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The Children's Fiction of Russell Hoban: Some Aspects and Themes

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The Children's Fiction of Russell Hoban: Some Aspects and Themes The Children's Fiction of Russell Hoban: Some aspects and themes. by John Urquhart, BA. A Mas ter' s dissertation, submi t ted in partial fulfilment of the requirements for the award of the Master of Arts degree of the Loughborough University of Technology February 1992 Supervisors: Professor A.J. Meadows, MA, DPhil, MSc, FLA, FIInfSc, FInstP, FRAS. Mrs M. Evans, BA, MBA, PhD, PGCE, ALA, MIInfSc. Department of Information and Library Studies €) J.C.C. Urquhart, 1992 ,----- -----.. _-- , tOU';ilh' . ;;:u',.n ~.,...;.-lt ... ;...f~'ty of : .. ; ,./ov' ... q, Ltbrilry -:)!~.- IQtjl.. I-(-'!·-'-"---,-::...:r:.-___ _ O~GOt> Q'I'1.. '----- ACKNOWLEDGMENTS I should like to thank Dr Evans for her help when I was starting this project, and Professor Meadows for kindly taking over as my supervisor during Dr Evans's absence on study leave. Thanks are also due to my personal tutor, Dr A. Irving, and to Dr H. Dyer and Mrs I. Smith for their help and advice. I have been privileged to have access to a number of libraries, both personally and through inter-library loan, and would like to thank staff in the Pilkington Library, Loughborough Public Library, the Education Service in Leicester, Lei th Library and the Central Library of the City of Edinburgh, and the National Library of Scotland. I also owe a great deal to those who have been willing to discuss my progress with me, among others: Mr C. Bailey, Mrs S. Gordon, Mr B. High, Mr A. Lilley, and Mr C. Skelton-Foord. To Mrs Moira Dobbie, to whose patience and flexibility this page and those that follow it owe their present appearance, obviously much is due. -i- I have not space to mention all who have undertaken to pray for me while this dissertation was in preparation, but without them, and without God's help and upholding power, I do not think it would be near completion. Lastly, I would like to thank my parents, whose help, encouragement and prayers have been with me in Loughborough and in Edinburgh, and who have patiently listened and commented on drafts of my chapters, as they emerged. Edinburgh, February 1992. -ii- ABSTRACT The Children's Fiction of Russell Hoban: some aspects and themes/by John Urquhart Three essays: 1. Hoban' s picture books move from didacticism to anti­ didacticism and satire, and from direct observation to exploiting the American literary tradition, particularly Mark Twain and O. Henry. The appeal of his didactic books stems from his use of animals and the child's need for order. His undidactic books reflect the concerns of his adult novels. 2. In The Mouse and his Child the toy mice break free from clockwork rules and from oppression by exploi ters to become sel f-winding and free. Hoban's existential values and secular world-picture conflict with the use of destiny and prophecy in the book. His use of mystical language to describe the writing process argues that we can rationalize images of destiny as referring to opportunity, coincidence, unconscious drives and a sense of rightness in the story's outcome; but some inconsistency remains. This relates to the necessary paradox of freedom in a fictional world and the human desire for purpose, identity and harmony. 3. Hoban is, like Hans Andersen, a writer of stories about small, lost and broken things: inanimate objects treated as living. Hoban uses clockwork as an embodied metaphor of human imperfection and pain, and teaches the interconnectedness of things. -iii- CONTENTS Page No ACKNOWLEDGMENTS i ABSTRACT iti CHAPTER ONE: FROM COSINESS TO COMPLEXITY: 1 Family situations and didacticism in Hoban's picture books. Notes 25 References 27 CHAPTER TWO: BREAKING THE CIRCLE: 34 Destiny and Free Will in The Mouse and his Child. Notes 74 References 76 CHAPTER THREE: LOVE, LONELINESS AND LOST THINGS: 84 Russell Hoban and Hans Andersen. Notes 102 References 103 BIBLIOGRAPHY 107 -iv- CHAPTER ONE FROM COSINESS TO COMPLEXITY: Family situations and didacticism in Hoban's picture books. Bedtime for Frances, 1 published in America in 1960, was the first commercially successful book written by Russell Hoban,2 and the start of a series of picture books about a small badger and her family. Up till then Hoban's books for children had been about machinery: non-fiction explications of bulldozers and atomic submarines. 3 He had illustrated these himself, and the books really grew out of the pictures. Hoban, then a freelance illustrator, was encouraged to build a text around some drawings by friends. 4 Bedtime for Frances was different. Hoban produced the text and an established illustra tor, Garth Williams, the pictures. Hoban is vague about this change of role: he "got into" this new writing,5 "fell into" a new genre;6 but once in, he stayed there, writing what he calls "little didactic, pleasantly cautionary tales."7 In a BBC book programme in 1979 he expanded upon this: Back in 1958 or 1959, I fell into a particular genre, a particular kind of book. The characters were little cuddly, furry animals - badgers, in this case - and the situations were drawn from family life: some kind of a domestic conflict, some difficulty between the - 1 - child and the parents, which would be resolved entertainingly and plausibly. They have to do with the idea of cosiness more than anything else. They have to do with the world where, if everything is not all right just this minute, it can be made all right in a fairly short time, with a little bit of careful attention and hard work on the part of everybody. 8 Each book takes one particular situation or difficulty in a child's life and concentrates on that. Bedtime for Frances is about a child's unwillingness to go to bed and the parents' initial tolerance of, and then growing annoyance at, such constant prevarication. A Baby Sister for Frances9 portrays the feelings of rejection and unwantedness which a child may feel on the arrival of a new baby into the family. Again, the parents adopt a wise, and somewhat subtle, approach to the problem: in this case, reassuring Frances of her worth, while trying to balance tha t wi th the principle tha t "a family is everybody all together."lO In Bread and Jam for Frances11 the parents allow a food- fussy Frances to adopt for a while a self-imposed diet of bread and jam, until she tires of the monotony of it, and apprecia tes the benefi t of a more varied menu. All three books blend parental tolerance and a judicious connivance with the child's whims and imaginations with a - 2 - wise direction of her mind to more solid values, but with considerable humour too. A Birthday for Frances12 again takes up the subject of sibling rivalry. Whatever the title might imply, it is not Frances but Gloria, her little sister, who has a birthday; it is, however, a situation that Frances must come to terms with. Frances wrestles first of all with feelings of being left out, inventing a sympathetic and invisible, friend called Alice who does not have a birthday either, and must make do with a "happy Thursday" instead, sung to her by Frances. 13 She then comes round from self-pity to the problem of whether she should give Gloria a birthday present. 14 She must overcome resentment of past injuries and present jealousies. Amusingly, the urge to give Gloria a present stems from the unhappiness of being the only one in the family who is not involved in the giving of presents;15 if Frances gives no present she will be even more left out. A further problem is getting the present to Gloria without eating it first. It is a "Chompo bar,,16 and desirable. She must not give in to her own careful rationalisations of the instinct towards self-gratification. She is helped overcome the first set of difficulties by her mother, who talks her through them;17 the later problems are solved by her father who undertakes to look after the Chompo bar until the party.18 The ba t tIe is not over - 3 - yet. Stirred to a fresh bout of resentment by a conversation on the demerits of little sisters with her friend Albert, just before the party, Frances gives way to that resentment with many self-justifications,19 only to be brought once more to magnanimity by Gloria's benevolent and contrite attitude to her bigger sister. 20 Giving over the Chompo bar is still hard, but it is achievable. In Best Friends for Frances , 21 Frances's relationship with her sister improves when Albert and Harold exercise a ban on female participation in backyard baseball,22 and when· Albert will not let Frances come with him on his "wandering day." 23 Gloria becomes a friend by default on Albert's part. Albert is readmi tted to friendship after careful negotiation of equal rights by Frances, helped by Albert's weakness for food which Frances exploits in her negotiations: She threatens to retain a 'no boys' stipulation for her picnic outing with Gloria. 24 Albert backs down on the the baseball restriction25 and everything is shrewdly resolved. Perhaps in keeping with Frances's new tougher image and grea ter degree of independence, there is no large role for her parents in this book. -4- A Bargain for Frances26 again takes relationships with friends. as its focus. Frances's mother warns her to be careful of Thelma: " • " Because when you play wi th Thelma you always get the worst of it" 27 Frances does get the worst of a bad bargain, taking home the wrong sort of tea-set at some financial 10ss.28 Shrewdly, she manages to turn things to her advantage.
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