulations, order and guidance. Yet focussing on censorship,
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i.e. the sifting out 
7
Ibd., p. 3.
8
Ibd. 
9
Ibd., p. 29. 

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of non-elitist works, ought not be the motive. Rather, a topical canon should include those 
works which are frequently and willingly read and inquire into the reasons for their 
popularity. These are for instance the spirit of the time, the topic, the main conflicts or the 
characterisation of the heroes. Almond’s Skellig or Crossly-Holland’s Arthur are prime 
examples for profound works that despite the shortness and simplicity of their sentences are 
convincing on account of their concise wording and contents.
While there is still disagreement concerning the existence, form and content of a 
general international canon of children’s literature, a national canon of British literature for 
children is less comprehensive, and fantasy as its subgenre again reduces its extent. 
Nevertheless, the fact that current British fantasy for children has moved into the limelight not 
only of national but also of international literature because of the worldwide export of popular 
novels like Harry Potter or His Dark Materials makes it an interesting subject of substance.
In the following, we will limit the examination of the current status of canon to the 
subject of the study, British fantasy novels for children, and leave the definition and 
classification of national and international canons to further studies that deal with children’s 
literature in general and not specifically with fantasy. As Kümmerling-Meibauer has argued 
there still remains a need for clarification, definition and order, especially seen as there 
remain many sceptics in the face of a canon for children’s literature.
10
Contested as the subject of an established and binding canon in general children’s 
literature may be, the fantasy classics represent a sound basis for the existence and the 
investigation of a specific contemporary canon of British fantasy novels for children. Just as 
the classics of the genre form a stable assembly of characteristics, norms, values and 
messages to be conveyed, current British fantasy novels for children can be classed according 
to those parameters. Yet, historical events and their influences divide the classics from current 
publications, as they have changed society, its attitudes, priorities and views. The two World 
Wars and their traumatising aftermath required several decades of literary digestion. Only 
slowly did the gloomy tenor prevailing in the after-war and Cold War-period clear up, before 
threats of a different nature made their arrival. The atomic catastrophe of Chernobyl showed 
mankind how sensitive the planet’s equilibrium is and that it is man’s own responsibility to 
preserve it. Since then the latest the environmentalist movement has been gaining increasing 
10
Ibd., p. 4.

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208 
influence on fantasy literature for children.
11
Deep-rooted changes in the political structure of 
Europe and the dissolution of the Soviet Union in the 1990’s, but above all the 11
th
of 
September 2001 with all its implications have an immediate impact on contemporary fantasy 
literature. On the basis of the classics an updated canon of British children’s fantasy should 
take this undulating development of tenor into consideration, which moves from hopeful (the 
classics) to sinister (Second World War and aftermath) to more positive (1970’s-1980’s) 
again, before the 1990’s and 2000’s swing back towards gloominess.
A current canon of British children’s fantasy should not merely focus on adult quality 
assurance, but also take into account what today’s children find interesting. Once the concept 
of canon has been agreed upon and it has been stabilised, the specific novels that should be 
included into this canon have to be discussed and decided upon. So far one can only outline 
the general requirements that such works should fulfil. A rejuvenated canon of British 
children’s fantasy does not have to abandon its classics.
12
On the contrary, it should be proud 
of them and take them as a basis for the incorporation of further works, above all potential 
new classics, into its spectrum. Such candidates are for example Harry Potter, an instant 
classic, which already today has cult status,
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but also His Dark Materials, Artemis Fowl, 
Taylor’s novels or the Abhorsen trilogy. Novels to be included into a new, rejuvenated canon 
of British fantasy for children should at least meet the criteria of individuality, thematic, 
philosophical and character depth, of expressiveness, special features, presentation as well as 
solving of topical problems, whilst being innovative by exploring new paths. Therefore, in 
order to do justice to these requirements, the concept of a topical canon should be formulated 
as openly as possible so as to cover a very wide spectrum, since only the latter can 
appropriately reflect the current developments.
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Again it is Tolkien who can be considered a trailblazer for the environmentalist philosophy in fantasy 
literature.
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Kümmerling-Meibauer points out that even in view of the (German) classics there are still disagreements and 
uncertainty as far as terminology and the coverage of the corpus are concerned. Cf. Kümmerling-Meibauer,