Notes INTRODUCTION 1 Andrew Birkin's book j. M. Barrie and the Lost Boys (Birkin, 1979) was dramatised as a three-part television serial for BBC television in October 1978. CHAPTER I: PETER PAN AND FREUD 1 References to Freud, by volume number, year of writing (in parenthesis) and first publication of work and page number, are to The Standard Edition of the Complete Psychological Works of Sigmund Freud, 24 vols (London: Hogarth, 1953-74), and to the Pelican Freud where available. 2 'the first time he is founded in a Lye, it should rather be wondered at as a monstrous Thing in him, than reproved as an ordinary Fault' (Locke, 1693, pp. 153-4). 3 There is no room here to discuss in detail Bettelheim's work on the fairy tale, but it should be noted that, while he interprets Little Red Riding Hood, for example, predominantly in terms of the girl's mastery of Oedipal conflict, he does stress throughout the hook the partial nature of his reading and the multifarious and contradictory meanings which fairy tales carry in them­ selves, and which they may represent for different children at different moments of their psychic life. In fact, I sec a tension between Bettelheim's stress on this complexity and his fundamental aesthetic - his belief in the artistic coherence of the fairy tale, the facility of the child's identification with its characters and meaning, and the assumption of its final and necessary resolution of psychic and sexual conflict. For the proximity of this concept of aesthetic form to rc~list forms of representation, see Chapter 2, pp. 60-5 below. 4 For more explicitly psychoanalytic discussions ofPeter Pan, see john Skinner, 'James M. Barrie or The Boy Who Wouldn't Grow Up' (Skinner, 1957), Martin Grotjahn, 'The Defenses Against Creative Anxiety in the Life and Work of.James Barrie' (a commentary on john Skinner's article) (Grotjahn, 1957), and G. H. Pollock, 'On Siblings, Childhood Sibling Loss and Creativity' (Pollock, 1978). 5 See however Frederick Meisel, 'The Myth of Peter Pan' (Meisel, 1977)- one of the few articles I have found which attempts a reading of The Little White Bird and Peter Pan, not through Barrie's personal history, but in terms of the 145 146 The Case of Peter Pan unconscious scenario of narcissistic anxiety and defence which the stories might symbolise for the child. 6 'At lunch, the children asked about "the beginning of the world." Dan (six years one month) insists, whatever may be suggested as "the beginning", there must always have been something before that' (Matthews, 1980, p. 22). 7 References to Beinecke and date refer to the J. M. Barrie collection at the Beinecke Rare Book and Manuscript Library, Yale University; full details are given in the bibliography. 8 For a fuller discussion of this question of stage space in relation to classical and Shakespearian tragedy see Andre Green, Un Oeil en trop, le complexe d'Oedipe dans La tragidie (Green, 1969, trs. 1979), pp. 11-29. 9 The adventure in Sendak's book can be read as a dream. On the first night of Peter Pan in 1904, one critic objected that the adventure in Peter Pan could not, but his concern was for the adult rather than the child: 'Having regard to the mother's feelings, it is customary in such cases to invoke the aid of the dream. We cannot imagine why Mr. Barrie has not done so.' 'Mr. Barrie's Peter Pan-tomime' (Enthoven, dated 27 December 1904). 10 Both .John Skinner (Skinner, 1957) and Martin Grotjahn (Grotjahn, 1957) (see note 4 above) comment on the failure of the Oedipal resolution in Peter Pan (Grotjahn criticises Skinner for not making this explicit enough), but make this the basis of an aesthetic (and moral) condemnation of Barrie himself. II On the reinstatement of the Afterthought and other aspects of the play mentioned here (e.g. the episodr with Tign Lily) see Notr on the 1982 Royal Shakespeare Company production at the Barbican pp. 113--14. 12 See for example Paul Schilder, 'Psychoanalytic Remarks on Alice in Wonderland and Lrwis Carroll' (Schildn, 1938) which describrs nonsense as the effect of incomplete object relations and analyses the Alice books in terms of anal regression (a long note to this effect was cut out from this article when it was reprinted in Aspects of Alice (Phillips, 1972) ); Martin Grotjahn, 'About the Symbolisation of Alice's Adventures in Wonderland' (Grotjahn, 1947), replying to Schilder, rejects the moral judgement which declares the Alice books unsuitable for children but also defines them in terms of psychic and artistic regression; John Skinner, 'Lewis Carroll's Adventure's in Wonder­ land' (Skinner, 1947) does take account of the child's pleasure in illogicality, but again concentrates mainly on Carroll's biography; an exception is Alwyn Baum, 'Carroll's A/ices: The Semiotics of Paradox' (Baum, 1977) which discusses the Alice books in terms of the operations which they carry out on language. There is an interesting intellectual parallel between the psychoanalytic readings of the works of Carroll and Barrie, both analysed psychobiographically in terms of artistic and psychic regression, both receiving attention more recently in terms of the internal structure of the fantasies which their books represent and how these fantasies arc symbolised for the child (Baum, 1977; Meisel, 1977). Baum has this to say on the limits of psychobiography in dealing with children's fiction: 'If we accuse Carroll of aberrance in his fantasies, we would similarly have to charge human society, as collective author of the world's traditional literature, with neurosis' (Baum, 1977, p. 87). Notes 147 CHAPTER 2: ROUSSEAU AND ALAN GARNER 1 'When Rousseau revolutionised the whole frame of children's existence, another era came in, with his notions of teach in~ in play, and of preservin~ uncontaminated the minds of children by arran~in~ for them an arbitrary world' (my italics). 'Literature of Childhood', 1840, p. 143. 2 Red Shift (Garner, 1973) is more complex than Garner's other books in terms both of lin~uistic structure and sexuality; it is now advertised as a book for 'older readers' (Frontispiece to The Stone Book, Garner, 1976). 3 Compare for example '[children 'sj speakin~ voice has no accent; they cry out, but their words arc not accented; and as there is very little ener~y in their speech, there is little emphasis in their voice' (Rousseau ( 1762) 1763, I, p. 202). Rousseau is here commentin~ on the child's inability to combine the three voices of man ('the speakin~ or articulate, the sin~in~ or melodious, and the accented or pathetic', Rousseau ( 1762) I 763, I, p. 202). 4 See also Hu~h Cra~o, 'Cultural Catc~orics and the Criticism of Children's Literature' (Cra~o, 1979). 5 For further discussion of Rousseau's philosophy of childhood in relation to colonialism, and the challen~c to that conception represented by Marx and Freud, see Richard Appi~nanesi, 'Some Thou~hts on Freud's Discovery of Childhood' (Appi~nanesi, 1979). 6 The ori~inso0f children's publishin~ are usually identified with the publishing houses of Ncwbery (Newbery, 1744, 1756) and Borcham ( 1740--3; sec also Muir, 1954); Thomas Day's book was not the first extended narrative for children; a similar use of child actors as the link between collections of stories was used by Sarah Fieldin~ in The Governess or The Little Female Academy (Ficldin~, 1749) which tells the story of Mrs Teachum's [sic] boarding establishment for ~iris. 7 Compare 'Children and the poor understand eloquence, for eloquence speaks to the feelings, which the most unsophisticated have ever the most open to impressions.' 'Literature ofChildhood', 1840, p. 158. 8 There were numerous unofficial and pirated editions of the Peter Parley books. Goodrich himselflicensed the stories to the En~lish publisher, Thomas Tegg, who, althou~h he did not stick to the terms of their agreement, was largely responsible for distributin~ the tales in En~land. The tales were also issued by the London publisher John Parker in 1837; for fuller bibliographical detail, see Darton (1932) 1982, pp. 223-6 and Goodrich (1827) 1977, pp. xxi-xlv. 9 'Whether all this Americanism is desirable for our children we doubt, were it only that, for them if possible, we would keep the "pure wells of English undefiled," and cannot at all admire the improvements which it pleases that "go-a-head" nation to claim a right of makin~ in our common tongue.' 'Literature of Childhood', 1840, p. 149; 'the whole fill-page family of the Peter Parleys, with their skin-deep ~loss of colloquial familiarity - their "well's," and "you know's," and "what do you think's,".' 'Children's Books', 1844, p. 12. 0 Much controversy surrounds the provenance, authorship and audience of Charles Perrault's fairy tales; these questions, to~ether with the issue of their relationship to oral and literate culture in the seventeenth century, are 148 The Case of Peter Pan examined in Marc Soriano, Le dossier Charles Perrault (Soriano, 1972) and in the introduction to Perrault's Conies (Perrault, 1967). II See Francis Mulhern, The Moment of Scrutin_y (Mulhern, 1979). 12 In On Learning to Read, Bettelheim himself uses Piaget's concepts of assimilation and accommodation to describe changes in the child's response to external stimuli (Bettelheim and Zelan, 1981, pp. 41-2). 13 See especially Rosemary Stones, 'To the Salt Mines' (Stones, 1980) and Jill Paton Walsh, 'The Devil and the Deep Blue Sea' (Paton Walsh, 1980). CHAPTER 3: PETER PAN AND LITERATURE FOR THE CHILD 1 'A task to be taken up at odd moments, rather than carried through under any kind of pressure.