INTRODUCTION Andrew Birkin's Book J. M. Barrie and the Lost Boys

Total Page:16

File Type:pdf, Size:1020Kb

INTRODUCTION Andrew Birkin's Book J. M. Barrie and the Lost Boys Notes INTRODUCTION 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 References to Freud, by volume number, year ofwriting (in parenthesis) and first publication of work and page number, are to The Standard Edition of the Complete Psychological Works 01 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 rat her 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 ofthe girI's mastery ofOedipal conflict, he does stress throughout the book 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 see a tension between Bettelheim's stress on this complexity and his fundamental aesthetic - his belief in the artistic coherence ofthe fairy tale, the facility ofthe child's identification with its characters and meaning, and the assumption of its final and necessary resolution ofpsychic and sexual conflict. For the proximity ofthis concept of aesthetic form to realist forms of representation, see Chapter 2, pp. 60-5 below. 4 For more explicitly psychoanalytic discussions ofPeter Pan, seeJohn 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 ofJames Barrie' (a commentary onJohn 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 ofPeter Pan' (Meisel, 1977) - one of the few articles I have found wh ich 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 ofthe 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 Deil en lrop, le complexe d'Dedipe dans la ITagMie (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 PeleT Pan in 1904, one critic objected that the adventure inPeler 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 Peler Pan-tomime' (Enlhoven, dated 27 December 1904). 10 BothJohn Skinner (Skinner, 1957) and Martin Grotjahn (Grotjahn, 1957) (see note 4 above) comment on the failure ofthe Oedipal resolution in Peler Pan (Grotjahn criticises Skinner for not making this explicit enough), but make this the basis of an aesthetic (and moral) condemnation of Barrie hirnself Il On the reinstatement of the A]lerlhought and other aspects of the play mentioned here (e.g. the episode with Tiger Lily) see Note on the 1982 Royal Shakespeare Company production at the Barhican pp. 113--14. 12 See for example Paul Schilder, 'Psychoanalytic Remarks on Alice in Wonderland and Lewis Carroll' (Schilder, 1938) which describes nonsense as the effect ofincomplete object relations and analyses the Alice hooks in terms ofanal regression (a long note to this effect was cut out from thisarticle when it was reprinted in Aspects 0] 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 ofpsychic and artistic regression; John Skinner, 'Lewis Carroll's Adventure's in Wonder­ land' (Skinner, 1947) does take account ofthe child's pleasure in illogicality, but again concentrates mainly on Carroll's biography; an exception is Alwyn Baum, 'Carroll's Alias: The Semiotics of Paradox' (Baum, 1977) which discusses the Alice books in terms of the operations wh ich 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 wh ich their hooks represent and how these fantasies are symbolised for the child (Baum, 1977; Meisel, 1977). Baum has this to say on the limits of psychobiography in dealing with children's fiction: 'Ifwe 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 'When Rousseau revolutionised the whole frame of children's existence, another era came in, with his notions ofteaching in play, and ofpreserving uneontaminated the minds of children by arranging for them an arbitrary world' (my italics). 'Literature ofChildhood', 1840, p. 143. 2 Red Shift (Gamer, 1973) is more complex than Gamer's other books in terms both oflinguistic structure and sexuality; it is now advertised as a book for 'older readers' (Frontispiece to The Stone Book, Gamer, 1976). 3 Compare for example '[children's] speaking voice has no accent; they cry out, but their words are not accented; and as there is very litde energy in their speech, there is litde emphasis in their voice' (Rousseau (1762) 1763, I, p. 202). Rousseau is here commenting on the child's inability to combine the three voices of man ('the speaking or articulate, the singing or melodious, and the accented or pathetic', Rousseau (1762) 1763, I, p. 202). 4 See also Hugh Crago, 'Cultural Categories and the Criticism of Children's Literature' (Crago, 1979), 5 For further discussion of Rousseau's philosophy of childhood in relation to colonialism, and the challenge to that conception represented by Marx and Freud, see Richard Appignanesi, 'Some Thoughts on Freud's Discovery of Childhood' (Appignanesi, 1979). 6 The origins of children's publishing are usually identified with the publishing houses of Newbery (Newbery, 1744, 1756) and Boreharn (1740-3; see 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 Fielding in The Governess or The Little Female Academy (Fielding, 1749) which teils the story of Mrs Teachum's [sie) boarding establishment for girls. 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 ofthe Peter Parley books. Goodrich himselflicensed the stories to the English publisher, Thomas Tegg, who, although he did not stick to the terms of their agreement, was largely responsible for distributing the tales in England. The tales were also issued by the London publisher John Parker in 1837; for fuHer 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 making in our common tongue.' 'Literature of Childhood', 1840, p. 149; 'the whole fill-page family of the Peter Parleys, with their skin-deep gloss of colloquial familiarity - their "well's," and "you know's," and "what do you think's,".' 'Children's Books', 1844, p. 12. 10 Much controversy surrounds the provenance, authorship and audience of Charles Perrault's fairy tales; these questions, together with the issue oftheir relationship to oral and litera te culture in the seventeenth century, are 148 The Case of Peter Pan examined in Marc Soriano, Le dossier Charles PeTTault (Soriano, 1972) and in the introduction to Perrault's Contes (Perrault, 1967). II See Francis Mulhern, The Moment of Scrutiny (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) andJill Pa ton Walsh, 'The Devil and the Deep Blue Sea' (Paton Walsh, 1980). CHAPTER 3: PETER PAN AND LITERATURE FOR THE CHILD 'A task to be taken up at odd moments, rather than carried through under any kind ofpressure. Yet why, one may perhaps wonder, did he tackle it at all? Certainly not to make money. Possibly to please Hodder and Stoughton, or Charles Scribner who were always hoping for a word ofnew manuscript, but had had none since 1902.
Recommended publications
  • Grosvenor Prints CATALOGUE for the ABA FAIR 2008
    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books CATALOGUE FOR THE ABA FAIR 2008 Arts 1 – 5 Books & Ephemera 6 – 119 Decorative 120 – 155 Dogs 156 – 161 Historical, Social & Political 162 – 166 London 167 – 209 Modern Etchings 210 – 226 Natural History 227 – 233 Naval & Military 234 – 269 Portraits 270 – 448 Satire 449 – 602 Science, Trades & Industry 603 – 640 Sports & Pastimes 641 – 660 Foreign Topography 661 – 814 UK Topography 805 - 846 Registered in England No. 1305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No. 217 6907 49 GROSVENOR PRINTS Catalogue of new stock released in conjunction with the ABA Fair 2008. In shop from noon 3rd June, 2008 and at Olympia opening 5th June. Established by Nigel Talbot in 1976, we have built up the United Kingdom’s largest stock of prints from the 17th to early 20th centuries. Well known for our topographical views, portraits, sporting and decorative subjects, we pride ourselves on being able to cater for almost every taste, no matter how obscure. We hope you enjoy this catalogue put together for this years’ Antiquarian Book Fair. Our largest ever catalogue contains over 800 items, many rare, interesting and unique images. We have also been lucky to purchase a very large stock of theatrical prints from the Estate of Alec Clunes, a well known actor, dealer and collector from the 1950’s and 60’s.
    [Show full text]
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
    [Show full text]
  • Tolkien As a Child of <I>The Green Fairy Book</I>
    Volume 26 Number 1 Article 9 10-15-2007 Tolkien as a Child of The Green Fairy Book Ruth Berman Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Berman, Ruth (2007) "Tolkien as a Child of The Green Fairy Book," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 26 : No. 1 , Article 9. Available at: https://dc.swosu.edu/mythlore/vol26/iss1/9 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Considers the influence of some of olkienT ’s earliest childhood reading, the Andrew Lang fairy books, and the opinions he expressed about these books in “On Fairy-stories.” Examines the series for possible influences on olkienT ’s fiction in its portrayal of fairy queens, dragons, and other fantasy tropes.
    [Show full text]
  • International Art
    International Art Collectors’ List No. 168, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Cecil Aldin (Brit., 1870-1935). Miss Camp­ JOSEF LEBOVIC GALLERY bell’s “April Lady” & “Dame Marigold” Babies, Established 1977 Mr Frank Harrison’s “Champion Angelo” & 103a Anzac Parade, Kensington (Sydney) NSW Mr Duerdin Dutton’s “Starboard” [St Bernard Dogs], 1893. Ink and wash with white highlight, Post: PO Box 93, Kensington NSW 2033, Australia captioned left and right, signed and dated lower Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) left, publishing annotations in pencil in various hands with two stamps verso, 44.1 x 29.7cm. Email: [email protected] • Web: joseflebovicgallery.com Foxing, slight stains, soiling over all. $2,900 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Stamps read “Horace Cox, Brear’s Buildings, E. C. The Member of • Association of International Photography Art Dealers Inc. Queen” and “C. Robertson & Co. Artist’s Colourmen. 99 Long Acre and 154 Piccadilly, London.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 168, 2013 International Art On exhibition from Sat., 9 November 2013 to Sat., 1 February 2014. All items will be illustrated on our website from 16 November. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $0.96¢; UK £0.59p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2.
    [Show full text]
  • Degree Project Bachelor’S Degree Fantasy Fiction from a Gender Perspective
    Degree Project Bachelor’s Degree Fantasy Fiction from a Gender Perspective A Study of Gender Differences in Peter Pan and Harry Potter and the Philosopher’s Stone Author: Rebecka Ivarsson Supervisor: Billy Gray Examiner: David Gray Subject/main field of study: English Literature Course code: EN2028 Credits: 15 hp Date of examination: 7th January, 2019 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☒ No ☐ Dalarna University – SE-791 88 Falun – Phone +4623-77 80 00 Table of Contents Introduction ................................................................................................................................ 2 Feminist Literary Theory ........................................................................................................... 8 The Domestic ........................................................................................................................... 11 Knowledge ..............................................................................................................................
    [Show full text]
  • Journal of Book of Mormon Studies
    Journal of Book of Mormon Studies Volume 22 Number 1 Article 10 2013 Journal of The Book of Mormon and Other Restoration Scripture Volume 22 Issue 1 Neal A. Maxwell Institute for Religious Scholarship Follow this and additional works at: https://scholarsarchive.byu.edu/jbms BYU ScholarsArchive Citation Scholarship, Neal A. Maxwell Institute for Religious (2013) "Journal of The Book of Mormon and Other Restoration Scripture Volume 22 Issue 1," Journal of Book of Mormon Studies: Vol. 22 : No. 1 , Article 10. Available at: https://scholarsarchive.byu.edu/jbms/vol22/iss1/10 This Full Issue is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. 2013 • VOLUME 22 • NUMBER 1 Sealings and Mercies: Joseph Smith 2013 Abraham The Zoramites and Moroni 10 Papyrus I VOLUME 22 and Idrimi Costly Apparel 4 20 NUMBER 1 34 40 JOURNAL OF THE BOOK OF MORMON AND OTHER RESTORATION SCRIPTURE • NEAL A. MAXWELL INSTITUTE FOR RELIGIOUS SCHOLARSHIP FRONT COVER: Prepared to Receive ANNIE HENRIE • 2013 © 2013 Annie Henrie. All rights reserved. OF THE AND OTHER RESTORATION SCRIPTURE VOLUME 22 • NUMBER 1 • 2013 SEALINGS AND 4 MERCIES: MORONI’S FINAL EXHORTATIONS IN MORONI 10 James E. Faulconer Attention to the details of Moroni’s final message reveals his urgent appeals, which often include warn- ings and advice, before he seals up the records. 20 34 THE RELIGIOUS AND ABRAHAM AND IDRIMI CULTURAL BACKGROUND John Gee OF JOSEPH SMITH PAPYRUS I The autobiography of Idrimi, a near contemporary of Kerry Muhlestein Abraham, compares well with What did Egyptian priests know Abraham’s narrative in both about biblical characters and subject and form.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang.
    [Show full text]
  • The Dunes at Wimereux, Normandy Oil on Board
    Edmund Blampied (1886 - 1966) The Dunes at Wimereux, Normandy Oil on board. Signed and dated Blampied 1934. and inscribed Wimereux at the lower centre. 204 x 291 mm. (8 x 11 1/2 in.) This appealing picture may be included among a series of a landscapes painted on small wooden panels by Blampied, several of which - including views of Wimereux, Knokke in Belgium, Zefeld in Austria, St. Brelade in Jersey and elsewhere – were included in the Cleveland exhibition in 1941. Blampied visited the small port of Wimereux (or Vimereaux), near Boulogne in the Pas-de-Calais, several times in the 1930’s, often staying with his friend, the writer and journalist Cecil Hunt. The present work belonged to Sir Bruce Ingram (1877-1963), one-time editor of the Illustrated London News (to which Blampied contributed) and one of the most enthusiastic collectors of the artist’s work. In 1967 a selection of fifty-one drawings and watercolours by Blampied from Ingram’s collection was exhibited at the St. Helier Galleries in Jersey. Provenance: The Ruskin Gallery, Stratford-on-Avon Sir Bruce Ingram, O.B.E., M.C., Chesham Michael Ingram, Driffield Manor, Driffield, Gloucestershire. Artist description: Born at Ville Brée in the parish of St. Martin on the island of Jersey, Edmund Blampied began his formal artistic training in 1903, when he was admitted as a student at the Lambeth School of Art in London. He eventually obtained a scholarship to continue his studies, while at the same time working for a number of London newspapers as an illustrator. By December 1911 Blampied had begun working independently as an illustrator for magazines and books.
    [Show full text]
  • AUDIOBOOKS Alice in Wonderland Around the World in 80 Days at the Back of the North Wind Birthday of the Enfanter Blue Cup Cruis
    AUDIOBOOKS Alice In Wonderland Around the World in 80 days At the Back of the North Wind Birthday of the Enfanter Blue Cup Cruise of the Dazzler Devoted Friend Dragon Farm Dragons - Dreadful Dragon of Hay Hill Dragons - Kind Little Edmund Dragons - Reluctant Dragon Dragons - Snap-Dragons Dragons - The Book of Beasts Dragons - The Deliverers of Their Country Dragons - The Dragon Tamers Dragons - The Fiery Dragon Dragons - The Ice Dragon Dragons - The Isle of the Nine Whirlpools Dragons - The Last of The Dragons Dragons - Two Dragons Dragons - Uncle James Eric Prince of Lorlonia Ernest Fluffy Rabbit Faerie Queene Fifty Stories from UNCLE REMUS Fisherman and his Soul Fisherman and The Goldfish Five Children and It Gentle Alice Brown Ghost of Dorothy Dingley Goblin Market Godmother's Garden Gullivers Travels 1 - A Voyage to Lilliput Gullivers Travels 2 - A Voyage to Brobdingnag Gullivers Travels 3 A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib, and Japan Gullivers Travels 4 A Voyage to the Country of the Houynhnms Hammond's Hard Lines Happy Prince Her Majesty's Servants Horror of the Heights How I Killed a Bear Huckleberry Finn Hunting of The Snark King of The Golden River Knock Three Times Lair of The White Worm Little Boy Lost Little Round House Loaded Dog Lukundoo Lull Magic Lamplighter Malchish Kibalchish Malcolm Sage Detective Man and Snake Martin Rattler Moon Metal Moonraker Mowgli Mr Papingay's Flying Shop Mr Papingay's Ship New Sun Nightingale and Rose Nutcracker OZ 01 - Wizard of Oz OZ 02 - The Land of Oz OZ 03 - Ozma of Oz
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • A Garland for Girls
    <.A' (iX}^.AND-R)R:GlRI...S PR ASSENTED TO FOR AT SCHOOL DURING THE YEAR ENDED MIDSUIVIIVIER I&96. ^A^^^;/^^ Chairman. Jyydui.-,J^ Clerl^ fotf^e Board TRANG.-L:BR£D TO JUVENILE HISTORICAL COidU SEP. 0318«t THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES LIBRARY SCHOOL J Alcott oemCO " Alice, with both elbows on the table, listened with wide-awake eyes." Garland for Girls. BY LOUISA M. ALCOTT, Author of "Little Women;" "Little Men;" "Jo's Boys;"S:c. &c. con • TRANSFERRED TO HISTORICAL COLl COPYRIGHT ED ITION. JUVe^lLE f>W'i^'S^ LONDON BLACKIE & SON, Limited, 50 OLD BAILEY, E.G. GLASGOW AND DUBLIN PREFACE. ' ^HESE stories were written for my own amuse- I -*- ment during a period of enforced seclusion. The flowers which were my solace and pleasure suggested titles for the tales and gave an interest to the work. If my girls find a little beauty or sunshine in these common blossoms, their old friend will not have made her Garland in vain. L. M. ALCOTT. Digitized by the Internet Archive in 2011 with funding from University of North Carolina at Chapel Hil http://www.archive.org/details/garlandforgirlsalco CONTENTS. May Flowers, ^^""^ . An Ivy Spray and Ladies' Slippers, ... 43 Pansies, 71 Water Lilies, „^ Poppies and Wheat, 132 Little Button- Rose, 17. Mountain-Laurel and Maidenhair, . 221 LIST OF ILLUSTRATIONS. PACJE "Alice, with both elbows on the table, listened WITH WIDE-AWAKE EYES," Frontispiece. "The poor little thing came and stood at my KNEE," 24 "She gayly led her troop through the pretty dance," Co "A TALL, ROBUST GIRL OF SEVENTEEN CAME UP THE ROCKY PATH FROM THE BEACH; A STURDY LAD OF TWELVE CAME LURCHING AFTER HER," ...
    [Show full text]
  • Finding Neverland
    BARRIE AND THE BOYS 0. BARRIE AND THE BOYS - Story Preface 1. J.M. BARRIE - EARLY LIFE 2. MARY ANSELL BARRIE 3. SYLVIA LLEWELYN DAVIES 4. PETER PAN IS BORN 5. OPENING NIGHT 6. TRAGEDY STRIKES 7. BARRIE AND THE BOYS 8. CHARLES FROHMAN 9. SCENES FROM LIFE 10. THE REST OF THE STORY Barrie and the Llewelyn-Davies boys visited Scourie Lodge, Sutherland—in northwestern Scotland—during August of 1911. In this group image we see Barrie with four of the boys together with their hostess. In the back row: George Llewelyn Davies (age 18), the Duchess of Sutherland and Peter Llewelyn Davies (age 14). In the front row: Nico Llewelyn Davies (age 7), J. M. Barrie (age 51) and Michael Llewelyn Davies (age 11). Online via Andrew Birkin and his J.M. Barrie website. After their mother's death, the five Llewelyn-Davies boys were alone. Who would take them in? Be a parent to them? Provide for their financial needs? Neither side of the family was really able to help. In 1976, Nico recalled the relief with which his uncles and aunts greeted Barrie's offer of assistance: ...none of them [the children's uncles and aunts] could really do anything approaching the amount that this little Scots wizard could do round the corner. He'd got more money than any of us and he's an awfully nice little man. He's a kind man. They all liked him a good deal. And he quite clearly had adored both my father and mother and was very fond of us boys.
    [Show full text]