Back in December I shared a quotation from C.S. Lewis on the meaning of stories. Today I want to share a few more passages, this time focusing on writing for children. They are taken from his essay “On Three Ways of Writing for Children,” first published in 1952.
Good Children’s Stories
“I am almost inclined to set it up as a canon that a children’s story which is enjoyed only by children is a bad children’s story. The good ones last. A waltz which you can like only when you are waltzing is a bad waltz.”
Arguments for Enjoying Children’s Literature as an Adult
“1. Critics who treat ‘adult’ as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence. And in childhood and adolescence they are, in moderation, healthy symptoms. Young things ought to want to grow. But to carry on into middle life or even into early manhood this concern about being adult is a mark of really arrested development. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.”
“2. The modern view seems to me to involve a false conception of growth. They accuse us of arrested development because we have not lost a taste we had in childhood. But surely arrested development consists not in refusing to lose old things but in failing to add new things? I now like hock, which I am sure I should not have liked as a child. But I still like lemon-squash. I call this growth or development because I have been enriched: where I formerly had only one pleasure, I now have two. But if I had to lose the taste for lemon-squash before I acquired the taste for hock, that would not be growth but simple change. I now enjoy Tolstoy and Jane Austen and Trollope as well as fairy tales and I call that growth: if I had had to lose the fairy tales in order to acquire the novelists, I would not say that I had grown but only that I had changed.”
“3. The whole association of fairy tale and fantasy with childhood is local and accidental. I hope everyone has read Tolkien’s essay on Fairy Tales, which is perhaps the most important contribution to the subject that anyone has yet made. If so, you will know already that, in most places and times, the fairy tale has not been specially made for, nor exclusively enjoyed by, children.”
A Defense of Fairy Tales
“The boy reading the school story of the type I have in mind desires success and is unhappy (once the book is over) because he can’t get it: the boy reading the fairy tale desires and is happy in the very fact of desiring. For his mind has not been concentrated on himself, as it often is in the more realistic story. I do not mean that school stories for boys and girls ought not to be written. I am only saying that they are far more liable to become ‘fantasies’ in the clinical sense than fantastic stories are.”
“A far more serious attack on the fairy tale as children’s literature comes from those who do not wish children to be frightened. I suffered too much from night-fears myself in childhood to undervalue this objection. I would not wish to heat the fires of that private hell for any child. On the other hand, none of my fears came from fairy tales. Giant insects were my specialty, with ghosts a bad second. I suppose the ghosts came directly or indirectly from stories, though certainly not from fairy stories, but I don’t think the insects did. I don’t know anything my parents could have done or left undone which would have saved me from the pincers, mandibles, and eyes of those many-legged abominations. And that, as so many people have pointed out, is the difficulty. We do not know what will or will not frighten a child in this particular way.”
“And I think it possible that by confining your child to blameless stories of child life in which nothing at all alarming ever happens, you would fail to banish the terrors, and would succeed in banishing all that can ennoble them or make them endurable. For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones; and the terrible figures are not merely terrible, but sublime. It would be nice if no little boy in bed, hearing, or thinking he hears, a sound, were ever at all frightened. But if he is going to be frightened, I think it better that he should think of giants and dragons than merely of burglars. And I think St George, or any bright champion in armour, is a better comfort than the idea of the police.”
Conclusion
“We must write for children out of those elements in our own imagination which we share with children: differing from our child readers not by any less, or less serious, interest in the things we handle, but by the fact that we have other interests which children would not share with us.”
“Once in a hotel dining-room I said, rather too loudly, ‘I loathe prunes: ‘So do I,’ came an unexpected six-year-old voice from another table. Sympathy was instantaneous. Neither of us thought it funny. We both knew that prunes are far too nasty to be funny. That is the proper meeting between man and child as independent personalities. Of the far higher and more difficult relations between child and parent or child and teacher, I say nothing. An author, as a mere author, is outside all that. He is not even an uncle. He is a freeman and an equal, like the postman, the butcher, and the dog next door.”
Yes it would be too bad to decide that when we are adults, we are limited to certain levels of reading. I love flexibility . Love is more flexible than we can imagine, in its ways of expression, and in its activities aimed at loving our fellow human beings and our planet in general. Fairy tales express this too.
A few years ago I loaded my Kindle with Alice in Wonderland, and read it on my flight to Mexico. Enjoyed it!