Diana Wynne Jones: The Fantastic Tradition and Children's Literature

Diana Wynne Jones: The Fantastic Tradition and Children's Literature British Author Diana Wynne Jones Has Been Writing Speculative Fiction For Children For Than Thirty Years A Clear Influence On Recent Writers Such As J K Rowling, Her Humorous And Exciting Stories Of Wizard S Academies, Dragons, And Griffins Many Published For Children But Read By All Ages Are Also Complexly Structured And Thought Provoking Critiques Of The Fantasy Tradition This Is The First Serious Study Of Jones S Work, Written By A Renowned Science Fiction Critic And Historian In Addition To Providing An Overview Of Jones S Work, Farah Mendlesohn Also Examines Jones S Important Critiques Of The Fantastic Tradition S Ideas About Childhood And Adolescence

Farah Mendlesohn is a Hugo Award winning British academic and writer on science fiction In 2005 she won the Hugo Award for Best Related Book for The Cambridge Companion to Science Fiction, which she edited with Edward James.Mendlesohn is Professor of Literary History at Anglia Ruskin University, where she is also Head of English and Media She writes on Science Fiction, Fantasy, Children s Litera

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  • Hardcover
  • 240 pages
  • Diana Wynne Jones: The Fantastic Tradition and Children's Literature
  • Farah Mendlesohn
  • English
  • 09 August 2019
  • 9780415970235

10 thoughts on “Diana Wynne Jones: The Fantastic Tradition and Children's Literature

  1. says:

    If you ve spent countless hours devoting yourself to Diana Wynne Jones impressive collection of work, reading this book will be an incredibly satisfying experience It details many of the complexities of her story telling from how she chooses to subvert the fantasy genre to her clever manipulation of time travel and really did increase my already vast appreciation for Jones stories Be warned though that a than passing familiarity with Jones books is necessary before reading through this volume, as otherwise many of the points brought up throughout it will merely be confusing or possibly ruin the endings of novels you haven t already read.

  2. says:

    loc 273 intro people do lose sight of their ideals quite often in adolescence and young adulthood they tend to see life as far too complex and then come up with the idea that things are only real and valid if they are unpleasant and boring Diana Wynne Jones, The Heroic Ideal A Personal Odyssey, The Lion and the Unicorn 13 1989 chokengtitiktitikchokeng 168 9 The assumption that all aspects of the fantastic are metaphoric that horror is about a fear of contamination, that the quest is the Bildungsroman the story of growing up is an imposition that limits the understanding of the fantastic and renders it impossible to consider fantasy qua fantasy, or fantasy as technique It is not wrong, or uninteresting, but it treats fantasy fiction as medicine rather than a creative act Butler wrote of fantasy generally, and Jones specifically,To think of it fantasy as a disposable husk, to be discarded once the enabling work has been done would imply a naive conception of the experience of reading In Jones s case it would also miss the point One of the attractions of Jones s magical literature is its ability to convey the sense that normal life or the etiolated version of it available to the inactive imagination is partial and illusory In her books magic can also function metonymically as well as metaphorically Charles Butler, Now Here Where Now p.179 Jones can also demonstrate that analysis, the reframing of what is seen, can breach consensus reality p.194 5 Jones writes for the book starved The intertextuality of her books can be understood in a number of ways, but at least one element is that they seem designed to be reread and wrung dry of all possible detail, and then even the manner in which the detail is fitted together is to be considered Diana Wynne Jones writes K nstlerromane, tales that are essentially about the growing of the child into the artist p.195 6 Amusingly, Jones seems to be training her readers to be what Peter Hunt described as those who read in a deviant way that is, critically It is just possible that for Jones s complexity to be appreciated, first she had to grow her own critics.

  3. says:

    Of Diana Wynne Jones s than 40 excellent fantasy fiction books, my favorites are Charmed Life, and its sequal The Pinhoe Egg Howl s Moving Castle, followed by House of Many Ways Power of Three The Ogre Downstairs Dogsbody Deep Secret, followed by The Merlin Conspiracy When Jones started writing, it was accepted that boys would not read books with girls as protagonsts Jones had only sons, and she wanted them to read her books, but she also wanted to be able to write about female protagonists As Mendlesohn points out in this perceptive book, Jones manged to do both, consistently and quietly altering, undercutting, and even reversing deeply embeded conventions of fantasy fiction This is a good book of criticixm, though occasional missing words and cumbersome patches suggest that its editorial team had an off day.

  4. says:

    Great analysis and discussion of Diana Wynne Jones books Instead of looking at the books one by one or chronologically which would take a while the book breaks things down into certain ideas like time travel and portal fantasies, pointing out how Jones tends to make criticism part of the story and turn cliches on their head.It made me want to go out and read all her books I haven t read and re read the ones I had There are so many characters and stories and those stories are complex that sometimes I wished they were clearer in my mind when they were being discussed, as the author assumes that familiarity from the start There s not much in the way of intros or synopsis for beginners But this didn t interfere with my enjoyment of the books.

  5. says:

    Odli na knjiga, i lep primer kako se mo e ozbiljno analizirati fantastika za decu i njena posebnost u odnosu na fantastiku za odrasle a i himna veli anstvenosti Dajane Vin D ouns Jedini problem jeste to delovi o odnosu vremena i pripovedanja prosto vapiju za upotrebom eneta i Rikera, a njih nema ni od korova Ne pamtim da sam videla tako izrazit primer da autor pipa tra e i ta no odre eno teorijsko oru e ovde naratologiju i ne nalazi ga.

  6. says:

    Just about as much fun as rereading a whole stack of Diana Wynne Jones books which is to say, lots, especially for a whole book of literary theory Farah Mendlesohn gets it about these books, really really well.

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