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Historical Fiction for Children and Young People: Changing Fashions, Changing Forms, Changing Representations in British Writing 1934‐2014

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Historical Fiction for Children and Young People: Changing Fashions, Changing Forms, Changing Representations in British Writing 1934‐2014 Historical Fiction for Children and Young People: changing fashions, changing forms, changing representations in British writing 1934‐2014 Ann Christine Clark This thesis is submitted for the qualification of Doctor of Philosophy School of English Literature, Language and Linguistics Newcastle University Resubmitted July 2015 Abstract In Language and Ideology in Children’s Fiction (1992) John Stephens forecast the demise of children’s historical fiction as a genre on the grounds that both history itself and the humanist values Stephens saw as underpinning historical fiction were irrelevant to young readers in postmodernity and intrinsically at odds with the attitudes and values of literary postmodernism. In fact, by the end of the millennium juvenile historical fiction was resurgent and continues to propagate humanist ideology. This study explores the changing nature and status of the genre as it has been published in Britain since Geoffrey Trease’s ground‐breaking Bows Against the Barons, a left‐wing retelling of the Robin Hood story, was published in 1934. Consideration is given to the relationship between cultural change and the treatment of the structure, themes, settings and characters that typically feature in historical novels for the young. The work comprises an Introduction and three themed case studies based on a character (Robin Hood), a historical period (the long eighteenth century), and a historical event (the First World War). The case studies are used both to chart changes in the nature, quantity, and reception of historical fiction and to demonstrate the extent to which writers have used historical narratives to explore concerns that were topical at the time the books were written. In addition to the case studies, which of necessity discuss only a proportion of the texts published on each topic, the thesis includes complementary appendices which provide comprehensive bibliographies for the subject. Key changes noted over the period include the rise since the 1970s of historical novels featuring groups that were previously marginalised on the grounds of gender, sexuality, class and/or race; adjustments to the age and audience of historical fiction, and considerable use of fantasy elements including timeslip narratives. Texts discussed in detail include works by Enid Blyton, Hester Burton, Elsie McCutcheon, Marjorie Darke, Penelope Farmer, Leon Garfield, Julia Golding, Stephen R. Lawhead, Robyn McKinley, Linda Newbery, K.M. Peyton, Marcus Sedgwick, Theresa Tomlinson and Geoffrey Trease. i Acknowledgements Throughout the time I have spend working towards the completion of this thesis the support of my supervisor Kim Reynolds has been of great value to me. Whether through a discussion in a quiet corner at conference or emails from overseas she has always been available to offer encouragement and to read through and discuss my work and to share the excitement of discovery. Her commitment to what I was trying to do and her support has been greatly appreciated. A number of friends have also sustained me over the years of research, whether through supportive positive comment, or reading through extracts and giving me helpful feedback, or just responding to emails or telephone calls when things were not going so well. Thanks to June and Kim for reading through and commenting and to Diane for listening and challenging. My thanks must also go to John and the rest of my family who have sustained me throughout, whether by taking over household tasks, or supporting in other ways. ii Table of Contents Chapter 1. Recalled to Life? Historical Fiction for Young Readers in Britain, 1934‐ 2014………………………………………………………………………………………………………………………….. 1 1.1. What is historical fiction? .................................................................................... 3 1.2 Origins and development of historical fiction…………………………………………………. 5 1.3 Historical fiction and historiography……………………………………………………………….. 7 1.4 Humanism and historical fiction………………………………………………………………………. 12 1.5 External factors affecting historical fiction…………………………………………………….. 16 1.6 Historical fiction today: the return of humanism? ………………………………………… 21 1.7 Methodology ……………………………………………………………………………………………..… 24 1.7.1 The Case Studies ………………………………………………………………………………………….. 25 Character ……………………………………………………………………………………………………. 25 Period …………………………………………………………………………………………………………. 26 Event …………………………………………………………………………………………………………… 26 Chapter 2. Case Study of a Fictional Character: Robin Hood …………………………………… 29 2.1 The background of the Robin Hood legend…………………………………………………… 30 2.2 Choice of texts and focus for analysis…………………………………………………………… 34 2.3 Robin Hood as cultural barometer………………………………………………………………… 36 2.4 Robin Hood: three approaches……………………………………………………………………… 38 2.5 Robin and Marian………………………………………………………………………………………….. 39 2.6 Bows Against the Barons (1934) by Geoffrey Trease……………………………………… 40 2.6.1 Trease’s Robin……………………………………………………………………………………………….. 40 2.6.2 Trease’s Marian…………………………………………………………………………………………….. 46 2.7 The Chronicles of Robin Hood (1950) by Rosemary Sutcliff……………………………… 47 iii 2.7.1. Sutcliff’s Robin……………………………………………………………………………………………….. 48 2.7.2 Sutcliff’s Marian…………………………………………………………………………………………… 52 2.8 Tales of Brave Adventure (1963) by Enid Blyton…………………………………………….. 53 2.8.1 Blyton’s Robin………………………………………………………………………………………………… 54 2.8.2 Blyton’s Marian……………………………………………………………………………………………… 56 2.9 The Outlaws of Sherwood (1988) by Robyn McKinley……………………………………. 58 2.9.1 McKinley’s Robin…………………………………………………………………………………………… 59 2.9.2 McKinley’s Marian………………………………………………………………………………………… 63 2.10 The Forestwife trilogy (1993‐2000) by Theresa Tomlinson…………………………….. 66 2.10.1 Tomlinson’s Robin…………………………………………………………………………………………. 67 2.10.2 Tomlinson’s Marian………………………………………………………………………………………. 68 2.10.3 Magical aspects…………………………………………………………………………………………….. 71 2.11 Hood (2006) by Stephen R. Lawhead…………………………………………………………….. 72 2.11.1 Lawhead’s Robin…………………………………………………………………………………………… 73 2.11.2 Lawhead’s Marian………………………………………………………………………………………… 76 2.12 Conclusion……………………………………………………………………………………………………. 78 Chapter 3.Case Study of a Historical Period: the Eighteenth Century………………………. 79 3.1 Process of selection of focus texts…………………………………………………………………. 84 3.2 The eighteenth century for twentieth and twenty‐first century children………. 85 3.3 Themes: Nationhood, rebellion and authority……………………………………………… 87 3.4 Criteria for selection…………………………………………………………………………………….. 90 3.5 Background………………………………………………………………………………………………….. 91 3.6 Time of setting…………………………………………………………………………………………….. 92 iv 3.7 Discourse of freedom and social mobility [in eighteenth century historical fiction for the young……………………………………………………………………………………………….. 93 3.7.1 Class…………………………………………………………………………………………………………….. 93 3.7.2 Race and gender…………………………………………………………………………………………… 95 3.8 Choice of texts…………………………………………………………………………………………….. 97 3.9 Time of Trial (1963) by Hester Burton………………………………………………………….. 97 3.9.1 Contexts……………………………………………………………………………………………………… 101 3.9.2 Exploitation of the poor………………………………………………………………………………. 104 3.9.3 Housing………………………………………………………………………………………………………. 106 3.9.4 Freedom to challenge the status quo…………………………………………………………. 108 3.9.5 Education…………………………………………………………………………………………………… 109 3.9.6 Class…………………………………………………………………………………………………………… 110 3.10 John Diamond (1980) by Leon Garfield……………………………………………………… 112 3.10.1 Socio‐political context for the narrative……………………………………………………… 112 3.10.2 Concerns about Education………………………………………………………………………….. 115 3.10.3 Concerns about the Welfare State……………………………………………………………… 116 3.10.4 Freedom and liberty…………………………………………………………………………………… 118 3.10.5 Effects of children’s historical fiction publishing in the 1980s and 1990s…… 120 3.11 The Diamond of Drury Lane (2006) by Julia Golding……………………………………. 125 3.11.1 A postmodern approach……………………………………………………………………………… 127 3.11.2 Freedom in the eighteenth and twenty‐first centuries……………………………….. 130 3.11.3 Restrictions on freedom……………………………………………………………………………… 131 3.11.4 Freedom of individuals………………………………………………………………………………. 132 3.11.5 Towards a better society……………………………………………………………………………. 135 3.11.6 A cohesive society – the role of gangs………………………………………………………. 136 v 3.12 Conclusion………………………………………………………………………………………………… 138 Chapter 4. Case Study of an Event: the First World War……………………………………….. 146 4.1 Women and war…………………………………………………………………………………………. 150 4.2 Reclaiming women’s history of war work…………………………………………………… 153 4.3 Reclaiming women’s war writing………………………………………………………………… 154 4.4 Stories set in the First World War……………………………………………………………….. 155 4.5 Ideological concerns…………………………………………………………………………………….. 156 4.6 Pacifism………………………………………………………………………………………………………. 157 4.7 Sample texts……………………………………………………………………………………………….. 158 4.8 Male protagonists for comparison………………………………………………………………. 160 4.9 Independence and equality: K. M. Peyton’s Flambards in Summer (1969)…… 165 4.10 Search for self: Penelope Farmer’s Charlotte Sometimes (1969)…………………. 166 4.11 Activism and Racism: Marjorie Darke’s A Long Way to Go (1978)………………… 170 4.11.1 Women against war……………………………………………………………………………………. 175 4.12 Female trauma: Elsie McCutcheon’s Summer of the Zeppelin (1983)…………… 176 4.12.1 War and its effect on women and girls………………………………………………………… 177 4.13 Class and re‐educating women: Linda Newbery’s Some other War (1990) and The Kind Ghost (1991)………………………………………………………………………….. 180 4.13.1 Challenging hegemonic restrictions………………………………………………………………
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