New World Orders in Contemporary Children’s Literature: Utopian Transformations

214 Pages·2008·6.562 MB·English

by  Clare Bradford, Kerry Mallan, John Stephens, Robyn McCallum (auth.)

New World Orders in Contemporary Children’s Literature
AlsobyClareBradffforrrd:
GENREINPERSPECTIVE:AWholeLanguageApproach
READINGRACE:AboriginalityinAustralianChildren’sLiterature
UNSETTLINGNARRATIVES:PostcolonialReadingsofChildren’sLiterature
WRITINGTHEAUSTRALIANCHILD:TextsandContextsinFictionsforChildren
(editedd)
AlsobyKerryMallan:
CHILDRENASSTORYTELLERS
INTHEPICTURE:PerspectivesonPictureBookArtandArtists
LAUGHLINES:ExploringHumourinChildren’sLiterature
PERFORMINGBODIES:Narrative,Representation,andChildren’sStorytelling
SERIOUSLYPLAYFUL:Genre,PerformanceandText(co-editedwittthSharrrynPearce)
YOUTHCULTURES:Texts,Images,andIdentities(co-editedwittthSharrrynPearce)
AlsobyJohnStephens:
LANGUAGEANDIDEOLOGYINCHILDREN’SFICTION
WAYSOFBEINGMALE:RepresentingMasculinitiesinChildren’sLiteratureand
Film(editedd)
LITERATURE,LANGUAGEANDCHANGE:FromChaucertothePresent
(co-auttthoredwittthRuttthWWWaterrrhouse)
ByRobynMcCallumandJohnStephens:
RETELLINGSTORIES,FRAMINGCULTURE:TraditionalStoryandMetanarratives
inChildren’sLiterature
AlsobyRobynMcCallum:
IDEOLOGIESOFIDENTITYINADOLESCENTFICTION:TheDialogic
ConstructionofSubjectivity
New World Orders in
Contemporary Children’s
Literature
Utopian Transffformations
Clare Bradford, Kerry Mallan, John Stephens & Robyn
McCallum
©ClareBradford,KerryMallan,JohnStephens&RobynMcCallum2008
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Contents
Acknowledgggementtts vi
1 ANewWorldOrderoraNewDarkAge? 1
2 Children’sTexts,NewWorldOrdersandTransformative
Possibilities 11
3 Masters,Slaves,andEntrepreneurs:GlobalisedUtopiasand
NewWorldOrder(ing)s 35
4 TheLureoftheLostParadise:PostcolonialUtopias 59
5 ReweavingNatureandCulture:ReadingEcocritically 79
6 ‘RadiantwithPossibility’:CommunitiesandUtopianism 105
7 TiesthatBind:ReconceptualisingHomeandFamily 130
8 TheStruggletobeHumaninaPosthumanWorld 154
Conclusion:TheFuture:WhatareOurProspects? 182
NNNotes 186
Reffferences 193
IIIndex 202
v
Acknowledgements
We would like to thank our research assistants, Margaret Aitken, Eliza-
beth Braithwaite, Victoria Flanagan, and Geraldine Massey, for their
interestandsupport.WeacknowledgethecontributionoftheAustralian
ResearchCouncil,whichprovidedfffundingtotheprojectofwhichthis
bookisanoutcome.
vi
1
A New World Order or a New Dark
Age?
Thisisthedawnoftheending
It’sthetimeofanewworldorder
Thisisanewbeginning.
GammaRay,NoWorldOrderr,2001
The phrase ‘a new world order’ has been used by politicians from
the early years of the twentieth century to describe the new polit-
ical dawning, the end of the old warring world, and a new begin-
ning. Woodrow Wilson is credited with being the first US president
to proclaim the optimism of a ‘new world order’ at the end of the
First World War, ‘the war to end all wars’. Again at the end of the
ColdWar,otherleaders(PrimeMinisterRajivGandhi,PresidentMikhail
Gorbachev, and President George H. W. Bush) spoke of a new world
order,andoutlinedtheirvariousvisionsforaworldshapedbytolerance,
human rights, superpower cooperation, north-south alliance, and an
endofmilitaryconflicts.BythetimeoftheattacksontheTwinTowers
and the Pentagon on September 11, 2001, ‘new world order’ rhetoric
had been replaced by other concepts: ‘globalisation’, ‘end of history’,
‘clashofcivilisations’,and‘thewaronterrorism’.
AswewritethisintroductioninJuly2006,wewatchdailynewsreports
of the escalation of conflict in the Middle East, where bombings of
LebanonandIsraelhaveleftmanychildren,families,andcitizensdead,
injured, homeless, and traumatised. The era of the new dawn brings
fear, insecurity, and pain. While a new dark age might well be upon
us,ourintentionthroughoutthisbookistoexaminehowtextswritten
and produced for children and young people imagine fffuture world
orders,howtheyrespondtocurrentandpastworldcrises,andthekinds
of utopian dreamings they offer their audiences. These are dangerous
1
2 NewWorldOrrrdersinContemporarrryChildren’’sLiteraturrre
times, but they are also times of possibility. As Zygmunt Bauman
putsit:
To measure the life ‘as it is’ by a life as it should be (that is, a life
imagined to be different from the life known, and particularly a life
thatisbetterandwouldbepreferabletothelifeknown)isadefining,
constitutivefeatureofhumanity.
(Bauman,2002b,p.222)
Within popular and political discourses, the term ‘utopian’ is often
taken to refer to unrealistic imaginings of improved world orders
which when tested against the realpolitik of pragmatism collapse
into ineffectuality. We argue, on the contrary, that utopian thinking
both draws upon and generates ideas capable of influencing cultural,
economic, and political practices. For utopianism incorporates what
Lyman Tower Sargent refers to as ‘social dreaming’, the complex
of ‘dreams and nightmares that concern the ways in which groups
of people arrange their lives and which usually envision a radically
different society than the one in which the dreamers live’ (1994, p. 3).
Utopianthoughtthusinformssocial,politicalandculturalpractices:it
enablesprocesseswherebyintentionalcommunitiesdeterminematerial
practices; it shapes visions for improved world orders; and it pervades
culturalproduction(includingfilm,artwork,fiction,anddrama)which
engageswithutopiananddystopianideas.
Our aim in this book is to focus on contemporary children’s texts, a
field of cultural production highly responsive to social change and to
global politics, and crucially implicated in shaping the values of chil-
dren and young people. We locate our examination of these texts in
relation to utopian studies and critical theory, calling on the concept
of ‘transformative utopianism’ to suggest that utopian and dystopian
tropes carry out important social, cultural, and political work by chal-
lengingandreformulatingideasaboutpowerandidentity,community,
the body, spatio-temporal change, and ecology. Children’s literature is
marked by a pervasive commitment to social practice, and particularly
torepresentingorinterrogatingthosesocialpracticesdeemedworthyof
preservation, cultivation, or augmentation, and those deemed to be in
needofreconceivingordiscarding(seeStephens,1992a).Anoutcomeof
thiscommitment,inboththeliteratureitselfandthecriticaldiscourses
which serve the literature, is a pervasive impulse towards what can be
termed‘transformativeutopianism’.Thisconceptisrealisedasfictional
imaginingsoftransformedworldordersandemploysutopian/dystopian
ANewWorldOrrrderoraNewDarrrkAge? 3
themesandmotifswhichproposenewsocialandpoliticalarrangements
(Parrinder, 2001). In Shaun Tan’s picture book The Lost TTThinng (2000),
from which we borrow an image for the cover of this book, a small
boy discovers a ‘lost thing’, a large red object, a hybrid figure with
mechanoid, animal and human features, which is ‘out of place’ in the
boy’sworld,whereorderanduniformityfindexpressioninlineardirec-
tions and monolithic forms. The utopian world shown in our cover
image is a space of freedom, in which posthuman figures engage in
purposefulplay.DebraDudekdescribesthisspaceasoneinwhich‘the
beings are animal and machine and human and organic and musical
instrument. They are grounded yet they fly. They are caged but have
wings’ (2005, p. 63). When the boy protagonist leaves the once lost
(but now found) thing in this space and returns to his neat, orderly
world, he nevertheless retains a consciousness of utopian possibilities
wherethings‘[don’t]quitefit’(Tan,2000).Itisthroughitsadvocacyof
differenceanditsrefffusalofclosurethatTheLostTTThinngproposesatrans-
formed world order, one which reaches beyond a fear of the unknown
toembracenewwaysofbeing.
Inawaysimilartofiction,filmproducedforchildrenandyouthaudi-
ences serves both a socialising and a political function by representing
and communicating the subjectivity of children and young people.
By privileging the point of view of a young person, film offers visual
and narrative pleasures, but, like literature, film is not an innocent
medium devoid of ideology. Thus, by extending our focus texts to
include film —- animated and live action —- we consider how a
transformative utopianism operates through both the narrative and
the body of the child who is the subject of the narrative. By paying
attention to the child-subject, we attempt to understand how adults
produce projections of children as citizens in the making. Our atten-
tiontothedifferentlayersofstoryandtheirsignificancesofferswaysof
readingthesocialcritiquestheyimplyandthealternative futuresthey
construct.
Within the interdisciplinary field of utopian studies, formulations
and discussions of utopia draw upon the practices and theories of
philosophy, sociology, history, political science, and cultural and
literary studies to consider ideas, social movements, and cultural
production. Our work, too, is interdisciplinary in scope, incorpor-
atingutopianstudies,culturalgeography,literarytheory,andenviron-
mental and socio-political studies in its approach to literary and filmic
texts.