World Literature Analysis In Presentation On Family Theme: Critical Thinking Samples

IN TWO CHILDREN’S BOOKS

IN TWO CHILDREN’S BOOKS

Introduction: Chosen Books & Overview

Children’s literature, as a specialized compartmental genre of World Literature, has evolved to expand its rubric to include multi-dimensional facets of a theme on ‘Family.’ Great writing, of course, knows no bounds and the impact upon young minds as they explore the lively sphere of storytelling should never be dismissed nor taken for granted. One observer notes (Thibault n.d.) that children’s literature can often be a channel for enabling young students to rise above challenges, respect one another’s differences, and enhance critical literacy. The most meaningful relationships people share in life are largely those of family. Much attentive interest fosters the concern and involvement of educators, writers, parents, and publishers of children’s books throughout the globe. Since dawning the new, digitalized era of informational speed and access, reading has never been more important. Stories remain as profoundly fundamental as human life. Books matter. Reading great books matters even more. Noteworthy authors of children’s books have always managed to place a wise finger on the pulse of young readers’ enjoyment and intrigue. Hopefully, this cogent analysis engages contemplative thought on how the theme of ‘Family’ facilitates critical thinking – both for readers, observers, and any concerned parties. “Charlotte’s Web,” by EB White and “The Illustrated Mum,” by Jacqueline both explore the family themes in these two children’s books. The family interaction in Wilson’s book occurs among two daughters and their single mother, while much of the family theme in White’s book symbolically occurs with the animals on the farm.

Discussion

Written in entirely different eras, yet the two books formulate lessons in what children enjoy reading about, in terms of family themes in story. The voices and tone, from each book, present contrasting attitudes and styles of the characters. First, the focus turns to Jacqueline Wilson’s children’s book, “The Illustrated Mum.” Originally published in 1999, just prior to and on the cusp of the 9/11 Terrorist Attacks, portrays a struggling family of two girls being raised by a single parent. Their spunky tattooed welfare-mother in London, is named Marigold. She is set to celebrate her birthday at the book’s opening, and bemoaning her age states “I can’t believe thirty-three. That was the age Jesus was when he died, did you know that? Marigold knew lots about the Bible because she was once in a church home” (Wilson 2015). The elementary aged daughter, Dol (short for Dolphin) and her teenaged sister Star had been scrambling all morning to create smashingly lovely, and glittered homemade birthday cards for their mother. The parent-child interaction unmistakably reflects a family theme, yet Wilson keeps the reader alert because the mother-character ‘Marigold’ is not referenced as ‘mum’ or ‘mommy’ in the initial unfolding of the story.
While it is true that the ‘traditional’ two-married-parent style of Westernized family life has changed since the past fifty or one hundred years ago, families still nevertheless exist, and thrive as best they can within the context of single-parent households. Wilson’s The Illustrated Mum bears this reality in her story of the little family headed by a mother who also struggles with alcoholism. From the very beginning of the story, Wilson paints a situation in which trepidation was a constant factor in the lives of Marigold’s daughters. For one thing, Dol felt like she skated on thin ice, so to speak, since Marigold pined over the loss of her lover Micky – who happened to be Star’s natural father. Whether or not this fact gives Star the courage to potently voice her true opinion that her mother’s tattoos disgusted, or whether her boldness stemmed from the fact that she was older, is left for the reader to decide. World literature obviously reflects various cultural standards, in story, setting, and tradition but family thematic representations hold some type of common ground. For example, according to one journal article on family interaction relationships (Chao 2011) it is stated that “in any society” regardless of national origin “the earliest, longest, and most important” relationship an individual can form is that of family ties, particularly in the parent-child attachment and interaction. Keeping this in mind, it is not surprising that after Star tells Marigold she thinks her tattoos are as freakish as a circus act, then the group quiets down, “looking at each other in shock and embarrassment, hardly able to believe what Star had just said” (Wilson 2015). What does Jacqueline Wilson believe about the influence and impact of her book, The Illustrated Mum?
According to an interview with Lucy Mangan, Wilson addresses questions about her life, her ideas, and about creating a narration for a book in a girl’s voice. Wilson grew up an avid reader, “as a young mother absorbed in her paper dolls,” and leaving school early to do secretarial work, began her quest of submitting pieces to publications (Mangan 2015). Given the mass popularity in Britain of her children’s literature among 13-year-old girls, the writer has been accused of tainting childhood innocence with drug activities. Wilson responds to such allegations with, “Lots of people have said that my books are all sex and drugs. I rack my brains, but I can’t remember there being any” (Mangan 2015). Either way, World Literature enjoys a general consensus that a variety of reading materials is good for kids. One observer notes, that children reading multicultural literature resonates in helping them “gain a better understanding of people from other countries,” and be it fictional or non-fiction can advance “positive developmental” effects while improving their global knowledge (Multicultural literature 2012). Others would argue.
In The Illustrated Mum, however, the family theme is reflected as an imbalanced one. The oldest daughter, Star, represents a young woman who sees the flaws in her mother’s (Marigold’s) erratic behavior and is unafraid to let her know. The dysfunctional family situation is clearly shown when Star argues that she disapproves of Marigold. In one scene, showing their real-life condition of a non-traditional family structure, Star is awakened by her sister when Marigold has failed to return home by morning – apparently on an all-night binge somewhere. Worried, Dol wakes up her sister, and the scene goes as follows:
“I leaned out of my bed and reached for her. ‘Star, wake up. It’s morning
nearly. Do you think Marigold’s come back?’ ‘Go and look,’ Star mumbled

Scared in case she had someone with her. Scared in case she hadn’t come back

at all.
‘You look, Star,’ I begged. ‘You’re the eldest.’

‘I’m sick of being the eldest. I’m sick of being the one who has to try hardest

all the time. I’m sick sick sick of it,’ said Star. Her voice was thick. I thought
she might be crying.” – The Illustrated Mum, (Chapter- Marigold).
Wilson’s example of children’s literature in the ‘The Illustrated Mum’ portrays a family theme of a trio trying to manage life as best as possible, but due to the irresponsibility of the mother (though perhaps, not entirely her fault) the children suffer tremendously. The older daughter, Star, has become so emotionally burdened with her mother’s unpredictable behavior that the weight of it starts to make her fall apart. The younger daughter is so overwhelmed emotionally with fear, that she feels paralyzed and afraid of what she may encounter, because she knows anything could happen. It is generally known that children’s literature may have three areas of purpose, in the traditional sense: (a) entertainment, (b) moral stories, and (c) escape/fantasy. Wilson seems to draw a story of realism, while attempting to mildly engage readers with a sense of entertainment.
An article in The Guardian suggests that children’s literature of today reflects a harsh reality of “abandonment, alienation and homelessness” as increasing themes, featuring children who “have no home to return to,” or are “too busy taking care of their troubled parents” to have time (or be allowed to read?) to engage in stories of pure and plain adventurous fun (Hill 2012). The family theme, then, becomes quite easily enmeshed into this rather jeremiad commentary about the state-of-affairs in children’s literature.
EB White, on the other hand has drawn a story whereby the human family as representative of the family theme, reflects a situation wherein the daughter Fern has a very stable family. Her parents are married and life on the farm creates the setting of a stability in which a child could not ask for much more. Of course all is not perfect, and the family theme appears when the father tries to delicate ease Fern’s distress when the child discovers that her soon-to-be-temporary-pet pig Wilbur is prepared to be slaughtered. After Mr. Arable, her father, agrees to let his daughter keep Wilbur, White paints the scene: “Fern couldn’t take her eyes off the tiny pig. ‘Oh,’ she whispered. ‘Oh, look at him! He’s absolutely perfect!’ She closed the carton carefully. First she kissed her father, then she kissed her mother.” – Charlotte’s Web (Chapter 1). Several academics feel that family crisis, as a part of family themes in children’s literature needs to be addressed. It seems probable that White’s story reflects the trend of an earlier generation of family stability. Wilson’s book shows the life of a family torn, although ‘love’ as part of family theme is still present. Each of the family members, (Marigold, Star, and Dol) desperately try to cope as best she can in the situation. So, perhaps Jacqueline Wilson is portraying the new-normal in family themes among children’s literature. These aspects embrace elements of co-dependency, dysfunctional relationships in the family, and roles reversal.
In terms of comparing the family theme of “Charlotte’s Web” to Wilson’s book, the family theme is primarily shown to a large degree, in the friendly and lovingly supportive relationship between the smartly caring spider, Charlotte and the pig, Wilbur. White gradually fades Fern out of the main action, apparently into the background of dealing with her own ‘human’ family. Wilbur, the little pig, is still wet behind the ears – so to speak – and in need of a little parental figure. Charlotte, the older and wiser ‘mothering-spirit’ embraces Wilbur almost as an adopted son, giving him loving advice, which is part of a reflection of the family theme. After being shipped to Fern’s uncle’s farm, to stay for a while until he was fattened up for slaughter, and away from the prying eyes of Fern in order to relieve her distress, Wilbur escapes the pen. Spotting a loose board in the fence, after squeezing through the opening the youngster (pig) doesn’t know quite where to go. True to the family theme, the goose offers encouragement for Wilbur to run free, and play a bit. White writes about Wilbur feeling odd being outside of his fence, when the goose tells him: “Go down through the orchard, root up the sod! Go down through the garden, dig up the radishes! Root up everything! Eat grass! Look for corn! Look for oats! Run all over! Skip and dance, jump and prance!” The healthier family theme is carried out in Charlotte’s Web, as encouraging youth to have fun, and enjoy a life of their own, without being burdened with the responsibility that Marigold leaves her children to deal with.
In terms of literature, the Wilson novel presents a more somber theme of family life, in dealing with difficult situations many children have had to deal with in modern times. In the era in which EB White wrote his children’s novel, the family structure and family theme embodied a more intact structure whereby most children were not burdened with worries that accompany broken homes that often characterize the addiction and coping problems single mothers deal with in the 2000s. One scholar unravels a critique that approaches the idea that the ‘Family’ theme in English literature still persists, in terms of the traditional dual-married-parent format as being of a legitimate scope of literary entertainment – and despite evidence to the contrary of the societal conditions wherein family life is falling apart. This book review, of 2009, looks at author Ann Alston’s thoughts (as reflected above) who furthermore believes that the ‘Family’ theme is present in most books whether depicted in the genres of fantasy, “realistic,” or “teenage fiction” (van Leiorop-Debrauwer 2008). The book being reviewed, and discussed is called “The Family in English Children’s Literature.” Traditional or not, people grow up in some sort of family which lays the foundation of the most important human relationships of a person’s lifetime. One academic scholar specifically theorizes about the British children’s literary market, specifically naming Jacqueline Wilson as one of the “representatives of the new literary period within the history of a family story” (Nowacka 2007). Nowacka acknowledges the social changes that have occurred, obviously affecting family life, but insists that the British English children’s literature market has failed to portray any “happy” picture of a “complete” multigenerational family life, and noting a “diminishing influence of moral tales” beginning in around 1932 (Nowacka 2007). Nowacka digs deeply into these notions, and emphatically expresses that British family bonds were based upon (at least in the Victorian era) a subordinating suppression of kids’ wills and desires.
Moving beyond an analysis of family themes in British children’s literature, it is important to try and see other perspectives as well. Keeping a balance in mind, Publishers Weekly offers glowing reviews of Wilson’s book characterizing the situation as “Marigold, a binge drinker, subjects the girls to dramatic, sometime frightening mood swings” but acknowledges the “heroine” Dol as showing exceptional courage in dealing with “her pain and vulnerability” (The Illustrated Mum 2005). At this juncture, it is equally important to point out that children are not fools. Their inborn intelligence, wit, and honesty can recognize the practices and quality of socio-cultural realities in the world today. Given this truth, World Literature is perhaps even more vital to richly open channels for a provision of a variety of children’s literature. Jacqueline Wilson, to her credit and by her own words, wants to give the children a happy ending because “Many children nowadays belong to non-conventional families,” and “it’s a terrible thing for a child to know that their mother loves them, but can’t look after them” (Middleton 2008). Wilson writes the tale in a deftly masterful way, to convey a deep sense of humanity and realism without shocking her youthful readers too much. Of course the scales of the balance need not take a critical view of extremes; positing a battle between too much damaging realism in children’s literature, versus too little ‘wholesomeness.’
In the chapter entitled “Bats,” by the time Marigold’s ex-lover and Star’s biological father has given both girls gifts and Star has begun a renewed relationship by spending a weekend away with Micky, she still feels as if there is a chance for her former man and her to reconcile. But she sadly, to her disappointment has discovered that her ex has a live-in girlfriend to Marigold’s utter devastation and disgust. The scene Jacqueline Wilson paints is a splintering of the family theme, or the breaking point, that represents occurrences of stress that all families experience at some point in their lives. Even the healthiest family’s experience periodic crises. But the tenuous threads barely holding Marigold’s tiny family together quickly unravel at this point. There is nothing more upsetting to a young child, at seeing their only caretaker uncontrollably crying. Wilson writes about Dol’s point of view in the situation: “I cried harder. I didn’t know what Marigold would do when she found out Star was gone for good. I didn’t know how I was going to cope. I felt emptier than ever, a balloon girl with a trailing string lost in the emptiness of the sky. I clung to Marigold and she rocked me.” The Illustrated Mum (Chapter – Bats). The comparison with “Charlotte’s Web” happens when Wilbur learns he is going to be killed after all, and that is the reason Fern’s farmer uncle is allowing him to eat so much and be fattened up.
When Charlotte provides a solution, little Wilbur – well, perhaps not so small anymore – is overjoyed with the salvific friendship that the brilliant Charlotte offer. Wilson weaves the story from this point wherein Charlotte devises a plan that the humans will not kill a ‘show’ pig, an animal so extraordinary who should be shown at the country fair, for prestige or even money. At the point when Charlotte spins her miraculous message about Wilbur in her web, the worker man Lurvy is the first to see. White writes: “Even Lurvy, who wasn't particularly interested in beauty, noticed the web when he came with the pig's breakfast. He noted how clearly it showed up and he noted how big and carefully built it was. And then he took another look and he saw
something that made him set his pail down. There, in the center of the web, neatly woven in block letters, was a message. It said: SOME PIG.” – Charlotte’s Web (Chapter – The Miracle). This symbolizes the sacrificial mothering spirit in the family theme, shown in EB White’s children’s literature in Charlotte’s Web. Although, Wilson uses the literary device of talking animal fantasy to capture a charming approach of gaining the interest of young hearts, the family theme of caring and sacrificial love displayed in more functional family situations is clearly depicted. Unlike Wilson’s story, White does not burden the ‘child-figure’ of Wilbur with the casting of all the ‘adult’ problems onto himself. For example, Charlotte does not immediately reveal that she is getting older, worn out, and soon to die because spiders only have but so much silk-spinning they can do in a lifetime. Therefore the styles of family themes from both novels are clearly displayed.
In fact, facing youth’s contemporary problems in family situations may best be addressed in the written formulaic setting of a storybook. In an article addressing coping skills for children, as they face various kinds of literature, columnists (Roberts and Crawford 2008) quoted William Lyon Phelps who said of the two classes of readers, “those who read to remember and those who read to forget.” They posit that even the youngest of readers can find opportunities to engage relaxed moments in their lives, encountering children’s literature as avenues of respite from their daily lives, losing “themselves in a story” while also receiving the takeaway of being better equipped to face concerns of family life events – even happy ones, like the birth of a new child, which heightens tensions for the unit (Roberts and Crawford 2008). The value of diversity in World Literature’s children’s books should not be justifiably ignored, in terms of contributions to family themes. In a global conference on international books, it was discovered that non-U.S. published children’s books represented an outstanding plethora of writers and artists evaluated on the terms of “artistic and literary merit, originality or creativity of approach, distinctiveness of topic, and appeal to children” (Angus and Brashear 2008). Children’s books that made their list of noteworthy mentionable included childhood literature from the Netherlands, Australia, Germany, and the U.K. Jacqueline Wilson, additionally was named for another book, Candyfloss, which involved a family theme as well, presenting a situation of “mother, step-father, and baby brother” moving to Australia (Angus and Brashear 2008). Transitioning into commentary about EB White’s “Charlotte’s Web” some differences may appear, in terms of the ‘Family’ theme that recognizes shifts in social realities. Yet, quality books endure throughout the ages.
Thus far in the discussion, The Illustrated Mum has singly determined the backdrop for an analysis on the ‘Family’ theme in the modern world, for children’s literature. Similar realistic children’s books, such as My Tattooed Dad, also contributed to a realization of the ‘inking’ of parents, in terms of body art holding a fascination and being an element of family life among folks (Myra 2013). Only as of late, the discussion pertaining to children’s literature has revolved around issues such as selectivity valued for its anti-biased nature, and inclusion of cultural and language differences that may support goals of children obtaining “self-awareness, confidence, family pride, and positive social identities,” in non-traditional manners amidst multi-ethnic settings (Anti-bias education 2012). But what of the classics which have endured for so many years, and embrace a family theme? Charlotte’s Web by EB White was listed in the Children’s Book Guide of 2015, among the “100 Best Children’s Chapter Books of All-Time” donning the very top of the list (100 best children’s chapter books 2015). The book, Charlotte’s Web, is described as a true gem in children’s literature, “beautifully woven, it touches on some major themes,” including friendship and family, while doing so “gracefully,” despite beginning its tale with “a little runt of a pig who is destined to be killed because he is so small” (100 best children’s chapter books 2015). The human semi-protagonist in the story is a girl named Fern, who upon finding out that her father intends to slaughter the tiny pig, begs him to let her take care of it. The story takes place in a farm setting, in a family of traditionally married parents (male and female, respectively, and is important to emphasize in light of today’s liberalities) wherein the farm animals are given names, personalizing communications between each other. Wilbur is the pig, and Charlotte is a friendly spider who becomes his friend.
One amazing aspect of Charlotte’s Web apart from the utterly charming and pleasantly intoxicating story, is the fine literary level in which it is written. In other words, EB White manages to interject words that children may not necessarily be familiar with, thereby needing to look them up in a dictionary – therefore, helping them to gain better skills in reading and writing via their interest in literature. The family theme among the humans in White’s story, assumes a healthy and solid support system for Fern, and actually, provides a secondary ‘Family’ theme in allowing the animal characters to have a lively interactive set of relationship among themselves. Other messages in the text suggest that nature is important, and all living creatures deserve to be treated with respect generally, and to realize that each creature has its ‘nature’ and function – yet all play their parts and roles in the living world. Especially delightful, is that the author himself EB White reads the complete, and uncut audio version – and is absolutely captivating. Given the factor that he is the author, he is best able to deliver all the nuances and magic that he intended when he first wrote the book. Undoubtedly, Charlotte’s Web is so loved that it may not be unreasonable to say that Charlotte’s Web alone was the reason many children looked forward to going to school. A bold statement, to be sure, but it is not entirely unrealistic.
Any child, educator, literary critic, or family parental member must appreciate the sheer genius and beauty of the craftsmanship of EB White. Note the following excerpt, in the scene in which is taken from Chapter 6, entitled Summer Days: “The early summer days on a farm are the happiest and fairest days of the years. Lilacs bloom and make the air sweet, and then fade. Apple blossoms come with the lilacs, and the bees visit around among the apple trees” (White and Williams 1952). The lush descriptions of summer life on a farm, utilizing its family theme in the story, might actually serve as a ‘fantasy’ or entertaining adventure for troubled children coming from less intact traditional family situations. The masterful usage of the written language continues, “Fern visited the barn almost every day, to sit quietly on her stool. The animals treated her as an equal. The sheep lay calmly at her feetThen the hay would be hoisted, sweet and warm, into the big loft” (White and Williams 1952). One can hardly wonder about the state of real-world family life, or ‘Family’ themes in children’s literature when reading this lovely tale. For example, scholars (McLanahan and Beck 2010) comment upon the fragility of families as the United States’ society faces an escalation of “nonmarital childbearing,” further commenting upon quality in parental intimate relationships, family stability, and “quality of the co-parenting relationship among parents who live apart.” Although Huck and Keifer place Charlotte’s Web by category in the first part of the “Second Half of the Twentieth Century,” they note that World Literature traditions in children’s literature has broadly reflected “themes around human relationships, love, and conflicts” (Huck and Keifer 2010). In Gallo’s Master’s thesis, he mentions the ongoing debate on what ‘family’ definitions are in the first place, and “whether it is in transformation or becoming extinct” (Gallo 1997). Yet Elliott wisely notices that no one can ignore the influence of the Internet in all that involves family life, and in his study examined an “extensive list of sites that could be used as a reference for parents and family professionals” (Elliott 1999). Yet that is another rabbit trail for another time, as the close of this conversation approaches.
Enough said.

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