Running Head: THE DEVELOPMENT OF CHILDREN’S FANTASY
The Development of Children’s Fantasy
Candyce L. Pruitt
Southern Connecticut State University
ILS 517.S70
Professor Disbrow
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THE DEVELOPMENT OF CHILDREN’S FANTASY
Abstract
Fantasy is a particular kind of fiction which breaks one or more of the rules that govern
reality (Cullinan and Person, 2003). Fantasy invents its own altered reality that is governed by its
own rules (Cullinan and Person, 2003). While the origins of children’s fantasy are rooted in fairy
tales, legends, and myths, extended fantasy narratives for children were, for the most part,
nonexistent until 1865 (Cullinan and Person, 2003). In 1865, the landmark publication of Alice’s
Adventures in Wonderland marked the beginning of the rise of children’s fantasy literature
(Cullinan and Person, 2003). Since this landmark publication, many more significant literary
fantasy works have been published for children, including earlier works such as Peter Pan, The
Wizard of Oz, and The Hobbit, as well as modern works such as the Harry Potter series, The
Lightning Thief, and Peter and the Starcatchers. As time has progressed, children’s fantasy
works have tended to increase both in length and complexity, and have become increasingly
accepted by society.
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THE DEVELOPMENT OF CHILDREN’S FANTASY
The Development of Children’s Fantasy
Fantasy, a special kind of fiction, breaks one or more of the rules that govern reality, and
thus invents its own altered reality that creates its own rules (Cullinan and Person, 2003). While
the origins of children’s fantasy are rooted in fairy tales, myths, legends, and folklore, extended
fantasy narratives for children were, for the most part, discouraged by American and European
societies up until the latter half of the nineteenth century (Cullinan and Person, 2003). These
societies’ perceptions of children’s literature confined it to narratives which were to serve the
sole purpose of teaching children lessons and morals (Hunt and Butts, 1995). In 1865, however,
the landmark publication of Alice’s Adventures in Wonderland marked the beginning of the rise
of children’s fantasy literature (Cullinan and Person, 2003). Since this landmark publication,
many more literary fantasy works have been published for children. Once children’s fantasy
became accepted by society, the popularity and publication of children’s fantasy significantly
increased, with these works gradually becoming longer and more complex with time.
Precursors to Children’s Fantasy
Prior to 1865, while adults had access to a wide range of Gothic novels which employed
many aspects of fantasy, there was no literary equivalent for children (Hunt and Butts, 1995).
There were a couple of exceptions to this absence of fantasy fiction for children, however. In
1810, for example, The Picture Room at Benevolent Hall was published by J. Evans (Hunt and
Butts, 1995). This 8 page short story employed a fantasy of sorts, in which lifelike characters
took part (“Picture Room,” 1810). Although it was not an extensive fantasy narrative, it was
certainly an important precursor to the children’s fantasy genre. Another important exception to
the absence of fantasy fiction for children was the publication of Glenowen: or, The Fairy
Palace in 1815 (Sleath, 1815). This 193 page story features two orphaned siblings who
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THE DEVELOPMENT OF CHILDREN’S FANTASY
encounter an otherworld godmother who fills their lives with pleasures and eventually reveals
herself as a family friend (Sleath, 1815). This narrative encourages children to read and become
absorbed in fairy tales (Hunt and Butts, 1995). While this story was certainly an important
extended fantasy narrative, it was unpopular at the time of its publication, and is thus a precursor
to the children’s fantasy genre, as it was published prior to the rise of children’s fantasy (Hunt
and Butts, 1995).
There were also many other short stories published during the nineteenth century that
employed certain characteristics of fantasy literature, and were an important precursor to the
genre of children’s literature. These stories, however, were often written to teach children
morals, and urged children to understand that such phenomena could never really occur (Hunt
and Butts, 1995). Aesop’s fables, for example, employed the use of anthropomorphism to exploit
children’s fascination with animals in order to teach them how humans should treat nature and
other animals (Hunt and Butts, 1995). Many other children’s stories such as Life and
Perambulations of a Mouse written in 1783, The Dog of Knowledge written in 1801, The
Vicissitudes of a Cat written in 1802, and The Adventures of a Bullfinch written in 1809
employed similar techniques to teach children important lessons (Hunt and Butts, 1995).
Fairy tales, which both cultivate imagination and serve to teach children lessons, are also
considered an important precursor to the genre of children’s fantasy (Gates, Steffel, and Molson,
2003). Fairy tales employ many elements of fantasy and allow children to suspend their disbelief
of the rules of reality that are being broken within the narratives (Hunt and Butts, 1995).
Although fairy tales serve to teach morals and lessons to children, they do so in such a way that
they have become the province of children, and are considered by society as separate from those
tales which are purely educational (Hunt and Butts, 1995). Just as the introduction of children’s
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fantasy into society was met with resistance, there have also been many critics of children’s fairy
tales. These critics believed that the enticing invitation to escapism that fairy tales offered to
children was unacceptable (Gates, Steffel, and Molson, 2003). They believed this invitation to
escapism had harmful and negative effects on children’s minds and imaginations (Gates, Steffel,
and Molson, 2003). Despite the existence of these fairy tale critics, however, fairy tales have
managed to become an important aspect of children’s literature. It was through their success that
children’s fantasy was eventually accepted by society, and able to become another important
aspect of children’s literature.
The Rise of Children’s Fantasy
Between 1818 and 1850, European society experienced a growing interest in modern
fantasy, which paved the way for the rise of children’s fantasy that shortly followed (Hunt and
Butts, 1995). This growing interest in modern fantasy was due to a number of different factors.
One such important factor was the growing popularity of Gothic novels, such as Frankenstein,
published in 1818 (Hunt and Butts, 1995). Another important contributing factor was the revival
of interest in fairy tales that was also experienced (Hunt and Butts, 1995). During this period,
advances in visual technology also enabled theaters to offer spectacular productions (Hunt and
Butts, 1995). Archaeological discoveries of the remains of an iguanodon also contributed to the
growing interest in fantasy by arousing public interest in the existence of astonishing, almost
legendary, creatures (Hunt and Butts, 1995). The public’s interest in each of these events
signaled a change in European public consciousness, as society became gradually more
sympathetic to works of fantasy (Hunt and Butts, 1995). It was this newfound interest in fantasy
that caused society to be more accepting of children’s fantasy works, and ultimately led to the
rise of children’s fantasy which soon followed.
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Although there were many characteristics of fantasy present in children’s literature before
1865, many scholars believe that the true rise of children’s fantasy began with the publication of
Lewis Carroll’s Alice’s Adventures in Wonderland (Cullinan and Person, 2003). This 144 page
novel featured a type of children’s fantasy called mixed fantasy, which combines fantasy and
realism in various ways (Gates, Steffel, and Molson, 2003). Alice’s Adventures in Wonderland
follows a young girl named Alice who dreams she has fallen into a different world, where she
enjoys many nonsensical and wondrous adventures (Carroll and Lin, 2004). This story was
instantly popular and well-received by the public, selling out of its original publication of 2,000
copies (Carroll and Lin, 2005). Six years later, Carroll published a sequel to this hit titled
Through the Looking Glass, which was also classified as mixed fantasy, and was just as popular
and well-received as Alice’s Adventures in Wonderland (Carroll and Lin, 2004). In fact, its
original press run of 9,000 sold out almost immediately, and by 1893 60,000 copies had been
sold (Carroll and Lin, 2004). Carroll’s publication of Alice’s Adventures in Wonderland and
Through the Looking Glass were landmark publications that had a significant impact on the
development of children’s fantasy.
After the publication of Carroll’s novels, many more mixed fantasy novels were
published during the rest of the nineteenth century (Gates, Steffel, and Molson, 2003). In 1871
for example, At the Back of the North Wind by George MacDonald was published (Cullinan and
person, 2003). This 299 page novel was well received by the public, and was the reason behind
MacDonald’s fame (MacDonald, 2007). The story features an innocent child who is privileged to
enjoy adventures through the North Wind’s power and favors (Gates, Steffel, and Molson, 2003).
While this narrative was certainly mystical and adventurous, its plot was relatively simple.
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Nonetheless, it is considered a timeless classic that has been enjoyed by millions of young
readers (Macdonald, 2007).
Children’s Fantasy in the Twentieth Century
While the latter half of the nineteenth century marked the beginning of the rise of
children’s fantasy, the turn of the twentieth century witnessed a marked increase in the
publication of children’s fantasy books. The type of fantasy narratives published also shifted
slightly at the turn of the century from mixed fantasy to journey fantasy, which incorporates
mixed fantasy and involves a type of journey that the characters must embark on (Gates, Steffel,
and Molson, 2003). The Wonderful Wizard of Oz by L. Frank Baum, for example, was published
in 1900, and features a young girl who is carried by a tornado to the strange land of Oz, where
she joins three other characters in embarking on a journey to find the Wizard of Oz (Baum,
1997). Like many other fantasy works of its time, this story was adventurous, but by modern
standards, its plot was relatively simple. This 263 page novel was immediately popular, and was
“pleasing on the surface” (Baum, 1997). It was, however, ignored by critics of children’s
literature for a long period of time (Baum, 1997). It has since been realized as a timeless
children’s class, and a significant landmark in the development of children’s fantasy.
Many other journey fantasy books were published during the beginning of the twentieth
century. Peter Pan, for example, written by James Matthew Barry, is a 192 page novel which
features three siblings who fly with Peter Pan, a boy who can never grow up, to Never Never
Land where they experience many exciting adventures (Barrie, 1985). This narrative was
originally written as a play script in 1904, which was immediately popular upon its debut, and
was later published in 1911 as Peter and Wendy (Barrie, 1985). This novel has come to be
known as another timeless children’s classic (Cullinan and Person, 2003). The Wind in the
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Willows, by Kenneth Grahame is another excellent example of a journey fantasy which was
published at the beginning of the twentieth century, and has since become a timeless children’s
classic which was a significant landmark in the development of children’s fantasy. This 292 page
novel was published in 1908, and features anthropomorphic characters who attempt to help their
friend Toad with his self-destructive obsession with cars, and follows Toad as he escapes from
prison and fixes his wrongdoings (Grahame, 1915). This novel was popular upon its publication,
and has come to be known as a children’s classic (Gates, Steffel, and Molson, 2003). Other
significant children’s fantasy books published around this time include The Just So Stories for
Little Children (1902), Winnie the Pooh (1926), Mary Poppins (1934), and Stuart Little (1945)
(Cullinan and Person, 2003).
The first half of the twentieth century also witnessed the publication of J.R.R. Tolkien’s
The Hobbit in 1937, which was not only an adventurous tale, but was also the first of its kind to
offer thematic complexity to its readers (Cullinan and Person, 2003). This attribute of The Hobbit
makes it an important landmark in the scope of children’s fantasy books. This 278 page novel
featured a fully realized setting that evoked an alternative, believable world (Tolkien, 1966). This
children’s classic marked the beginning of the Lord of the Rings trilogy that soon followed
(Cullinan and Person, 2003). The complex setting and plot of The Hobbit paved the way for later
children’s fantasy works to comprise more complex plots.
As a result, the latter half of the twentieth century witnessed a growing emphasis on
stories of mythical proportions which incorporated serious, far-reaching themes that often spilled
over into several volumes (Cullinan and Person, 2003). One such examples is The Lion, the
Witch, and the Wardrobe, which was published in 1950, and features four siblings as they travel
to Narnia and embark on many wonderful adventures to rid the land of an evil witch, and
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eventually rule Narnia with the help of a lion named Aslan (Lewis, 1950). This 185 page book,
which incorporates many allegorical meanings, was well received by the public upon its
publication, and has since been added to by its six sequels (Cullinan and Person, 2003). These
seven books have together come to be known as The Chronicles of Narnia, and have endured as
children’s classics to this day. Other important examples of children’s fantasy published during
the latter half of the twentieth century include A Wrinkle in Time (1962) and its accompanying
sequels, the Prydain Chronicles (1964-1969), and The Dark is Rising (1973) and its
accompanying sequels (Cullinan and Person, 2003). Each of these great fantastical works
incorporates complex plots and themes which spill over into additional sequels. They are
significant in regard to the development of children’s fantasy in that they mark the rise of
complex themes and plots in children’s fantasy which persists to this day.
Modern Children’s Fantasy
Many modern works of children’s fantasy are still being published today. These modern
fantastical works have greatly increased in length, and have become increasingly more complex.
Perhaps the most exemplary example of this is the Harry Potter series, written by J.K. Rowling.
The first book in the series, Harry Potter and the Sorcerer’s Stone, was originally published in
1997, and consists of 309 pages (Rowling, 2001). The story features a young wizard who attends
a school of wizardry and with the help of his friends, attempts to retaliate against the evil wizard
who killed his parents (Rowling, 2001). The series ended with the publication of the seventh
installment, Harry Potter and the Deathly Hallows, in 2007 (Rowling, 2007). This installment
consists of 759 pages, and features a highly complex plot (Rowling, 2007). This series was met
with nearly unprecedented popularity and success throughout the world. This modern fantasy
series exemplifies the trend for children’s fantasy books to increase in both length and
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complexity with time.
Another important example of this is the popular book The Lightning Thief and its four
accompanying sequels, which are collectively known as the Percy Jackson series (Riordan,
2009). The Lightning Thief, written by Rick Riordan, is 375 pages long, and features a 12-yearold demigod and his friends who go on an adventurous journey to find Zeus’s lightning bolt
which has been stolen (Riordan, 2005). The series finishes off with the 381 page fifth installment
of the series, The Last Olympian (Riordan, 2009). The series as a whole uses an adventurous plot
to teach children about Greek mythology, and important Greek mythological characters
(Riordan, 2005). Just like the Harry Potter series, the Percy Jackson series is an important
manifestation of the trend of children’s fantasy books to become increasingly longer and more
complex.
Another modern children’s fantasy series that is worth discussing is Peter and the
Starcatchers and its three sequels. The first in the series, Peter and the Starcatchers is 451 pages
long and is, in part, a modern rendition of the 1904 narrative Peter Pan (Barry and Pearson,
2004). This novel features the sweet and sophisticated Molly (Wendy’s mother), numerous
pirates, and the fearless character Peter Pan (Barry and Pearson, 2004). Analysis of this series
provides a direct manifestation of the development of children’s fantasy between 1904, when
Peter Pan was written, and one hundred years later when Peter and the Starcatchers was written.
While Peter Pan is only 192 pages long, Peter and the Starcatchers is 451 pages long, more than
twice that of Peter Pan. Similarly, while Peter Pan is certainly adventurous and fantastic, Peter
and the Starcatchers is a more fast-paced adventure which features more treacherous battles with
pirates, foreboding thunderstorms at sea, and a more complex plot in general (Barry and Pearson,
2004). The next three installments of this modern series take Peter on even more adventurous
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and complex adventures. The most recent installment of the series, Peter and the Sword of
Mercy, spends 528 pages taking Peter, the Lost Boys, Molly, and her daughter Wendy, on many
exciting and fast-paced adventures (Barry, Pearson, and Call, 2009). This installment is also
significantly longer than the original Peter Pan, and features a more complex plot involving the
original characters featured in the timeless classic Peter Pan. The comparison drawn between
Peter Pan and the series beginning with Peter and the Starcatchers is an important manifestation
of how children’s fantasy has developed over the last century. Since the rise of children’s
fantasy, fantastical works for children have become both increasingly complex, and increasingly
greater in length. Nonetheless, it is still important to consider both the earlier works and the
modern works alike in order to gain a full understanding of the genre of children’s fantasy.
Conclusion
Children’s fantasy has changed considerably over time since its initial acceptance by
society in 1865. Fantastical works immediately following the publication of Alice’s Adventures
in Wonderland consisted of narratives involving mostly mixed fantasy. During the first half of
the twentieth century, many children’s classics were published which incorporated both mixed
fantasy and journey fantasy. During the latter half of the twentieth century, children’s fantasy
works gradually evolved to consist of more complex story lines that spilled over into additional
sequels. Modern children’s fantasy books still employ these more complex plots and themes, and
tend to consist of multiple books in series. Once children’s fantasy became accepted by society,
the popularity and publication of fantastic works significantly increased, with these works
gradually becoming longer and more complex with time.
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