Samizdata

I recently returned from a family holiday in a rented cottage. A nice thing about staying in such places is poking around in the bookshelves, and having time to read random books. I ended up reading aloud to my son Five On a Secret Trail by Enid Blyton, partly for the nostalgia.

The Internet didn’t exist when I first read Enid Blyton, so I know little about her but vague memories of adventure stories. Obviously I ended up looking her up on Wikipedia, and boy, is that page a hoot.

Blyton’s work became increasingly controversial among literary critics, teachers and parents from the 1950s onwards, because of the alleged unchallenging nature of her writing and the themes of her books

This sounds like fun, and it is.

Many of her books were critically assessed by teachers and librarians, deemed unfit for children to read, and removed from syllabuses and public libraries.

Awesome!

From the 1930s to the 1950s the BBC operated a de facto ban on dramatising Blyton’s books for radio, considering her to be a “second-rater” whose work was without literary merit.

By now I am very much starting to like Enid Blyton. Literary critics and the BBC hate her: this is strong praise in my book.

Michael Rosen, Children’s Laureate from 2007 until 2009, wrote that “I find myself flinching at occasional bursts of snobbery and the assumed level of privilege of the children and families in the books.” The children’s author Anne Fine presented an overview of the concerns about Blyton’s work and responses to them on BBC Radio 4 in November 2008, in which she noted the “drip, drip, drip of disapproval” associated with the books.

…

Fred Inglis considers Blyton’s books to be technically easy to read, but to also be “emotionally and cognitively easy”. He mentions that the psychologist Michael Woods believed that Blyton was different from many other older authors writing for children in that she seemed untroubled by presenting them with a world that differed from reality. Woods surmised that Blyton “was a child, she thought as a child, and wrote as a child … the basic feeling is essentially pre-adolescent … Enid Blyton has no moral dilemmas … Inevitably Enid Blyton was labelled by rumour a child-hater. If true, such a fact should come as no surprise to us, for as a child herself all other children can be nothing but rivals for her.”[134] Inglis argues though that Blyton was clearly devoted to children and put an enormous amount of energy into her work, with a powerful belief in “representing the crude moral diagrams and garish fantasies of a readership”.

In other words, Blyton writes about children having adventures with goodies and baddies and it’s all jolly good fun, and the protagonists are middle class to boot. Literary critics hate that, and I rather like it. I also like the portrayal of children as independent and capable. In Secret Trail, George goes off camping on her own and her parents are unconcerned. The children suspect they are onto some criminals and they investigate instead of running for help. Someone complains of a broken ankle and Julian does not call an ambulance, he diagnoses it as just a sprain. Jolly good stuff.

Eric Raymond writes of literary criticism being at odds with good science fiction:

Literary status envy is the condition of people who think that all genre fiction would be improved by adopting the devices and priorities of late 19th- and then 20th-century literary fiction. Such people prize the “novel of character” and stylistic sophistication above all else. They have almost no interest in ideas outside of esthetic theory and a very narrow range of socio-political criticism. They think competent characters and happy endings are jejune, unsophisticated, artistically uninteresting. They love them some angst.

People like this are toxic to SF, because the lit-fic agenda clashes badly with the deep norms of SF. Many honestly think they can fix science fiction by raising its standards of characterization and prose quality, but wind up doing tremendous iatrogenic damage because they don’t realize that fixating on those things (rather than the goals of affirming rational knowability and inducing a sense of conceptual breakthrough) produces not better SF but a bad imitation of literary fiction that is much worse SF.

We do not want character development and moral dilemmas, we want adventure and sense of wonder. I can always spot a good SF read when the Amazon reviews are all complaining about two dimensional characters. Enid Blyton’s critics are unwittingly recommending her in the same way. My son wants to hear about camping in thunderstorms, hidden caves and mysterious ruined cottages.

There are also complaints of sexism and all the other isms. On the subject of the former in fiction, John C Wright (whose Golden Oecumene trilogy I reviewed, and, as I discovered Googling for that link, Brian Micklethwait received email about back in 2004) has interesting things to say.