Prince Caspian

The Chronicles of Narnia

Prince Caspian by C. S. Lewis, 1951.

This book starts with the four Pevensie children from the previous book in the series heading to their boarding schools by train. The girls are going to one school, and the boys are going to another. As they’re waiting for their trains at the station, they suddenly feel themselves being pulled and dragged by some unseen force. They feel like it’s magic of some kind, and they all join hands to stay together. The next thing they know, they’re in a forest. They wonder if they might have returned to Narnia.

They explore the area and realize that they are on an island. When they search for food, they find an abandoned apple orchard and the ruins of a castle. Something about the ruins seems strangely familiar to the children. When Susan finds a golden chess piece, they realize that the castle is the ruins of Cair Paravel, the castle where they used to live as kings and queens during their previous time in Narnia. The children are sad that the castle is now ruins. They’re also puzzled at how it can be ruins when they last saw it intact, and when they lived there, the castle was on a peninsula, not an island. Even though their previous adventures only took place a year before for them, it looks like many years, maybe centuries, have passed in Narnia.

They find their way into their old treasure room and discover that it is undisturbed. They leave the jewels and riches there, but they find the special presents that they were given during their last adventure and take them because they may be helpful during this adventure. The one thing they can’t find is Susan’s magic horn, which can be used to summon help in desperate times. Susan realizes that she had it with her during the stag hunt right before they returned to their own world from Narnia, and it was probably lost in the woods.

When they rescue a dwarf from some men holding him captive, the dwarf thanks them. He says that they were planning to drown him as a criminal, but he doesn’t fully explain. Instead, he offers to catch some fish for them all to have breakfast because all the children have are apples. When the children mention that there is firewood at the castle, he is amazed. He’s heard stories about an old castle there, but he wasn’t sure that it was real. The rumors are that the forest around the castle ruins is haunted.

After they eat, the dwarf explains that he is a messenger for Caspian, the king of Narnia. He then qualifies that by explaining that Caspian should be the king. The old Narnians recognize him as the rightful king, although he is considered one of the new Narnians himself. Prince Caspian was an orphan raised in the castle of his Uncle Miraz. He was mostly raised by his nurse and wasn’t very close to his aunt and uncle, but his uncle acknowledged him as his heir because he had no children.

According to the dwarf’s story, Prince Caspian has a fascination for the old days of Narnia from his nurse’s tales, when there were fauns and talking animals in Narnia, but his uncle says those are just fairy tale stories for little kids. The Pevensie children realize that the legends that Prince Caspian was told as a young child were about them and their adventures. People still tell stories about them, but not everyone believes them.

Miraz forbids Caspian from believing in those stories or talking about them again and sends away Caspian’s nurse. Instead, he hires a tutor for Caspian called Doctor Cornelius. Caspian misses his nurse, but he enjoys his lessons with Doctor Cornelius. From Doctor Cornelius, he learns that his ancestors and other humans came to Narnia from another land and conquered it. However, Doctor Cornelius is reluctant to explain exactly whom his ancestors conquered. Doctor Cornelius quietly admits that Miraz forbids anyone from talking about Old Narnia because it’s supposed to be a secret. Over time, Doctor Cornelius lets Caspian know the secrets of Old Narnia, which confirm to him that his nurse’s stories were true.

Caspian’s ancestors were the ones who silenced the taking animals and drove away or killed other races who inhabited Narnia. The reason why Miraz won’t let anybody talk about the history of Old Narnia and denies that other species once lived there is to cover up that his ancestors stole Narnia from its rightful inhabitants and that most of the humans are merely transplants to this land, not its rightful heirs. Doctor Cornelius reveals himself to be a dwarf, one of those few who still live in Narnia in secret. He is also part human, which is how he is able to pass for a human. He says that there are others there in disguise. Caspian feels like he should apologize to Doctor Cornelius, although he knows that what his ancestors did to the dwarves was not his fault. Doctor Cornelius says that apologies are not necessary, but he knows that Caspian will one day be king and can help the remaining Old Narnians who still live there, hiding from Miraz.

The stories about the woods around Cair Paravel being haunted were invented by Caspian’s ancestors to hide Narnia’s past and also because they want the forest to separate them from the sea. Caspian’s people fear the sea because, although they deny that Aslan exists, the legends all say that Aslan will return from across the sea. They fear the wrath that Aslan may visit on them for what they did to Narnia and its peoples. However, not all humans have this fear of Aslan and Old Narnia. Others, like Caspian, are fascinated and would like to see Narnia become more like its past self, with magic and talking animals and dwarves and fauns. As Caspian gets older, he realizes that many people in Narnia are unhappy with Miraz and the way he rules Narnia. He is a cruel king.

One night, while Caspian’s aunt is very ill, Doctor Cornelius wakes him and prepares him for a journey. He tells Caspian that he is not just the prince but the true king of Narnia. His father was the true king, and after Caspian’s parents were dead, Miraz took the throne for himself. Miraz murdered or exiled Caspian’s father’s old friends and supporters. Caspian was too small at the time to understand or have any memory of this, but now, Miraz is planning to murder Caspian. His aunt’s “illness” was actually childbirth, and now that she has given birth to a son, Miraz is planning to eliminate Caspian so his own son can be his heir with no opposition from the true heir. Doctor Cornelius says that Caspian has no other choice but to flee to another, friendly kingdom. To help him on his way, Doctor Cornelius gives him some food, a purse of gold, and Susan’s magic horn, an Old Narnian artifact found after she and her siblings disappeared from Narnia.

While Caspian is fleeing, he has an accident and is knocked unconscious. He is found by a dwarf and talking animals. They almost kill him as one of their enemies, but Caspian explains who he is and why Miraz wants to kill him. The dwarf still wants to kill him, but the badger realizes that Caspian is a hopeful sign. The golden age of Narnia was when human children ruled, and young Caspian’s belief in the Old Narnian stories and assertion that he has longed to meet Old Narnians like them are signs that he could be a true high king like King Peter. The badger says that he would be willing to follow King Caspian if he remains true to Old Narnia and its people.

Caspian is allowed to stay among the Old Narnians in hiding. He gradually makes friends with different species, and they begin to form a rebellion against Miraz. Doctor Cornelius finds Caspian and warns him that his uncle is searching for him. Caspian’s supporters convinced him that it was time to blow Susan’s horn to summon help, and that was how the Pevensie children were summoned back to Narnia.

The dwarf explaining all this to the Pevensie children is the same doubting dwarf who almost killed Caspian and ended up joining his supporters. The men trying to kill him were Miraz’s people. Trumpkin, the doubting dwarf, now doubts that the Pevensie children are the help they were hoping for. They are children again, not the great kings and queens they were when they left Narnia. The children aren’t too troubled by his doubts because they know who they are and the victories they have already achieved in Narnia. They have not lost all the skills they gained in Narnia before, and the more time they spend in Narnia, the more they become like the kings and queens they once were and still are. They outfit themselves from their old treasury and prepare to once again battle again evil in Narnia in support of Aslan.

The book is available to borrow and read for free online through Internet Archive (multiple copies, including some in different languages).

My Reaction

The books in The Chronicles of Narnia are famously Christian allegories, and Christian themes continue through this book. There are people who are doubters, but those who remain faithful believers in Aslan (who represents Jesus in this series) are the ones who prevail in the end. Like Jesus, Aslan wants his followers to do what they can on their own but is often near to offer them strength, support, and hints about the right thing to do. However, some people are more perceptive to his guidance than others, especially Lucy, and there is a theme that runs through the story about belief in things from people who have not seen them directly and are relying on other people’s experiences. As Lucy has a greater capacity for perceiving Aslan, some other people have a greater capacity for general belief. Edmund has learned his lessons from the previous book. Feeling badly about his earlier doubting of Lucy and how he had once belittled her, he becomes her biggest supporter during times when she can see Aslan and others can’t, urging his older siblings to listen to her. Some people, including Peter and Susan, doubt whether Lucy has actually seen Aslan when they haven’t seen him himself. Trumpkin, the doubting dwarf, is the classic Doubting Thomas of the story. He doubts everything, every step of the way, from Caspian’s intentions to the existence of the Pevensies and Aslan, but he keep son going until he sees the Pevensies himself and has the opportunity to see their abilities in action. Among Caspian’s followers, there are some, like the badgers, who have always believed in Aslan and always will, and there are others who are won over when they see for themselves.

There are also themes in the story that can apply equally to religious issues and political ones. Miraz struggles from the beginning to control the narrative of how his family came to rule Narnia and how he himself became the king when his brother’s son was actually the true heir. There are people who know the truth about both of these issues, but he’s not above censoring people, exiling them, and even killing them to prevent people from talking about the truth openly. Miraz is not a good king and has his self-interest in mind more than his subjects’, but he’s sharp enough to know that nobody really likes him or wants him to be king except he has convinced them that he has the authority to be king and that their self-interest lies with him. If people came to see him and his family for who and what they truly are and what they’ve actually done, he would lose all of that, and he knows it. Authoritarian rule is like that. It relies on maintaining the sort of image that, realistically, they can’t maintain if people know what the individuals involved are really like. Authoritarians try to make themselves look stronger and better than normal humans to cover up for their flaws, but the image collapses when they can’t or won’t deliver what they promise, and people see them for the flawed humans they really are, often more flawed than the people they tried to convince were weaker.

Aslan eventually reveals that Caspian and his people are not just from a foreign country in the world of Narnia, but their distant ancestor were actually pirates from our world. They had conquered and looted an island in the South Seas, murdered many of the inhabitants, and taken the women for their own. Then, they had argued and fought among themselves. Some of the pirates took their women and tried to hide in a cave from the others, but it was a gateway to the world of Narnia, and that was how they got there to later conquer Narnia. When Caspian hears this, he says that he wishes that he had come from a more noble lineage than murdering pirates, and Aslan tells him that, further back than the pirates, he is also a son of Adam and Eve, just like the Pevensies, and that lineage is noble enough. I liked this explanation because, in modern times, people have struggled with the concept of having slave-owning ancestors, fearing criticism, punishment, or some form of reparations for it. I’ve heard some people saying that they don’t want to be ashamed of themselves or their ancestors. They are hung up on one part of their family’s history, a history that, when you think about it, goes back as far as humans go, and they fear blame and shame for that. I don’t think I’ve heard many consider that their family didn’t always own slaves. They were something other than slave-owners before that, even if some of them can’t quite remember what that was. I’m not big on ancestor veneration and imitation, but everyone’s ancestry goes back too far to remember every generation. Even if some generations weren’t good examples, they’re not the only past generations, if you see what I mean. Maybe, instead of looking at what their family used to be and lost and might be blamed for even having, they should consider that what they’ve become since then might just be a return to what they were before that period in their family’s history, which might just be better and noble enough.

Earlier in the story, when the Old Narnians talk about whether to support Caspian or continue to support him, there are some who waiver in their support or withhold it, also out of self-interest. While nobody really likes Miraz, Narnian history and legends influence the way that the Old Narnians feel about Aslan and his supporters. Most of the Old Narnians remember the White Witch from the previous book as a wicked ruler, but the dwarves and wolves fared better under her than other species. Their descendants forget that their relatively better treatment came from their collaboration with the witch and their participation in her wickedness, and even then, the relatively better treatment still wasn’t that great. (Plus, some of the wolves are actually werewolves, not just talking animals, like the others.) They just vaguely remember that there was a time when a ruler put them in a better position relative to other species, which they are not now. In fact, they feel like they are now treated worse and given fewer supplies than the other groups. The other groups say that’s not true, but it feels like it is to them because they are no longer better off than the others. They miss that and want it back. When they become impatient with Caspian and feel like he won’t give them the treatment they want, they rebel, and some of them are killed. Prince Caspian and the others feel badly about that because the might not have rebelled and been killed in the struggle if circumstances were different and they had felt more satisfied, but they had no choice but to defend themselves from their attack.

The book also looks at the type of people who support authoritarian rulers. Much of their support also has to do with self-interest or apparent self-interest. Miraz does have supporters among the human nobility who helped him accomplish his rise to power and who helped do his dirty work in getting rid of his brothers old allies. Since then, some of them have become disillusioned with Miraz. Miraz has not followed through on what he promised them before in exchange for their loyalty and support, furthering his own self-interest instead of theirs, and that’s the one thing they can’t accept. The thing about supporting someone who is selfish and is willing to throw former supporters to the wolves or even kill relatives in pursuit of power … is that you end up being one of those former supporters who may be thrown to the wolves or killed when your leader pursues self-interest and power. Some people never think anything through. They may have assumed that they would be a special exception to the leader because of their support, but nobody is special to Miraz but himself. Everyone else is just a tool to be used until he can’t find a use for them or they seem to be a hindrance.

When Aslan reveals the true history of Caspian’s people to them, many of them are afraid that Aslan is going to kill them all for what they’ve been and what they’ve done, which is another factor in their support of Miraz and his narrative. Even some of those who knew the truth before were too scared to say anything or do anything about it because they feared the blame, guilt, and consequences that might follow acknowledging the truth. A major reason for their fear is that they and their ancestors have not been merciful to anybody, so it never occurs to them that someone else might have better intentions for them.

At the end of their adventure, when it’s time for the Pevensies to go home, Aslan tells them that Peter and Susan will not be returning to Narnia next time because they are getting too old, but Edmund and Lucy will return someday. It’s a common theme in children’s fantasy books that only children can experience certain types of magic, and when they get older, they can no longer experience it or believe in it. It’s a trope that is meant to explain why grownups don’t experience this type of magic in the real world and why the adults in stories think that the children are just imagining things when they experience magic, but to me, it doesn’t logically follow in this story. We already know that at least one adult the Pevensie children have met believes in Narnia and magic because he has also experienced them, and we know that the ancestors of Caspian’s people arrived in the world of Narnia as adults. The Chronicles of Narnia don’t seem to have a consistent principle about who can visit the world of Narnia or believe in it, not in age or even in moral character because Caspian’s ancestors were murdering pirates. I think, in the case of Caspian’s ancestors, it might have something to do with explaining how even flawed and immoral people can rise to power or even seemingly have God’s favor, when it seems like they’re the last ones who should. It seems to be a combination of random chance (happening to wander into the right cave, in this case), their own choices (conquering other people), and possibly, part of a much longer game on Aslan/God’s part (eventually producing Caspian, who is the kind of ruler Narnia needs, even though it involved a lot of evil along the way – the evil being the humans’ choice, not a requirement). That’s some speculation and interpretation on my part, but I think the story kind of sets that up. Aslan seems completely aware of what’s going on and what has been happening but hasn’t tried to interfere until the critical moment in this story when Prince Caspian needs his help to fulfill his destiny.

The Lion, the Witch, and the Wardrobe

The Chronicles of Narnia

The Lion, the Witch, and the Wardrobe by C. S. Lewis, 1950.

During WWII, the four Pevensie children are sent away from London to the countryside as child evacuees. They end up staying in a strange old house with an unmarried professor. The children are fascinated by the professor’s big, old house, and on their first rainy day there, they decide to go exploring. In a spare room, the children see a big, old wardrobe. While her older siblings move on to look in other rooms, Lucy can’t resist looking inside the wardrobe. The wardrobe is full of old coats, but Lucy enters the wardrobe and pushes past the coats to see how far back the wardrobe goes.

As Lucy continues trying to find her way to the back of the wardrobe, she feels like the old coats are starting to feel like tree branches. When she emerges from the wardrobe, she is in a snowy forest. She sees a faun hurrying by with some parcels, and she talks to him. The faun, Mr. Tumnus, is surprised to see her and asks her if she’s a “daughter of Eve”, meaning a human girl. Lucy finds that question confusing at first, but she confirms that she is a human girl. Mr. Tumnus convinces Lucy to join him at his house for tea. While she’s there, Mr. Tumnus plays music for her. Lucy is enchanted, and she almost falls asleep, but then, she suddenly realizes that she should return to her siblings. To her surprise, Mr. Tumnus is upset and guilty. He explains that he has been forced into the service of the White Witch, who has commanded him to charm any human children he finds until she can come and collect them from him. Lucy is shocked and disbelieving because Mr. Tumnus has been so nice to her. Mr. Tumnus hates having to work for the evil White Witch, but she does horrible things to anyone who defies her, often turning her enemies into stone statues. The White Witch controls the land of Narnia, where they currently are, and she’s the one who has made it eternally winter but never Christmas. However, Mr. Tumnus just can’t bring himself to turn Lucy over to her, so he agrees to help her get back to the wardrobe without telling the witch about her.

Lucy returns to her own world through the wardrobe and eagerly rushes to her siblings to tell them where she’s been. When she sees her siblings, she learns that almost no time has passed since she first went into the wardrobe, and nobody has missed her. Her siblings can’t believe that she’s been to a magical land and that no time has passed while she was having this adventure. They go to the wardrobe themselves and look at it, but when they look, it’s just an ordinary wardrobe with a back. They think that Lucy was just playing a prank, but Lucy is very upset because she knows that it wasn’t a joke or a dream. Her oldest siblings, Peter and Susan, would be ready to forget the entire matter, but Edmund can’t resist teasing Lucy about it.

During a game of hide-and-seek later, Lucy goes through the wardrobe again, and this time, Edmund follows her. Edmund is shocked to find himself in the same snowy woods and to realize that Lucy was telling the truth. At first, he looks for Lucy, having lost track of her, but then, he encounters a strange white lady in a sleigh. This is the White Witch. Not knowing who she is, Edmund accepts the witch’s offer of a hot drink and his favorite treat, Turkish Delights. The treats that the witch gives him are enchanted to give him a terrible craving for more. The witch is careful about how many she gives him, but that craving and her promise of more keeps Edmund wanting to please her and to tell her everything she wants to know. He tells the witch about Lucy and her earlier trip to Narnia. The witch asks him if he has any other siblings, and she is strangely interested when he says that he is one of four. The witch tells Edmund that she is the queen of Narnia, but she has no children. She says that if Edmund will bring all of his siblings to meet her, she will make him the prince of Narnia, and he can live in her palace and eat Turkish Delights all day. Edmund is reluctant to bring her his siblings because he craves her treats so much he would rather just go to her palace at once, but the witch insists that he must bring her his siblings.

Lucy and Edmund meet back at the wardrobe entrance to Narnia, and Lucy is pleased at first that Edmund has now seen that Narnia is real. However, when they return to their own world and see Peter and Susan, Edmund spitefully tells them that Narnia isn’t real and that they were just playing pretend. After all of his earlier teasing, he can’t bring himself to admit that he was in the wrong for saying that Lucy was just making it all up before. Lucy is deeply hurt that Edmund is denying something they both know is true and becomes very upset.

Peter and Susan know that Edmund is being mean to Lucy, but they are also concerned about why Lucy seems to suddenly be making up these strange fantasies, when she’s never done anything like that before. Thinking that maybe the stress of being sent away from home is making Lucy crazy, they talk to the professor about what’s been happening. The professor listens to their story and their concerns very seriously, and they are surprised when the professor asks them how they can be sure that Lucy isn’t telling the truth. He admits that this old house is very strange, and he hasn’t even lived there very long himself, so he can’t say for certain what might be happening there. There have been some strange stories about this house before, and sometimes, they even get tourists stopping to see the house. Peter and Susan say that they doubt Lucy’s story because Edmund says it wasn’t true and because they saw nothing in the wardrobe when they looked themselves. They think if the wardrobe was really a portal to a magical world, surely it would be there all the time, for anyone who looked. The professor says that might not be true, that there might be thinks that are real that aren’t necessarily there or visible all the time. Part of his reasoning is that, if Lucy was playing a prank of some kind, she would have hidden for longer before coming to tell them of her adventures so that her story would seem more plausible. Lucy’s story is so implausible that the professor is inclined to believe it. The professor says that time might work differently in Narnia and that’s why it seemed like no time has passed. As for Edmund’s word, the professor asks Peter and Susan whether they would have thought Lucy or Edmund more reliable before. They say that Lucy is usually more reliable than Edmund, so the professor dismisses Edmund’s story in favor of Lucy’s. Peter and Susan still aren’t sure what to do about the situation, even if Lucy really has visited a magical land. The professor’s suggestion is that they mind their own business for now. Not knowing what else to do, Peter and Susan decide to wait and see what happens.

The truth is revealed when the children find themselves in the room with the wardrobe again while trying to avoid a group of tourists the housekeeper is leading on a tour of the house. Hearing the housekeeper approaching they all decide to hide in the wardrobe, and this time, they all find their way to Narnia. Peter and Susan are amazed and apologize to Lucy for not believing her before. It’s cold in the snow, so Susan sensibly suggests that they borrow some of the coats in the wardrobe to wear. Edmund gives away his earlier lie about not having been to Narnia by mentioning the position of a street lamp that is oddly in the forest. Peter is angry with Edmund for lying to them and trying to make Lucy look like either a liar of crazy person. Like a lot of people caught doing something bad, Edmund becomes sullen and resentful that the others are rightfully angry with him for what he’s done.

Lucy wants to introduce her siblings to Mr. Tumnus, but when they reach his house, they learn that he has been arrested. Lucy knows that he was arrested for defying the White Witch, and she explains about the witch to her siblings. Edmund doesn’t tell the others that he has met the White Witch himself, although he tries to introduce the idea that none of them really know what’s going on in this land, asking how they know if the witch is really evil or not. The others don’t listen to him and agree with Lucy that they should try to help Mr. Tumnus, if they can.

At first, they don’t know where to go or what to do, but a friendly robin guides them to meet a beaver. Animals talk in Narnia, and the beaver takes the children to his house, where he explains to them what happened to Mr. Tumnus and the truth about the White Witch. Although the White Witch calls herself the queen of Narnia, the actual ruler of Narnia is Aslan, the emperor. The beaver is vague about exactly what Aslan is, but he says that Aslan is not human, and neither is the White Witch, although she looks sort of human and would like people to think she is human. The truth is that, while humans are “sons of Adam” or “daughters of Eve” (referring to the Biblical Adam and Eve), the White Witch is actually a descendant of Lilith, Adam’s first wife. (According to folklore/mythology, as this video explains, Lilith was created by God at the same time as Adam, but she was not faithful to him. She left him and mothered a race of demons with other creatures. Therefore, in Lewis is following folklore, the White Witch is actually a demonic enchantress. The book doesn’t go into all this backstory. The beaver describes the White Witch as being the product of a djinn and a giant, but based on folklore, that’s the implication that she’s demonic. The White Witch is not just a human who practices evil magic; she’s a non-human demon. Being half-djinn and half-giant sounds less scary for kids, but it’s really more sinister, if you know the folklore and think more deeply about it. That’s what the beaver means when he refers to being careful about things that look human but actually aren’t. In folklore, demons and other evil creatures can sometimes make themselves look human to get people to trust them.) The reason why the White Witch is so concerned about human children is that there is a prophecy that four human children will take the thrones in the castle of Cair Paravel, and that will bring her evil reign to an end. Any time human children come to Narnia, the White Witch tries to get her hands on them to prevent the prophecy from coming true. (She has no intention of adopting Edmund as a prince. If she gets her hands on all four Pevensie children at once, she’ll turn them all into stone statues, as she does with all of her enemies, to prevent them from taking the thrones.) However, the word is that Aslan is returning, and the presence of the four children is a sign that the prophecy will soon be fulfilled.

During the course of this explanation, Edmund slips away from the others, wanting to seek out the White Witch because of her promises to him and his irresistible craving for what she has offered him. When the others realize that he is gone, Peter thinks that they should search for him, but the beaver has accurately realized that Edmund is under the influence of the witch. There is no point in going after him because he is not in a state where he will listen to them and is in the process of betraying them all. Their only hope is to leave before the White Witch comes and to seek out Aslan!

This book is the first book in the Chronicles of Narnia, although the books in the series jump around in time. The book is available to borrow and read for free online through Internet Archive (multiple copies). It has been made into movies multiple times.

My Reaction

When I was in high school, my history teacher brought up this book, saying that it was more than just a fantasy book, asking the class if we knew what it was supposed to be an allegory for. I said that it was religious allegory, and she told me that I was wrong and that it was an allegory for World War II. The story takes place during World War II, but it is definitely religious allegory. All the talk about “sons of Adam” and “daughters of Eve” and the references to Lilith are not coincidence. C. S. Lewis was a lay theologian and also wrote nonfiction books on the subject of religion. This book was written for his goddaughter, Lucy Barfield. Aslan is a lion in the story, but he also represents God, and toward the end of the story, he performs a Christ-like sacrifice of himself for the sake of Edmund’s sins (Edmund’s betrayal of his siblings has made him the property of the White Witch and a sacrifice for her until Aslan voluntarily takes his place to free him from the witch) before rising to life again and restoring life to all the people who had been turned to stone.

The Chronicles of Narnia is a popular Christian series, and some Sunday schools even use the series to teach Christian lessons. However, because of the fantasy themes and the style of the stories, not all Christians approve of them. Reception among atheists and people of other religions has been mixed, although the series is generally famous and has become a classic among children’s literature. One of the chief problems people have with the stories occurs toward the end of the series, where children who grow up and become interested in dating are at least temporarily lost to godliness or Heaven or the magic of Narnia, and the children who die young are the ones who live in Narnia eternally. It does creep me out a little that dying young instead of growing up is depicted as a virtue. It probably would have creeped me out even more if I had read the last book in the series as a child instead of an adult. As an adult, I see it more as a result of the author’s possible disillusionment with the habits adults develop when they lose their youthful sense of innocence and, even more likely, that problem that fantasy authors often seem to struggle with, explaining how these magical lands and adventures can exist without grown adults knowing about them. Many fantasy authors include an element in their stories that only children can experience certain magical things and that those children will forget about them as they age, allowing young readers to indulge in a belief in magic they can experience that adults living in the real world don’t experience. But, as I’ll discuss more later, the end of this series does bother me because the author kills off most of the characters that we have come to know and love, which I don’t think should be necessary. The girls in the story are also not allowed to take an active part in the battle at the end of the story, fulfilling more support roles, and the story itself admits that it’s because they’re girls. The roles that the girls in the story play are important, and they have their share of excitement, but few modern stories would make this type of distinction between boys’ and girls’ roles like this.

Time functions differently in Narnia, and there are odd jumps in time, both within this book and the rest of the series. Whenever characters are in Narnia, no time passes in our world. The four Pevensie children become kings and queens in Narnia and live full lives there for decades (which helps me feel a little less sad that they don’t live as long in the real world, but still not great). They are adults in Narnia when they find the way back to our world, and suddenly, they find themselves children again in the professor’s house during WWII. Returning to their old lives is a shock, but the professor tells them that they will return to Narnia again someday. The professor knows about Narnia because he was there as a child himself. His backstory is covered in a later book, which also includes an explanation about why there is a street lamp in the forest in Narnia. During later books, when the children and their friends return to Narnia, centuries have passed there, and their adventures from this book have become legends for the people of Narnia.

As a side note, I also liked how the book repeatedly warns readers that smart people realize that, if you ever explore a wardrobe, you should always leave the door open behind you because you don’t want to get shut in. It’s a practical point and one worth making to kids who might want to try exploring a wardrobe or two to see if they can find magic doors.

The Light Princess

The Light Princess by George MacDonald, 1864.

A long time ago, a king is irritated with his queen because they have no children. The queen tells him to be patient, and she eventually gives him a daughter. The king is very happy, but he makes a critical mistake. He forgets to invite his own sister to his daughter’s christening. It would be embarrassing for anybody to forget to invite a family member to an important event, but it’s a serious problem in his case because his sister is a wicked witch. She has a nasty temper and is vindictive. So, she decides to show up for the christening anyway and get her revenge by putting a spell on the baby princess. From that moment on, the baby is weightless, no longer bound by gravity.

It doesn’t take the little princess’s parents long to realize who has caused this strange malady in their child. It’s not all bad. Her nurses find her very easy to carry around, and people in the palace have fun playing ball with the princess as the ball, and the little princess herself seems to find all of this delightful. However, there is always the fear that she could blow away by accident, which does happen once, when she is blown out of a window and into the garden. Her parents continually worry about her future. At the queen’s urging, the king attempts to go to his sister and apologize about forgetting her invitation to the christening and ask her to lift the spell on the princess, but his sister denies all knowledge of the spell. The king knows she’s lying, but as long as she continues to deny it, there isn’t much he can do.

The problem goes much deeper than the princess having difficultly keeping her feet on the ground literally. She also has difficulty keeping her feet on the ground mentally. Her lack of gravity extends to an inability to see the “gravity” or seriousness in any situation. She laughs all the time, at everything, even when nothing is funny, although there is no real depth of feeling to her laughter. Even though she laughs all the time, she never smiles, leaving it open to question whether she ever really feels happiness or any emotion at all. She certainly doesn’t understand genuinely serious or catastrophic situations or other people’s emotions. When her mother cries, the princess just thinks that she’s making funny faces and odd sounds because she can’t seem to understand what crying means or the emotion behind it.

When the princess gets older, her parents talk to her about her condition, but the princess refuses to take it seriously. They try to ask her about what she feels. The princess says that she doesn’t feel anything, except that she sometimes feels like she’s the only one who has any sense, and then, she bursts into a wild, inappropriate fit of laughter. When they ask her if there’s anything she wants in life, all she can think of is to have someone tie a string to her and fly her like a kite, and then, she bursts into laughter again.

Since it’s useless trying to get through to the princess, the king and queen try consulting others, but nobody can agree on a solution. They consider metaphysics and philosophy. They recommend education and bloodletting. Her parents wonder if she would acquire some gravity if she fell in love, but the princess can’t seem to fall into anything … until the day she falls into the lake.

There is only one thing that the princess seems to love at all, and that’s the lake near the castle. When they take the princess out in a boat one day, she falls into the lake, and when she is in the water, she has gravity. She loves the water and loves swimming. She seems to have a better temperament when she is in the water, and she behaves better after a swim. Since water seems to affect the princess, they begin to consider that the cure to her problem might be to make her cry – a way of producing water that requires a grave emotion. However, nothing seems to make the princess cry. She is too flighty. (This book is full of puns related to gravity and flying, and they’re all given in a grave, direct manner.)

Then, one day, a prince tries to rescue the princess from the lake because he thinks she’s about to drown. When he pulls her from the water, she loses her gravity, and she angrily tells him to put her back in the lake. Unsure of how to do it when she’s weightless, the prince grabs hold of her and jumps into the lake with her. The princess is surprised and delighted because she has never truly fallen before. Now, she has fallen in with the prince … maybe in more ways than one.

However, even though the princess is starting to feel something for the prince, she has trouble understanding what she feels, not having felt much of anything for most of her life. When the lake suddenly begins drying up, the princess’s condition starts getting worse. The prince, who has truly begun to care about the princess, is willing to sacrifice himself to save the lake and the princess. It is only when the princess is confronted with the full reality of the prince’s sacrifice on her behalf that she is able to fully feel something and break free of her curse.

This book is now in the public domain, and you can read it online in your browser at Lit2Go. It is also accompanied by audio readings of each of the chapters.

My Reaction

Like other Victorian era children’s stories, there is a moral to this one, but it’s phrased in a unique and fun way. I remember liking this story the first time I read it as a kid, but I forgot about all of the puns involving “gravity”, which can refer to the force that makes things fall to earth or a state of serious emotion. The princess in the story lacks both, so she is very literally “flighty” and “can’t keep her feet on the ground.” Both of those terms are related to the idea that serious people have more emotional gravity, and unserious people lack it. For most of the book, the princess is an unfeeling air-head. I also missed the mention that the king doesn’t like puns, which may tacitly explain why his sister chose to make her curse in the form of a pun, knowing that her brother wouldn’t understand it.

The book notes that real happiness requires some emotional gravity because the person has to have enough emotional depth to understand their real emotional state and react appropriately to their emotions. That’s why the book describes the princess as never seeming happy, even when she laughs insanely at everything. She has no emotional depth or understanding. She doesn’t feel very much emotionally, and she has trouble understanding even her own limited emotional range. People often have trouble telling the difference between her laughing and screaming. Either way, it’s just a lot of loud noise with no real feeling behind it, and it’s pretty disturbing. It’s only when confronted with the apparent loss of the man she loves that the princess is able to feel a definite emotion. Fortunately, it all ends happily for our prince and princess. At the last minute, she decides to sacrifice her lake to save him, and finally, cries for the first time in her life, and that breaks her spell.

People don’t like to feel negative emotions, and some will use all kinds of defense methods to avoid what they’re feeling, but negative emotions (within reason, not taken to excess) are important to emotional health. People need to feel their full emotional range, and negative emotions often act as safety features in our lives. They tell us when we’re in an unsafe or unhealthy situation or when we’ve done something wrong, and they motivate us to do whatever is necessary to fix the situation. The princess’s habitual reaction to anything and everything is crazed and unfeeling laughter, but that’s not what she needs. She needs real feeling and honest tears to restore both her physical and emotional gravity. The princess, staring at the prince as he is about to die is literally staring death in the face and feeling the “gravity” of it. Contemplating the impending death of the prince and understanding for once the seriousness and finality of it, the princess experiences sadness and loss, and through that, she comes to understand love and sacrifice. Only when she has been through all of that is the princess truly able to be happy with her prince and his recovery. The princess has a difficult time adjusting to her new gravity, in more ways than one. She has to learn to walk for the first time because she always floated easily through life before, and sometimes, she falls down and hurts herself. She sometimes complains about it, but it’s still worth it because she has gained the ability to fully feel and to love and be loved.

During the story, none of the main characters actually have names. They are only referred to by their titles: king, queen, princess, and prince. Their names aren’t as important as their roles in the story.

There is a more modern story called Princess Hyacinth: The Surprising Tale of a Girl Who Floated from 2009 that uses the concept of a princess who is unaffected by gravity, but in a different way. It’s a picture book, and in that story, the princess isn’t cured of her lack of gravity. Instead, she learns how to make the most of it.

The Princess and Curdie

The Princess and Curdie by George MacDonald, 1883.

This is the sequel to The Princess and the Goblin, but it isn’t as well-known. Personally, I prefer The Princess and the Goblin, but it’s worth explaining what this book is like and how this two-book series ends.

When we last met Curdie, he was living in a cottage in the mountains and working in the mine with his father. At the beginning of this story, he is still there and still working in the mine. Most of the goblins who inhabited the mines were drowned at the end of the previous book. The beginning of the story briefly recounts the previous adventure and how the king offered Curdie a position in his guard after he helped to rescue the princess and fight the goblins. Curdie turned down the position to remain with his parents, and the king accepted his decision because he approved of the boy’s loyalty to his family. Since then, the king took Princess Irene away with him, and Curdie has missed her.

Since the old, castle-like manor house where the princess spent her earliest years flooded at the end of the story, Curdie has wondered what happened to the great-great-grandmother the princess always spoke of. Nobody ever saw her leave the house, but then again, nobody but the princess and her father ever saw her at all. Curdie’s mother says that she once saw a mysterious light, like the kind Princess Irene said that her great-great-grandmother had, but Curdie still thinks maybe the princess just dreamed that she had a great-great-grandmother, even though he once followed the magical string that the great-great-grandmother gave her.

As Curdie grows up, he believes in fewer things than he once did and focuses more on being a miner than on the little things he once noticed in the upper world. The book describes him as becoming mentally dull and more rigid and common in his thinking. Like other common and mentally-dull people, he is starting to follow the path of being so afraid of being fooled into believing something foolish that he is at risk of making a fool of himself because he is unable or unwilling to think about things deeply, consider possibilities, and believe things that he should:

“There is this difference between the growth of some human beings and that of others: in the one case it is a continuous dying, in the other a continuous resurrection. One of the latter sort comes at length to know at once whether a thing is true the moment it comes before him; one of the former class grows more and more afraid of being taken in, so afraid of it that he takes himself in altogether, and comes at length to believe in nothing but his dinner: to be sure of a thing with him is to have it between his teeth. Curdie was not in a very good way then at that time.”

Curdie’s parents worry about this change in him and find themselves wistfully thinking about how he was when he was younger. Curdie no longer makes up the songs and verses he used to because it is no longer necessary to scare the goblins away. He seems to have lost much of his former creativity, imagination, and mental flexibility because he has not been exercising them, and with them, he has been losing his critical-thinking and analysis skills and his ability to look outward and see the big picture of life and other people.

One day, Curdie makes a bow and arrows, and he uses them to shoot a pigeon. As he watches it die, he is horrified at what he has done. He suddenly remembers what the princess said about her great-great-grandmother keeping pigeons, and he feels terrible that he has killed something so lovely. His remorse stirs his heart and brings back the memories and feelings of the boy he used to be. Then, the pigeon moves, and he realizes that it is still alive, and he sees the globe of light of the great-great-grandmother. Curdie hurriedly takes the injured pigeon to the old castle. The door is open, so he goes inside and follows the sound of a spinning wheel to find the princess’s great-great-grandmother, seeing her for the first time.

Curdie admits what he has done to the great-great-grandmother and gives her the bird. The two of them discuss right and wrong, and Curdie comes to realize that he has done a great many wrong things for some time because “I was doing the wrong of never wanting or trying to be better. And now I see that I have been letting things go as they would for a long time. Whatever came into my head I did, and whatever didn’t come into my head I didn’t do.” In other words, Curdie has fallen into the habit of being thoughtless, and this is the first time in a long time that he’s paused to think about things he’s been doing or could have been doing instead. He realizes that he has even been grumbling about his work and not adequately helping his parents, and even though he noticed that they’ve been seeming unhappy and he suspected it had to do with him, he never once asked them how they felt or why.

After they have this talk and Curdie realizes the real problems behind the things he’s done and is genuinely sorry for them, the lady tells him not to worry because the pigeon will recover now, and she will take care of it. She merely gives him the caution to “Do better, and grow better, and be better. And never kill anything without a good reason for it.” Curdie offers to destroy his bow and arrows, but the lady tells him not to because there are bad things that need to be killed and that the bow and arrows may be useful someday. She also tells him that there are people who tell stories about her and laugh about her, and she asks that Curdie not laugh with them or side with them.

Curdie goes home and tells his parents what happened. They believe him and say that he should do what the lady says. The next day, when the other miners are telling stories about the lady, saying that she’s an evil witch, Curdie has to fight to hold his tongue. When they press him for what he thinks, he only says that he thinks that, if they’re going to tell stories about her, they’d better be sure that they’re true because she wouldn’t like to be slandered. The others laugh at him for being afraid of her or for wanting to defend her.

The lady appears to Curdie and his father again later. She tells them that they have the blood of the royal family in their veins, and she hints that there is a special destiny in store for Curdie. Curdie tries to ask her some questions about who she really is and about her changing appearance, but all she says is that she has many names and can appear in many different forms, and even different people see her differently. She tells Curdie to come see her alone in her tower the next night.

When he sees her the next time, the lady asks if he is ready for a difficult trial. She says that it will hurt and that it will require trust and obedience, but it will be good for him. When Curdie tells her to command him, she tells him to put both of his hands into her fire. He does it quickly, trying not to think about it, and it does hurt at first. However, it stops hurting, and when he takes his hands out of the fire again, he discovers that they are softer than they were before. The roughness and callouses from his work in the mines are gone. The lady tells him that his hands have changed more than that. She says that he will now be able to feel when he touches the hand of a man who is actually a beast on the inside, but he will lose that gift if he uses it for a selfish purpose. To demonstrate the gift, the lady calls a strange creature called Lina to them, and when Curdie feels the creature’s paw, it feels like a child’s hand. Although the creature appears strange and menacing, it’s actually good and gentle on the inside.

The lady tells Curdie to tell his parents that he must go to the king’s court the next day. She has given his father an emerald that they can use to see if he is all right during his travels because its appearance will change if he isn’t. The lady also sends Lina with Curdie to help him on his journey. Curdie is a little uneasy about that because he can tell that Lina is one of the goblins’ creatures, but Lina is genuinely helpful to him, and he becomes fond of her.

When they finally reach the king’s city, Curdie meets the king’s baker. The baker stumbles on a stone sticking up out the street and curses the king for not maintaining that road. Curdie argues that the baker himself bears some responsibility for watching where he’s going, especially since he says that he’s tripped on that stone before and knows it’s there. However, Curdie has his pickaxe with him and sees an easy way of dealing with the problem. He breaks up the rock that’s sticking out of the road, but a piece of it flies out and breaks the barber’s window. The barber comes to complain about it, and he insists that Curdie pay him more than the window is actually worth. Curdie gives him what he thinks is a fair price, and he feels the animal paw in the barber’s hand, showing what kind of man the barber is and that Curdie’s gift is still working.

There are other cruel, hard-hearted, immoral, and brutish people in this city, and sadly, some of the nicer people tend to be on the receiving end of the malicious gossip of the others. Curdie and Lina are taken in by a woman who is rumored to be a witch simply because she prefers to live quietly and not gossip like the others. Of course, everyone immediately begins gossiping about Curdie and his strange animal companion. The local magistrate believes the slander of a couple of people whose dogs Curdie had to kill because they were trying to kill him and Lina. These people claim that the dogs were harmless and Curdie killed them for no reason. When the magistrate and his soldiers come to arrest Curdie, he says that he’ll surrender, but he refuses to restrain Lina so they can kill her. Lina chases off the crowd that’s gathered to watch, but then, she vanishes herself, and Curdie is arrested. Fortunately, Curdie manages to escape and reunite with Lina. Then, he and Lina find their way into the king’s cellar and kitchen. There, he finds that the king’s servants are drunk and passed out. His touch tells him that these people are beasts inside. Going further into the palace, he finds the king’s chamber, and there, he meets Princess Irene again.

Princess Irene recognizes Curdie again immediately. It’s been less than two years since they last saw each other. She was about eight years old then, so she can’t be more than ten years old now, but Princess Irene seems older than she should be because of everything that’s been happening in the king’s palace. Her father has been ill for a year and is not in his right mind. Princess Irene thinks that the entire kingdom is concerned for him because that’s what the lord chancellor has told her, but Curdie knows that isn’t true because he hasn’t heard a word about there being anything wrong with the king outside of the palace. Princess Irene says that the king has also asked for Curdie, and his staff claimed that they tried to send for him but couldn’t find him. Curdie knows that definitely isn’t true because, until he started his journey to the king’s palace, he had been living in the same cottage where he always lived, and no one from the palace tried to find him or sent him any message.

It’s obvious that there are wicked people in the palace. These people are responsible for the king’s current condition, and they’re trying to keep the public from finding out what’s been happening. With his gift of telling who is a beast on the inside, can Curdie help Princess Irene to find and deal with the conspirators and restore the king to his right mind?

The book is public domain now. It is available to read online through Project Gutenberg (multiple formats) and Internet Archive (multiple copies). You can also listen to a LibriVox audio reading online through YouTube or Internet Archive.

My Reaction and Spoilers

As with the first book, royalty is used to represent people with the best morality in the story. Curdie and his family have royal blood because they are more wise and moral than other people around them. It feels a bit classist to think that royalty is supposed to be morally superior to everyone else just because they were born into a particular family. That certainly isn’t how these things work in real life. Just think of Prince Andrew. However, this type of comparison does fit with the fairy-tale setting of the story.

In spite of whatever royal blood he has, Curdie isn’t perfect. He was falling into bad habits until he realizes that he has done a terrible thing by shooting the pigeon, which causes him to seek out the great-great-grandmother Princess Irene told him about and to do some soul-searching about his behavior. During the time when Curdie is being thoughtless and falling into bad habits, he is portrayed as being too common, like the other men working in the mine. However, I would argue that the bad habits of the miners, like their wild, gossipy stories and rude joking and teasing, are not because they lack royal blood but because they lack thought. Curdie and his father say as much when they’re talking in the mine. The other miners are being thoughtless, and they’re simply not making any effort to be more thoughtful. More than any royal blood, Curdie proves himself worthy by his ability to be thoughtful about other people, and he gets that ability by wanting to improve himself and making the effort to do what it takes to improve.

A large part of this book comes off as a lecture about morality, but that’s not unusual for a Victorian era children’s book. The Princess and the Goblin had some of that, too, but this book has much more. That might be part of the reason why this book seems like it’s less well-known than the first book, but the ending of the book is also strange and kind of depressing.

As one might expect in a fairy-tale story of this kind, Princess Irene marries Curdie (not immediately, because they’re still children, but eventually), and the two of them are said to rule their kingdom wisely for many years. It seems like a happy ending because, thanks to Curdie’s ability to sense the true nature of people, they are able to surround themselves with the best people, and the city becomes less wicked under their rule. However, the story doesn’t end there. In the final paragraphs of the book, it says that Curdie and Irene had no children to inherit the crown. Without a blood heir to the kingdom, someone else was chosen to rule instead, and this person was wicked and greedy, so the royal city went back to being wicked. In fact, this new king was so greedy and stupid that he had his people mining continuously, right under the city itself, to bring him riches. They eventually completely undermined the entire city, so the city physically collapsed in on itself, destroying it completely and killing everyone there. I guess that’s meant to explain why this fairy tale kingdom no longer exists, but that’s quite an ending to this story! With this royal family apparently having some kind of magic about them, it seems incredible that their kingdom would have gone this way, but then again, maybe the author just didn’t want to write about them anymore.

Note to the wise: Wherever your source of wealth comes from, for the love of all that is good in the world, don’t mine your support beams! They serve a purpose and need to stay there for a reason.

The Princess and the Goblin

“But, Mr. Author, why do you always write about princesses?”
“Because every little girl is a princess.”
“You will make them vain if you tell them that.”
“Not if they understand what I mean.”

The Princess and the Goblin, Chapter 1: Why the Princess Has a Story About Her

This is an enchanting fairy tale-type story about a princess. One of the best parts comes at the beginning of the book, when the reader supposedly interrupts the author as he starts to tell the story, asking him why he likes to tell stories about princesses. The author explains that princess stories remind every little girl that she is a princess, that they are all the daughters of kings (apparently in the sense that any man can be the king of his family with all the dignity and wisdom that implies, and it reflects well on them when their daughters behave well, as if they were raised with the manners of royalty), even if they sometimes forget that and behave in very un-princesslike ways. He wants to remind them that they are all princesses and can behave with the grace and dignity of princesses, and he can also pamper them a little because, in the course of the story, he can give them every beautiful thing he wants all the little princesses of the world to have. There’s kind of a behavioral caution in that explanation, but also a sweet sentiment. Even if you’re just an ordinary girl, you can still act with royal dignity and grace, and through the story, you can vicariously enjoy all the riches and adventure that a fairy tale princess can have.

The princess in the story, Princess Irene, is about eight years old, being brought up in a castle or manor house in the countryside because her mother was not physically strong when she was born and is now dead. She is largely raised by her nurse and only sees her father, the king, occasionally. Her father spends his time traveling between his castles and manors, visiting various parts of his country to make sure that everything is in order. Princess Irene cannot go with him because she is still too young to travel that much.

There are caverns under and around the castle-like manor house where Princess Irene lives. There are mines in the area, and the caverns are inhabited by creatures like kobolds or goblins. The story says that there are legends that these creatures once lived above ground, but having some quarrel with requirements imposed on them by the king or human society, they retreated underground to live there in secret. From generations of living underground, they have become physically altered into deformed creatures, but they have also acquired arcane knowledge and delight in playing mischievous tricks. Because of fears of the goblins coming out at night, Princess Irene is kept safely indoors before the sun goes down and has never seen the night sky by the age of eight.

One rainy day, Princess Irene is sitting in her nursery, bored. She has many fabulous toys (so amazing that the author of the book declines to describe them and cautions the illustrator against attempting to draw them, so readers can imagine any fabulous toys they like), but Irene in not in any mood to be amused by anything. Princess Irene is restless and doesn’t even quite know what she wants. When her nurse leaves the room, Irene takes the opportunity to run off and explore parts of the castle she has never before explored. She runs up some stairs into a passageway full of doors. She continues running through the passageways with doors leading to rooms with nobody in them until she becomes lost and confused. The corridors are empty, and there is no sound but the rain. One of my favorite quotes from this book says, “It doesn’t follow that she was lost, because she had lost herself though.” Just because Princess Irene doesn’t know where she is or where she’s going doesn’t mean that she isn’t heading in the right direction, where she needs to be.

Frightened, Princess Irene tries to find her way back to the nursery. Eventually, she finds her way to a room where she hears a humming sound. When Irene enters the room, she finds a beautiful old lady with silver hair sitting at the spinning wheel. Irene isn’t sure how old the lady is because she seems almost ageless. The lady notices that she’s been crying and asks her why, and Irene explains that she is lost. The lady is kind to her, washing her face and hands, and she introduces herself as Irene, too. She says that she is the princess’s great-great-grandmother and that Princess Irene was named after her. Princess Irene wonders why she’s never seen her before, and the elderly Queen Irene says that no one else knows that she is here. She shows Princess Irene the pigeons she keeps and promises that Princess Irene will see her again. Then, she guides the little girl to the stairs back to the nursery.

When Princess Irene is back in her nursery, her nurse is relieved because she’s been looking for her. The princess explains that she was with her great-great grandmother, but her nurse doesn’t believe her. Princess Irene is offended that her nurse thinks she made up the whole story. The next day, Princess Irene tries to find the old lady’s room again, but she can’t. She almost starts to wonder if she did just dream about her.

After the rain is over, the princess and her nurse spend some time outside. They wander farther than they should, and the nurse realizes in a panic that they cannot get back to the castle before the sun sets. The nurse grabs the princess’s hand and begins running for home. She becomes even more panicked when the princess thinks she sees little men and hears a sound like laughing. In their haste and panic, they get lost. The princess doesn’t understand why her nurse is so panicked because no one is supposed to scare her by telling her about the goblins.

Fortunately, they meet up with Curdie, a young miner boy. It scares the nurse that Curdie is singing about goblins, but Curdie says that goblins can’t stand singing. Goblins don’t bother Curdie because he’s used to them and doesn’t let them frighten him. This is the first time Princess Irene learns about the goblins. When the nurse tells him who the princess is, Curdie says that they wouldn’t have gotten lost if they weren’t frightened and that it was a bad idea to say the princess’s name because the goblins might have heard and will recognize her if they see her again. Curdie guides them back to the castle before anyone realizes that they are missing. Irene likes Curdie and wants to give him a kiss for helping them, but the nurse stops her. Curdie tells her that there will be another time, and she can keep her promise of a kiss later.

Curdie can tell that the goblins are angry with him for interfering with their pursuit of the princess by their behavior toward him the next day. It doesn’t bother him much because he knows exactly how to deal with them. Goblins are intimidated by songs and rhymes, probably because they can’t make any themselves. Miners who are good at remembering songs and rhymes or making new ones for themselves don’t need to worry about the goblins, and Curdie has a talent for this sort of thing.

While Curdie is in the mine after the other miners have left, he overhears a goblin family talking, and he learns some useful things. First, he finds out that goblins’ feet are a vulnerable point on their body. Their heads are very hard, but their feet are very soft, and they have no toes. The only one who wears shoes is the goblin queen, and the goblins say that’s because the goblin king’s first wife wore shoes, and the second queen doesn’t want to seem inferior to the first. The goblin king’s first wife was a human woman, who died giving birth to their son. Second, the goblins are building new homes further away from where the miners have been mining. Third, the goblins are planning some kind of disaster against the miners. Curdie secretly follows the goblins to find out where the goblin palace is and learn more of their plans. At the goblin palace, he hears them discussing their plans. They don’t offer many new details, but it is clear that they are planning some sort of revenge against humans.

Princess Irene finds her way to her great-great-grandmother’s room again one night. This time, the old Queen Irene shows Princess Irene what she is spinning. She is spinning spiderwebs to make something for Princess Irene. She heals a wound on the princess’s hand and invites her to spend the night with her. When Princess Irene wakes up, she is back in the nursery, but she now believes that it wasn’t just a dream.

Later, the princess is frightened by a horrible goblin creature that enters her nursery through a window that the nurse left open when it was getting dark. Terrified, Princess Irene runs out of the castle into the darkness (somehow missing the extra guards that her father left at the castle for her protection). Fortunately, her great-great-grandmother sends her a magical lamp that guides her back to the castle. There, she gives the princess the present that she has finished making: a ball of finely-spun spider silk. She also gives Princess Irene a ring with a fire opal. She tells the princess that these things will guide her to safety any time that she is frightened.

The magical spider silk thread helps Princess Irene to find Curdie when he is captured by the goblins. Curdie has been trying to learn more about the goblins’ plans. Curdie discovers that the goblins are planning to kidnap Princess Irene as both a hostage and a bride for their half-human, half-goblin prince. Worse still, if their plot to abduct the princess doesn’t work, they plan to flood the mines and drown the miners!

This book is in the public domain. It’s available to read online through Project Gutenberg (multiple formats) and Internet Archive (multiple copies). You can also hear a LibriVox audio reading of this book online through YouTube and other audio recordings at Internet Archive. The story was made into an animated movie in 1991, and you can see it online through Internet Archive. There is only one sequel to this book, The Princess and Curdie. Personally, I think the original is better than the sequel.

This is a classic children’s fantasy story! The princess is sweet, the villains pose a real threat, and the story doesn’t shy away from the goblins’ evil. When they’re describing what to do with the princess when they get her, they talk about how they’re going to make her toes grow together so she’ll be like them. As princess stories go, this one isn’t as sparkly and pink as many modern princess books. Still, as the author notes in the beginning, this story allows all little girls to think of themselves as princesses and imagine themselves going through the adventure with Princess Irene.

As with many other Victorian era children’s stories, there are moral lessons in this one. The author periodically reminds readers about how princesses should behave with bravery and should keep their promises. There are also various other morals in the story, like the value of hard work and duty to others, learning to understand other people and give them the benefit of the doubt, and having the courage to admit mistakes and make them right. All of these values are described as being noble, and it’s implied that Curdie might have princely blood for exhibiting these values. The book uses royalty or the behavior of princesses and princes as a sort of metaphor for moral behavior.

Princess Irene’s great-great-grandmother is never fully explained. At one point, Princess Irene brings Curdie to see her, but he can’t see her, even when the princess is sitting on her lap. However, the king himself goes to see her without the princess. The princess knows that’s where he’s going because he’s heading in that direction. He is aware that the old Queen Irene is there, but he doesn’t share that knowledge with anyone else. When Curdie tells his mother that the princess tried to show him her great-great-grandmother but nobody was there and he thought that she just made it all up, his mother tells him that there is something very odd about the royal family. She says that they’re not sinister, but there are rumors and implications that there is something magical about them or that they are not quite normal humans. At the end of the story, we never get a firm answer about what Queen Irene really is. When I first read this book, I thought that she might be a ghost because, as an ordinary human, she shouldn’t be alive anymore, and I figured that she only shows herself to members of her own family. However, that doesn’t fully explain her magic, and from what Curdie’s mother says, maybe she’s some kind of fairy or elf or maybe a powerful sorceress, who can either live forever or for a long period beyond the normal human lifespan.

One of the parts that I always liked best about this book is the illustrations. They’re charming and magical! These particular illustrations were made by Jessie Willcox Smith, a famous illustrator of children’s books in the early 20th century, in 1920.

Half-A-Moon Inn

Half-A-Moon Inn by Paul Fleischman, 1980.

Aaron is unable to speak and has been mute since birth, so he has to communicate with people mainly through writing messages he writes on a small chalkboard. His father was a sailor who died at sea, so he lives with only his mother. One day, his mother, who is a weaver, is planning to go to the market at Craftsbury so she can tell the cloth that she’s made. Usually, Aaron goes with her, but since he’s about to turn twelve years old, his mother decides that he’s old enough to stay home alone. His mother has always been protective of him because of his inability to speak, and Aaron is nervous at being alone at home overnight. Still, he agrees to stay home and look after the house while his mother is gone.

His mother warns him not to go far from the house until she returns home because they live far from the nearest town, and there are wild animals and brigands in the woods. She promises Aaron that she will bring him a special present for his birthday when she returns home.

However, his mother doesn’t return when she promised she would. Aaron begins to worry about her, thinking that she might have had trouble on the road because of the snow. Since he has traveled the road to Craftsbury with her before, Aaron decides to head to Craftsbury himself and see if he can find his mother on the way and help her. He assembles a pack with some supplies, and ignoring his mother’s instructions to stay at the house, he sets out to look for her.

The journey is more complicated than Aaron imagines, partly because, when he meets other people, not all of them know how to read the messages Aaron writes, making it difficult for Aaron to explain that he cannot talk and that he is looking for his mother. A ragman gives him some food and a ride on his wagon, but Aaron is frustrated because the man doesn’t understand what he writes or the pictures he draws.

The ride on the wagon takes a worrying turn when the ragman takes Aaron on a route he doesn’t recognize. When they come to an inn, the ragman drops off Aaron. Aaron thinks that he can stay the night at the inn and continue his journey on his own in the morning. Unfortunately, the woman who keeps the inn, Miss Grackle, can’t read Aaron’s notes, either.

Miss Grackle says that she’ll let him stay the night in exchange for a few chores, like lighting fires in the fireplaces, and Aaron nods that he accepts. He tries to show Miss Grackle the drawing he made of his mother, but she still doesn’t understand. Eventually, Miss Grackle comes to understand that Aaron can’t speak, but he still can’t seem to explain to her where he is going or why.

To Aaron’s surprise, Miss Grackle tells him in the morning that she looked into his dreams during the night. Through his dreams, she saw his mother and his home. She says that she knows he’s far from home and not likely to be found by anyone looking for him, if there is anyone looking for him. She has taken his belongings and boots, and she tells him that he will be staying at the inn, working for her and that he will now answer to the name of Sam, like the last boy she had.

Aaron has become Miss Grackle’s prisoner at the inn, unable to leave on his own without his boots! Miss Grackle is a thief, stealing from her guests, and she is confident that Aaron won’t be able to tell anyone about it. At first, Aaron thinks that he can get some help from one of the guests staying at the inn, but he encounters the same problem he’s had all along: he can’t talk to explain anything to anyone. The guests don’t even pay attention to him, Miss Grackle intercepts messages that he tries to write, and even when he manages to sneak a message onto the inn sign, other people can’t read it because they don’t know how to read. What can he do? How can he escape and find his mother?

The book is available to borrow and read for free online through Internet Archive (multiple copies).

My Reaction and Spoilers

This story is an adventure story that takes place at an indeterminate location and an indeterminate point in history, when people traveled by horse and wagon. It’s not a long story, but it is an intriguing one where a clever boy manages to outwit sinister villains. It reminds me a little of The Whipping Boy in setting, but there was no magic in that story, and there is in this one.

The atmosphere of the story seems like a fairy tale or folk tale. The evil, thieving innkeeper has a potion of some kind that she uses to put her guests to sleep and look into their dreams, which is how she saw Aaron’s dreams. The reason why she looks into people’s dreams is so she can learn more about who they are and where they come from. She’s looking for people who are more wealthy and important than they seem so she can hold them for ransom instead of just robbing them.

Miss Grackle’s magic apparently comes from her parents. Her mother was the one who came up with the method of looking into people’s dreams and robbing them. Her father was honest, and his determination to enforce honesty is the reason why Miss Grackle can’t run the inn by herself. Miss Grackle needs Aaron to light the fires in the inn because no fire will light in the hearths there if it is lit by a person who has been dishonest, and Miss Grackle has never been honest with anyone. Aaron finds a way to turn Miss Grackle’s greedy schemes to his advantage and escape. With Aaron gone and the only other person left in the inn as dishonest as she is, the villains are left to their fate in a snow storm that lasts for days.

The Neverending Story

The Neverending Story by Michael Ende, 1979, 1983.

Bastian Balthazar Bux has problems. He’s smaller and fatter than the other boys, no good at sports or fighting, and not even a particularly good student.  Because of this, other kids tease him, bullies chase him, and the one time that he tried to talk back to them, the mean kids shoved him into a trash can, so he was afraid to ever try it again.  One day, on the way to school, he seeks sanctuary from his bullies in an old bookshop that belongs to Carl Conrad Coreander.  Bastian loves books more than anything.  In fact, his love of books and his imagination are his only apparent strengths at this point in his life.

Coreander doesn’t like children, and as soon as he sees Bastian, he makes it clear that the boy isn’t welcome in his shop, that he doesn’t carry books for children, and that he won’t sell Bastian any books for adults. Coreander says that children are just noisy and make messes and ruin books.  Bastian protests that not all children are like that, and the two them talk about why Bastian is there and why the other children bully him.  Bastian says that one of the reasons why the other kids think he’s odd is that he likes to make things up, like imagining places and characters and odd names. He rarely shares these things because nobody else seems interested. Coreander asks what his parents have to say about all of this, and Bastian reveals that his mother is dead and his father doesn’t take much interest in him or things that happen to him in his daily life.  Coreander is rather condescending to Bastian but also strangely interested in some of the details about him and his life.

When Coreander gets up to take a phone call, Bastian finds himself looking at the book that Coreander was reading when he came into the shop.  It’s called The Neverending Story, a title which captures Bastian’s imagination at once because he always hates it when a book he likes ends. The book seems to call to Bastian, and he suddenly feels like he has to have it.  Because Coreander has already made it clear that he won’t sell any books to Bastian, Bastian simply snatches up the book and leaves the shop with it.

After he’s out of the shop, Bastian suddenly feels guilty for stealing the book, even though he still feels compelled to have it and read it. He knows that he can’t take the book home with him because, even though his father doesn’t notice much, he would notice if Bastian showed up at home when he’s supposed to be at school.  Bastian knows that he’s already terribly late for school, but he can’t bring himself to go to class, especially not with a stolen book.  Desperately, he tries to think of a place to go.  Then, he remembers that his school has an attic.  Hardly anybody goes up there, and even those who do don’t go there very often.  He can hide there for a while and read.

Without giving much thought to how long he’s going to hide and what he’s going to do for food when he gets hungry, Bastian hurries up to the attic of the school, locks himself in, and starts to read The Neverending Story.

From this point on, most of the book is the story in the book Bastian stole, but at the same time, it’s also a story about Bastian himself.  There are periods when things in the story remind Bastian of things happening in his life or times when he pauses to think about what his class at school would be doing at this time without him, things that he’s glad to be missing himself.  However, gradually, Bastian himself starts to enter the story.

The Neverending Story Begins

The story in Bastian’s book takes place in the magical land of Fantastica.  The first characters we meet are messengers who are on their way to see the Childlike Empress who rules the land.  Within that land are many fantastical people and creatures who inhabit countries of their own, but strange things are happening here that have nothing to do with the usual magic of Fantastica.  A small group of messengers who happen to meet each other talk about what they’ve observed and why they need to talk to the Childlike Empress.  Whole sections of their countries and even some of the people and creatures who normally inhabit them have simply disappeared.  By “disappeared”, they mean that nothing is left in their place.  Whenever people try to look at the areas that used to be there, they see absolutely nothing, as though they have all gone blind when looking in their direction.  Nobody knows why this is happening, and people are panicking.

The Childlike Empress lives in a beautiful tower.  When the messengers arrive there, they discover that so many messengers have arrived from every corner of Fantastica that they have to make appointments and wait their turn to talk to the Childlike Empress.  Everyone seems to have the same problem, and to make matters worse, word has spread that the Childlike Empress is ill, and the doctors can’t seem to understand the nature of her illness and have no idea what to do to help her.  The messengers wonder if the Childlike Empress’s illness could have something to do with all the strange things that have been happening.  All of the creatures in the kingdom know that the very existence of their kingdom depends on the well-being of the Childlike Empress.  If anything ever happened to her, the rest of them would simply cease to exist.

At this point in the story, Bastian is reminded of his mother’s death and stops to think about her.  He remembers being at the hospital with his father while his mother was undergoing an operation to try to save her life, but unfortunately, it was unsuccessful.  After that point, Bastian’s father changed, becoming mentally and emotionally withdrawn, so it seems as though Bastian not only lost his mother completely but also part of his father.  His father continues to look after him physically and even gives him nice things, like a bicycle, but he rarely takes much notice of his son’s day-to-day life, making Bastian feel almost like he isn’t there himself.  His father no longer talks to him about ordinary, everyday things, and he’s always preoccupied with his grief.

The doctors trying to treat the Childlike Empress say that she doesn’t have any obvious symptoms of illness.  For some reason, she simply seems to be fading away, making it seem likely that her malady is tied to the fading away of Fantastica itself.  Chiron the centaur, the greatest of the healers, says that the Childlike Empress has said that someone must go on a quest to find the solution to her problem. She doesn’t say what the solution is, but she has chosen the hero who will go on this quest by name and has given Chiron her medallion to give to this hero.  The Childlike Empress’s amulet, Auryn, takes the form of the twined snakes (it’s a sort of elaborate ouroboros) that appears on the cover of the book that Bastian is reading.

Chiron takes the medallion to the Greenskins, a people who resemble nomadic Native Americans who hunt purple buffalo, to find the hero called Atreyu.  Atreyu turns out to be a 10-year-old boy, and Chiron is upset at first that a child so young has been given this important mission.  Even though he is doubtful that a child could save the Childlike Empress, he has to trust the empress’s decision.  He explains the situation to Atreyu and his people, and Atreyu sets off on his quest, although he has little to go on.

Bastian comes to identify somewhat with Atreyu, who is an orphan, raised communally by his people.  In a way, Atreyu is like what Bastian himself wishes he was.  Atreyu is also an orphan, but where Bastian feels neglected by his remaining parent and has no one else to rely on, Atreyu is regarded as the “son of all” his people, with everyone raising him.  Bastian wishes that he could feel like he could rely on everyone around him to care about him.  Atreyu is also strong and brave, which Bastian is not, or at least, he doesn’t feel like he is.

Atreyu travels far and asks everyone where he stops if they know how to help the Childlike Empress, but no one does.  However, in a dream, a purple buffalo tells him that he must visit an ancient woman called Morla, who lives in the Swamp of Sorrows.  She is the oldest creature in Fantastica, and she will know the answer.  Atreyu loses his beloved horse in the Swamp of Sorrows because the horse is overtaken by a dreadful depression and cannot save himself from being dragged down into the swamp.  (This was the worst part of the movie version of this story for me as a kid although somewhat less traumatic in the book.)  Atreyu is protected from the depression by the Childlike Empress’s amulet and is able to reach Morla.

Morla turns out to be a giant and ancient tortoise.  She does know the answer to the problem, but Atreyu has trouble persuading her to explain it at first because Morla is so old that she has come to feel like life is meaningless and doesn’t really care if she and everyone else disappears or not.  Fortunately, Atreyu’s arguments with her revive enough of her interest for her to talk to him. Morla says that the Childlike Empress has always been young because her life isn’t measured by time like others’ lives.  The Childlike Empress’s life is measured by names.  She has had many, many names over the years, most of them forgotten now, and even Morla doesn’t know what her current name is.  In order for her life and existence to be renewed, the Childlike Empress needs a new name.  Atreyu asks Morla how she can get one, and Morla says that she doesn’t know who can give her a new name, only that it can’t be anyone from Fantastica.  Atreyu must visit the Southern Oracle to find the answer.

At this point, Bastian thinks it’s too bad that he can’t give the Childlike Empress her name because thinking up unusual names is something that he’s really good at, and this might be the one place where his talent has a use and people who would welcome it.  However, the things that are happening in the story are so scary that Bastian is also grateful that he is safe where he is, just reading about them.

Bastian reads that Atreyu wanders out of the swamp on foot. He doesn’t know where he’s going, and he lost all of his supplies with his horse.  Then, Bastian hears the clock chime and knows that school is out for the day. As the other children leave the school, Bastian has to decide what to do. He knows that he really should go home and own up to his father about stealing the book, but when he gets up to go, he has the feeling like he has to keep reading, to finish what he’s started, like Atreyu, who is still fulfilling his mission in spite of hardship.  Bastian feels a little proud of making a difficult decision because he’s not running away from his responsibilities so much as continuing a quest of his own.  He knows that he must finish that book. Indeed, he must because the existence of Fantastica now depends on him.

As he continues reading and following Atreyu’s adventures, Bastian begins to feel more like the story isn’t just a story, that there is something more to it. When Atreyu reaches the Oracle, which communicates only through rhyme, it tells Atreyu that nobody in Fantastica can give the Childlike Empress a new name because the truth is that all of them are only characters in a book who exist as they are because of the needs of the story.  The people of Fantastica didn’t invent their world, they don’t create it as it exists, and they don’t have any real power to change anything, even a name.  All of those powers belong to humans who live in what they call the “Outer World.”  The Oracle says that generations of human children have read the book that contains all of Fantastica, and they are the ones who have used their powerful imaginations to give the Childlike Empress new names, over and over.  The problem is that the book has not been read by anyone for too long and children tend not to believe in stories like theirs anymore, so it has been too long since the Childlike Empress was given her last name. The memories of all the names she’s been given have faded, so she is losing her ability to maintain her existence and the existence of all of Fantastica.  They need a human child with the ability to believe in Fantastica and think of a new name to rename the Childlike Empress.  They need Bastian … if Bastian can manage to believe in himself as the hero of his story.

The book is available to borrow and read for free online through Internet Archive (multiple copies, plus a computer game about it and the theme song from the movie). It was originally written in German, and the version I have is the English translation. There is a movie version from the 1980s that is very well-known among people who were young then and fantasy fans. There are also two movie sequels that aren’t as well-known.

My Reaction and Spoilers

I saw the movie version of this book long before I ever got hold of a copy and way before I was old enough to read a book that long.  The movie was big in the 1980s, when I was a young child, and it has a magical and very 1980s theme song that was also used as a cultural reference in the show Stranger Things.  I’m actually attached to that song because it’s one of the sounds of my early childhood. For reference, I’m younger than all the Stranger Things kid characters are supposed to be, even Erica, but old enough to have memories of the time period of that show. The mall scenes in that show are practically right out of my childhood. Those electronicized ‘80s songs, bright-colored clothes and clothes with paint splatter designs, Cold War with two Germanies – East and West – these things were all part of my early life, and that is the time period when this book was popular and the movie was new.  As Stranger Things points out, things like fantasy books and movies and playing Dungeons and Dragons were all considered part of nerd culture back in the day.  To a certain extent, they still are, but Harry Potter brought a renewed interest in and popularization of fantasy books in the late 1990s.

The story is about the power of imagination and the roles that fantasy play in human lives.  The story actually gets deep in places about the philosophy of stories and how people use them.  It explains that humans fear stories, particularly fantasy stories, because, when fantasy characters get out in the real world and take over people’s minds, they can cause madness and delusions or be used as lies by unscrupulous people to fool and manipulate others.  They don’t use the word “propaganda”, but that’s part of what they imply, and it’s a fitting concern for the Cold War era when this story was written.  Madness can also be a real risk for people who can’t separate reality from fantasy, as shown in Bastian’s further adventures in Fantastica, described below.  Humans are creatures that live and function in the real world, and while we sometimes venture into the realm of fantasy and stories, we can lose ourselves if we don’t know how to keep the two separate in our minds.  So, what’s a human supposed to do?

The book suggests the idea that people can’t simply avoid fantasy entirely for fear of the effect that it might have on them, like people who refuse to allow children to read fantasy books.  Even though people like that might think they’re smart for avoiding “lies” and “delusions”, but the problem with that is that there are many types of delusions that people have, even in their everyday lives, and people who are convinced that they’re being thoroughly realistic and avoiding any sort of fantasy actually make themselves vulnerable to lies and delusions of other kinds.  Anybody who’s lived through the era of accusations of “fake news” should be able to grasp that concept.  A real world fact is that people use stories of all kinds to explain and understand the world around them.  We all use stories, and those stories have shades of emotion and varying degrees of elements of fiction.  The principal of Fantastica is that fantasy is fine when people approach it as fantasy, coming to it willingly in the full knowledge that it is fantasy.  Even in fantasy stories there can be elements of realism, such as the reality of human emotions, but people can pick out the real bits from the fictional ones when they know what they’re dealing with and are willing participants, not having it pushed at them by people who are actively seeking to trick them. 

People with broad, real-world knowledge, who are used to stories of various kinds in the real world, get accustomed to distinguishing between different types of stories and recognizing fictional elements from false ones.  There have been a couple of times when I’ve actively pointed out to people on my neighborhood website who shared “shocking” stories about horrific kidnapping attempts of kids or young women that those stories were false.  The local police have even said that they were false, but I knew that they were even before getting that confirmed with the local police.  How?  I’ve seen them before, or ones very much like them.  Honestly, they were basically the type of kidnapping stories that appear on Wattpad, the infamous Internet home of badly-misspelled stories of that ilk, and because I read fanfiction, I’ve seen them before in all their grammatically-incorrect glory.  I recognized elements of the fake stories from ones that I read before in the full knowledge that they were completely fictional and probably written by teenagers, most of whom don’t understand how chloroform actually works.  I could see their ridiculously complicated premises anywhere and go, “Yep, it’s one of those stories.”  The people attempting to share these stories as shocking things that their neighbors need to know about have probably never read Wattpad or any similar amateur fiction and equally don’t know how chloroform works.  They just experienced a feeling of shock when reading these stories on Facebook (yes, that is where they said they got them) and did what they automatically do when they feel shocked about something, passed it on to someone else without asking someone more knowledgeable.  Some of the other people reading their posts on the neighborhood website called the local police to check their stories, but the original posters did not do that before posting them. It seems that never crossed their minds.  I’m telling you this because I’m pointing out that I’m immune to this particular kind of shocking fake kidnapping story because I’ve seen it before, I’m familiar with the general format, and I actually did look up what chloroform does and how it works because I was curious.  I’ve sort of inoculated myself against this sort of story.  I don’t feel shocked when I see it.  I roll my eyes. 

I’m not saying that it’s completely impossible to fool me on anything because human beings are limited, and I can’t say that I’ve heard every story out there, but I’ve heard quite a lot of them.  I’m a voracious, long-term reader in different genres, fictional and non-fiction, badly-written and award-winning.  I don’t fear fiction or fantasy or even “fake news” because I’ve seen it before in various forms.  I know how to verify information and already have reliable sources of information lined up on various subjects.  Above all, I have the knowledge that I’m always responsible for myself and in control of myself and that no amount of fiction or “fake news” can ever make me do anything without my consent.  Even people under hypnosis can’t be made to do anything that is truly against their will or morals, and I’m pretty comfortable with my sense of self and what I’m willing or not willing to do.  (By the way, I got the Pfizer vaccine back in April 2021 and the Moderna booster in December 2021, and I’m perfectly fine. It’s not poison, unlike some of those idiot horse cures some people try when they’re so afraid of being tricked by some people that they leave themselves open to being tricked by other people, who can see their real fears. It’s also not magnetic.  I used to stick coins to my skin way back in elementary school in the early 1990s, although I preferred the trick where you roll a coin down your forehead and nose. Sticking coins to your skin works because of sweat, not magnetism, like that trick of sticking a spoon to your nose because you licked it first. This is a digression, but honestly, how does anyone get out of childhood without knowing how that works? I wasn’t aware that anybody who had ever been to school with other kids in their childhood hadn’t seen this stuff before.) Fear is one element I know that can cloud people’s perceptions about what’s real and what’s not, and while I’m naturally a nervous person in a lot of ways, this isn’t something that scares me at all.  I’m not afraid of being tricked.  I never was.  I was a fan of magic tricks at a young age, and that led me to read about magic and the tricks that people use. None of them scare me because I’ve done them before myself and know how they work.  It’s like that with fiction, too.  Been there, done that, seen it, know it, and I urge other people to do the same.  This kind of mental vaccination works as well as the other kind.  At least, it always has for me.

Book vs. Movie

There are many incidents in the book that are not in the movie, although some appeared in the first movie sequel.  In fact, the original movie really only covers about the first half the book.  Rather than ending with Bastian giving the Childlike Empress her new name, Moon Child, while she and Atreyu are at the Ivory Tower where she lives, Bastian hesitates because he’s not sure what he’s supposed to do, if he’s really chosen the right name, if he’s really going to enter Fantastica and how, and above all, if a small, weak boy like himself can really be a hero.  Seeing that his indecision could ruin Fantastica forever, the Childlike Empress finds a way to put the story into a loop, repeating over and over, making it truly a never-ending story until Bastian finally names her.

After Bastian names her, Moon Child gives him the last grain of sand from Fantastica, like in the end of the movie, so he can rebuild it.  At first, Bastian isn’t sure how, but she explains to him that he can do it with his wishes. He has as many wishes as he wants, and he can wish for anything and everything.  Bastian feels overwhelmed at the thought that he can think of anything, and that makes it difficult to think of anything because he doesn’t know where to start. Yet, Bastian must make wishes to rebuild Fantastica.  From here, I’ll basically describe Bastian’s continuing adventures in Fantastica, although I’m going to leave out a lot of detail and individual incidents and characters because there’s far too much to describe:

Bastian’s Continuing Adventures

To get him started, Moon Child asks Bastian what made him hesitate before to name her.  Bastian explains how he doesn’t look or feel like a hero should. He thinks that heroes should be like princes, handsome and strong, not small, weak, and fat like himself.  With this first wish, Bastian becomes a handsome prince.  Moon Child gives Bastian the Auryn, which gives him the power to control things in Fantastica and yet keep him safe from all dangers at the same time.  Using it, Bastian makes himself strong and brave as well as handsome, and his wishes take him on new adventures through new lands, creating things as he goes.

Then, his wish for companionship leads him to find Atreyu.  He is glad to be reunited with him, but Atreyu remembers Bastian’s real appearance because he saw him in a mirror before.  By now, Bastian’s memories of his former self are fading.  The people of Fantastica appreciate Bastian’s ability to make new stories because they lack that ability themselves, but it starts getting out of hand.  Bastian’s creations start getting out of his control, and Atreyu realizes that Bastian is losing more and more of his memories, forgetting who he really is and what his home is really like.  As Bastian loses touch with his real self, he also gets confused about what he really wants, and his confusion is causing his wishes to produce uncontrollable results. To make matters worse, Bastian is losing his desire to return home along with his memories of home.  His friends are distressed because they know that Bastian must return home in order to inspire other children to come to Fantastica.  If he doesn’t, other children won’t come and give Moon Child new names in the future, and Fantastica will be in danger once again.  Basically, Bastian has lost of the plot of his own story.

Persuaded by his friends, Bastian makes a wish that will help him figure out what to do: he wants to see the Childlike Empress/Moon Child again.  Although Atreyu and Falkor wanted him to make a new choice to guide their quest, they’re not convinced this is the right one because one of the rules of Fantastica is that nobody can see her more than once.  Bastian says that he thinks he’s different because he’s human and not from Fantastica, and he’s already seen her more than once.  As they continue their journey, Bastian continues losing more and more of himself, getting offended with his friends because they treat him like a child, forgetting that’s what he actually is.

At one point, an evil character separates Bastian from his friends by feeding his vanity.  As Bastian loses more and more of his memories, he becomes uncertain about whether or not he really wants to continue his journey to see Moon Child, forgetting his original reason for wanting to see her.  They do finally arrive at the Ivory Tower, but the Childlike Empress is not there, and nobody knows where she is.  At the evil character’s urging, Bastian tries to make himself emperor in her place, thinking that she has left Fantastica forever and that the reason she gave him Auryn is because she wanted him to be her successor.  However, the other residents of Fantastica know that it’s not right.  Atreyu and Falkor end up leading the forces of Fantastica against Bastian to get the amulet, return his memories, and put things right.  I don’t like stories where people turn against their friends like Bastian does because it’s pretty uncomfortable.  In this case, many people are killed in the battle against Bastian, Bastian wounds Atreyu, and the Ivory Tower collapses.

At first, Bastian blames Atreyu for his own failures and tries to go after him to get revenge, but along the way, he stumbles on a town occupied with former emperors and empresses of Fantastica.  A little monkey explains to Bastian what the town is and who the people there are.  All of the people in the town were people who tried to take over Fantastica but lost their minds in the effort.  They’re humans and have lost their memories and now do crazy things.  Because they’ve lost their minds and memories, they’re unable to wish themselves home.  This is what happens to humans who lose their desire to go home to the real world.  Readers can look at it as people who become detached from reality and live in a madness based on fantasy.  Humans need reality to keep themselves grounded and sane, and they need their memories and their pasts to help themselves build a future.

The monkey shows Bastian how he taught the crazy ex-emperors a game where they spell words with alphabet blocks.  Most of what they create is gibberish, but the monkey says that, when they’ve played for a hundred years or so, they’ll occasionally spell out a poem, and since they play endlessly, they’ll eventually spell out all of the works of literature, poking fun at the theory that monkeys pounding endlessly on typewriters could do the same thing.  Bastian is horrified and questions the monkey about how he can avoid this fate.  Auryn is a liability because it’s removing the memories that Bastian needs to return home, yet the monkey says that Bastian will need Auryn in order to return home.

As Bastian journeys further, he finds a land where people always work together and use the word “we” instead of “I.”  It’s inspiring in a way, but Bastian is troubled because, in a land where nobody is distinctive or special, everyone is easily replaceable in the work force, and nobody seems to really love anybody else as an individual.  Here, Bastian realizes that his true wish, one that he has long forgotten, is not to be the strongest or handsomeness or most powerful but simply to be loved.  He wants to be loved for the person he really is, even with all of his imperfections.  The problem is that Bastian is uncertain now about who he really is because he’s changed so much since he came to Fantastica and has lost his memories of who he used to be.

Journeying further yet, Bastian meets a singing woman.  He has a strange feeling like he wants to run to her, hug her, and call her “Mama,” but he knows that this woman is not his mother.  He remembers that his mother is dead, and she was a very different woman from this one.  This is a plant woman who grows fruit herself.  The strange woman gives him some fruit to eat and begins telling Bastian a story.  The story she tells is Bastian’s own story, the story of how he came to Fantastica, how he gave the Childlike Empress her name, and how he had made wishes that were both good and bad and lost himself along the way.  The house where the woman is called the House of Change, which not only changes itself but changes people who are there.  The woman says that Bastian’s problem is that he always wanted to be someone else other than what he was, but at the same time, he didn’t want to change himself.

During his time in the House of Change, Bastian becomes like a child again, and the plant woman, Dame Eyola, is motherly to him, fulfilling the need for love that Bastian has had for so long.  He feels guilty about all the things that he’s done since he arrived in Fantastica, but Eyola comforts him and advises him to seek the Water of Life.  However, when he does, she cautions him that it will be his last wish.  Bastian is afraid because he knows now that every time he wishes, he will lose a part of himself.  Still, Dame Eyola fills up him with her motherly love, and Bastian finds himself needing less love himself and wishing that he also had the ability to love someone.  This is his last wish.  With that wish, Bastian forgets his parents, his last memory aside from his own name.  Dame Eyola says that Bastian will be able to give that kind of love to others when he has drunk the Water of Life, and he will only be able to return to his own world when he brings some of that Water of Life back to his world with him.

To get to the Water of Life, Bastian must pass through a picture gallery of forgotten dreams and find one of his own forgotten dreams.  His wish is to love someone, but to do that, he must choose someone in particular to love and forget the last person he still remembers – himself. 

Bastian has to dig to find his forgotten dream because it’s buried, but when he finds it, it’s a dream of his father, sad and trapped in ice, begging him to help free him.  Bastian’s troubled relationship with his father has been at the heart of most of his feelings, but now, he finds himself wanting to help his father.  He now has the power to reach the Water of Life.  There is another problem that he has to deal with before he can reach the Water of Life, and he encounters Atreyu and Falklor again. 

The Water of Life is inside Auryn itself, and Bastian reaches it when he finally takes it off.  When the three of them get to the Water of Life, he has trouble reaching it because he’s lost all memory of himself.  However, Atreyu speaks on his behalf as a friend because he remembers who Bastian really is.  Bastian sheds all of the changes that he’s gained in Fantastica, becoming fully himself again and actually being happy with himself for the first time, able to truly love himself and love other people.  Bastian wants to bring some of the Water of Life to his father.

There is some consternation when the white snake of the Auryn realizes that Bastian has left uncompleted stories in Fantastica.  It wants Bastian to stay in Fantastica and finish them all, but Bastian says he’ll never get to go home if he does that.  However, Atreyu and Falkor promise to complete all of the unfinished stories on Bastian’s behalf, and the snakes of Auryn allow Bastian to go home.

Bastian finds himself in the school attic once again.  He’s not sure how long he’s been there, but his clothes are still wet, like they were from the rain when he started reading.  Bastian remembers that he should return The Neverending Story to the bookshop, but he can’t find it.  It seems like the book has disappeared.  He decides all he can do is talk to the owner of the bookshop and explain the situation.  As he walks through the school, he can’t find anybody and worries that he’s completely alone in the world.  He’s forgotten that it’s Sunday, and there’s no classes on Sunday.  Since the school building is locked, he has to let himself out through a window and climb down some scaffolding, a fear that would have been terrible for him before his adventures in Fantastica.

Bastian goes home and sees his father, who is glad to see him.  His father hugs him.  He’s been worried about him and wants to know where he’s been.  Bastian learns that he’s only been missing for a day.  Bastian explains the whole entire story to his father, and his father listens in a way he hasn’t before and actually understands.  When his father holds him on his lap and cries, Bastian knows that his father has received the Water of Life.  His father says that things are going to be different between them from now on.  At this point, Bastian’s adventures might seem like the imaginings and dreams of an unhappy and neglected boy and his father’s changes as the realization that both he and Bastian experienced loss and that Bastian badly needs his love.  However, the story isn’t quite over yet.

The next day, Bastian feels compelled to visit Mr. Coreander and explain to him about the book.  When he does, Mr. Coreander questions him about which book he took.  Bastian tells him, but Mr. Coreander says that none of his books are missing.  He denies ever having had a book called The Neverending Story.  Bastian insists that he’s telling the truth, and Mr. Coreander says that he’d better tell him the whole story.  Bastian once again tells the whole story.  When he’s finished, Mr. Coreander says that Bastian isn’t a thief because the book he took wasn’t from his shop.  He says that the book is from Fantastica and it has now moved on to another reader.  Mr. Coreander admits that he knows about Fantastica, and the book that Bastian read is only one door into it.  Mr. Coreander didn’t read that one, but he has read others, and he also gave the Childlike Empress a name.  He says that maybe Bastian will find other books that will return him to Fantastica.  When Bastian says that he was told that he could only meet Moon Child once, Mr. Coreander reveals a secret that only humans know: humans can see the Childlike Empress again if they give her a different name.  People can only see her once under each name she has, but humans can name and rename her again and again.  Mr. Coreander appreciates that he can discuss Fantastica with Bastian because there aren’t many people who have experienced what they’ve experienced, and Mr. Coreander thinks that Bastian will guide others to Fantastica and all of them will also bring back the Water of Life.

Mary Poppins in the Park

Mary Poppins in the Park by P. L. Travers, 1952.

This Mary Poppins book is supposed to take place during the first three books in the series. It’s a collection of incidents that take place in the park. Each chapter is a short story, and each of the stories can stand alone.

I thought that the stories were fun, but there are a few instances of racial language that I didn’t like in the original version of the book. At various points throughout the original version of book, Mary Poppins chides the children for things they’re doing by calling them “Blackamoors”, cannibals on an island, or “Hottentots. ” In other words, she’s implying that they’re being “savages.” I know that notions of “savage natives” appear in other old children’s books, but I don’t think it’s a good idea to give modern children these ideas, and I don’t like it that Mary Poppins uses racial words as insults for the children in the story. Fortunately, later printings of this book rewrote these scenes to remove inappropriate racial language.

When I was writing this review, I told my brother the plot of one of the stories in the book,Lucky Thursday, and we had a good laugh over it. It was a pretty funny story to read. My brother asked whether the story was supposed to have a moral or teach children anything. I thought about it, and I suppose that part of the moral could be “Be careful what you wish for”, but in the end, I don’t think any real lessons were learned.

The book is available to borrow and read for free online through Internet Archive (multiple copies).

Stories in the Book:

Every Goose a Swan – When everyone seems to be daydreaming and pretending that they’re someone they’re not, Mary Poppins tells the children a story about a vain goose girl and the others around her who have grand ideas about who they think they really are. When someone points out the realities of being the people they like to think they are, they all decide that maybe it’s better to just be themselves.

Faithful Friends – Miss Andrews, a neighbor of the Banks families, has been advised to go traveling for the sake of her health by her doctor. Before going away, she asks the Banks family to look after her “treasures” during her absence. Mrs. Banks puts them in the nursery because she knows that Mary Poppins will look after them, although Mary Poppins is a little put out by this extra duty. The “treasures” turn out to be a collection of random knickknacks, battered and incomplete. The children are particularly interested in a pair of hunters with lion friends, but one of them is mostly missing, and they think that the lion missing his hunter looks rather sad. By coincidence (apparently), they meet a couple of policemen who are reminiscent of the hunters. One of them used to live near a jungle but had to return home because he lost a foot, like the knickknack hunter. He’s been sad since he got back because he says he’s missing a friend. However, he gets his friend back when a loose lion suddenly appears in the park. When children get home, the missing hunter is back in the knickknack, and the lion looks happy.

Lucky Thursday – Michael is unhappy because the other children got to go to the park while he had to stay home with a cold. The only interesting thing that happens is that he sees a strange cat out the window. Michael goes to bed in a bad mood, but the next day, all sorts of lucky things begin happening. However, it turns out that it’s not quite as lucky as he thinks. First, he doesn’t take care of some of the nice things he receives and loses them. Then, the mysterious cat leads him on what seems like a magical journey from the park to a castle of cats, and he is told that everything he’s received has been because he wished on the Cat Star the night before. Part of what he wished was just disgruntled grumblings, though, and part of the cats’ idea of fun and games is to make Michael answer riddles. If Michael answers the riddles correctly, he’ll get to marry one of the cat princesses, and if he doesn’t, he’ll have to work in the kitchen of the castle with other children who made foolish wishes. Michael does answer the riddles correctly, but he doesn’t want to marry a cat, and he has a desperate struggle to escape from the castle of the cats. He only manages to escape when he blows Mary Poppins’s whistle.

The Children in the Story – The park keeper isn’t very happy about the fair set up near the park because it always leaves such a mess. Mary Poppins and the children are also in the park, and Jane is reading aloud from The Silver Fairy Book. She and Michael start talking about the princes in one of their favorite stories. Then, the three princes come out of the story to see Jane and Michael. The princes say that Jane and Michael are the children in the stories they read, and they’ve entered their own book to visit them. They say that they’ve visited generations of other children before.

The princes have brought their unicorn with them, and when adults around them start noticing that there’s suddenly a real unicorn in the park, they start panicking and arguing among themselves about whether the unicorn belongs in the zoo, in a museum, or as a sideshow at the fair. The adults seem to feel like the princes and unicorn are vaguely familiar, but they can’t seem to remember why. Most adults forget about the princes when they get older, but not all. Bert the matchman remembers, and it turns out that Mary Poppins has also been nanny to the princes.

The Park in the Park – The children are playing in the park on a hot day. Jane is making little figures out of plasticine and a little park for them all. Michael is hungry, and the baker figure comes to life and gives him pie. The children get to know the other figures, and Jane is amazed that the characters have lives that she didn’t create for them. The figures don’t seem to remember that Jane made their little world, and Jane and Michael are astonished to realize that they have now become child-size in the little park she created.

Hallowe’en – On Halloween, as the children are heading home with Mary Poppins with nuts and toffee apples, they meet the strange Mrs. Corey and her tall daughters. The children are told to be careful of stepping on shadows and that they should take care of their own shadows so they don’t run away. Mary Poppins hurries the children home and to bed, but the children find leaves that seem to be invitations to some kind of party. The children look outside and see shadows without people in the garden. The children follow the shadows, including their own, to the park. There, they see the shadows of everyone they know and even nursery rhyme characters. Mrs. Corey, her daughters, and Mary Poppins are there, and they explain that it’s the night before Mary Poppins’s birthday, and that’s what the celebration is about. They all dance with the shadows until Mrs. Boom arrives, upset, because her husband is distressed that his shadow is missing. Soon, other people also arrive to reclaim their shadows.

Mary Poppins Opens the Door

Mary Poppins Opens the Door by P. L. Travers, 1943.

This Mary Poppins book was written during World War II, and the author has an acknowledgement in the first chapter that things have changed because of the war. Like other Mary Poppins books, each chapter is its own short story, and the first one takes places on Guy Fawkes Day. A note at the beginning explains what Guy Fawkes Day is, and it also mentions that people haven’t celebrated it since the war began. However, the author says that she is sure that the situation is only temporary and that people will celebrate it once again after the war is over.

Sadly, people reading older versions of Mary Poppins books also have to be warned about the racial language. The stories are magical, but at the same time, one of the most grating things about the original printing of this book is that characters have a tendency to use racial language or racial terms as insults. When characters, even Mary Poppins, are irritated with each other, they’ll call people things like “Hottentot“, “black heathen”, “Blackamoor“, and similar things, implying that these people are behaving like “savages.” Some of the words the books use would be considered offensive by themselves, but it’s worse when they’re specifically used as insults. These incidents don’t take place in every story, but they happen throughout the original printing of this book, and they’re also found in other old Mary Poppins books. On a somewhat lighter note, I liked the character of Mrs. Clump, even though she’s an antagonist in one of the stories, because she used “vampire” and “pirate” as insults. If someone is going to use insults, I like them imaginative and funny like that. Fortunately, later reprintings of this book revised or removed the inappropriate racial language, so some people who grew up with the revised versions may not have even been aware that they were ever there.

This is the third time that Mary Poppins returns to the Banks household to be the children’s nanny. In the previous two books in the series, she came suddenly and left suddenly, without warning. Mrs. Banks finds it upsetting that Mary Poppins comes and goes so unexpectedly because she never knows if she can count on her to be with the children or if she will disappear suddenly. All the same, Mrs. Banks is always grateful when Mary Poppins comes because she’s so good at putting the household in order.

The book is available to borrow and read for free online through Internet Archive (multiple copies).

Stories in the Book:

The Fifth of November – Mr. Banks is in a bad mood and declares that he won’t be home for dinner that night, upsetting his wife and children because it’s Guy Fawkes Day, and the family wants him to help set off fireworks. He won’t even shake hands with the chimney sweep, even though that’s supposed to be good luck. Part of the trouble is that the family is missing Mary Poppins, and they haven’t found anyone to replace her, leaving the house in disorder. Mrs. Banks considers hiring Mr. Banks’s old governess, but the children beg her not to because they know how strict she is. The discussion is interrupted by the chimney sweep. Mrs. Banks doesn’t remember scheduling the chimney sweep for the day, and the household staff panic at the idea of having to clean up after the chimney sweep. The chimney sweep offers to take the children to the park and set off some fireworks to give the household time to prepare for him, and the children eagerly accept. The chimney sweep and the park keeper set off fireworks with the children. For some reason, though, there are no sparks from the last rocket, and they can’t figure out why. As everyone else starts heading home, the children see something odd in the sky, a strange spark. It gets larger, and the children recognize it as Mary Poppins.

The children are overjoyed to see Mary Poppins again, and she takes them home. Mrs. Banks is also glad to see Mary Poppins again even though she’s still irritated at the way that Mary Poppins comes and goes suddenly without word or warning. Mr. Banks’s mood improves as well. Mary Poppins immediately starts making herself at home and putting things in order. She measures the children, but instead of learning their heights, she learns about bad habits they’ve developed. The children ask Mary Poppins if she’s going to stay with them this time, and she says that she’ll stay “until the door opens.” Jane is upset because the nursery door opens all the time, but Mary Poppins tells her that she means “the other door” without explaining what that means.

Mr. Twigley’s Wishes – When Mrs. Banks says that she needs to find a piano tuner, Mary Poppins recommends her cousin, Fred Twigley. She takes the children to Mr. Twigley’s house to see him. Mrs. Clump, the housekeeper, tries to send them away, but Mary Poppins pushes in anyway. Mr. Twigley has locked himself in a room. When Mr. Twigley finally lets Mary Poppins into the room with the children, they can’t see him at first. When Mary Poppins asks him what’s going on, Mr. Twigley explains that he’s been “wishing” and that he’s hiding from Mrs. Clump. He makes himself visible again and explains that, at certain times and under certain conditions, he has the ability to make seven wishes that come true. It’s a tricky business because it’s easy to waste wishes on whims and random thoughts. Mrs. Clump is scheming to marry him because she wants him to use his wishes to give her what she wants, and Mr. Twigley doesn’t want to marry her. When Mrs. Clump tries to come see him, Mr. Twigley suddenly wishes that he was somewhere safe, and he finds himself on one of the music boxes that he’s been making. Then, suddenly, the children also find themselves on music boxes. Mrs. Clump brings a policeman to deal with the chaos, and Mr. Twigley also traps Mrs. Clump and the policeman on music boxes. Mrs. Clump promises that she won’t try to force Mr. Twigley to marry her anymore if he lets her go. What Mrs. Clump had wanted Mr. Twigley to wish for her was a golden palace, so he shrinks her, turns her into a mechanical woman, and puts her into a music box golden palace.

The Cat that Looked at a King – Michael has a toothache the day after his birthday, and Mary Poppins says that it’s because he’s eaten too many sweets. Michael angrily tells Mary Poppins not to “look at him like that.” Mary Poppins says that “Even a cat may look at a king,” and the children and Mary Poppins talk about what the phrase means and if it’s true. A china cat from the mantelpiece comes to life and runs off. Mary Poppins tells the astonished children that the cat has gone to see the queen.

Mary Poppins begins telling the children a story about a king who thought that he knew practically everything, but he kept wondering about all sorts of random things that he doesn’t know. He would think of all sorts of random questions and then send his subjects out to find the answers for him. He kept everyone so busy with finding out random information and writing it down that ordinary tasks would be neglected. The queen feels neglected by the king, the kingdom is poor, buildings are crumbling because they aren’t being maintained, and the castle is infested with mice. Then, a cat comes to the castle and hunts the mice. Then, it sits on the king’s desk and stares at him. The king asks him what he’s doing, and the cat says that he wants to look at him. The king says the cat can look at him, and when the cat has had a good look, the king asks the cat what he thinks. The cat doesn’t think much of the king, and the king is offended because he thinks that his great knowledge deserves more admiration than that. The cat says that it knows everything, and the king says that’s impossible because even he doesn’t know everything. The cat says that cats know everything, and the king challenges the cat to prove it. The cat agrees to the challenge but sets the condition that whichever of them wins gets to govern the kingdom. As the king asks questions, the cat replies as if they’re all riddles. The king says that he’s not being serious and is missing the point, and the the cat says that all questions must have a point and his ridiculous questions don’t have one. The king is unable to answer any of the cat’s questions, but the queen, a page, and the prime minister can, so the cat says that he has the right to rule the kingdom with the help of the people who could answer the questions.

However, the queen, the page, and the prime minister all refuse to serve the cat because they are all dedicated to the king. The king repents of his foolish pride in his supposed knowledge and says that he’s not sure of who he is really anymore. The cat tells the king to look at him, and the king sees his own reflection in the cat’s eyes. When he sees himself, the king remembers that he’s actually King Cole, a merry old soul, and that he has no need of all these useless facts he’s been obsessing about. The cat says that he will let King Cole have the kingdom back if he can be allowed to visit the queen sometimes, and they agree.

The Marble Boy – Mary Poppins takes the children to the park, and although she doesn’t want to admit it, she is irritated that an old man is sitting in her favorite seat, reading a book. When the man closes the book and gets up, a statue of a boy with a dolphin suddenly leaps down from its pedestal and begs him not to stop reading yet because he’s been reading over the man’s shoulder and wants to finish the story. The shocked man apologizes but says that he has to get home to tea. The marble boy asks him if he can have the book, and the man is reluctant to part with it because he’s been wanting to read it for years, but he finally hands it over and leaves.

Jane and Michael ask the marble boy who he is and how a statue can read and jump off its pedestal. The boy says that his name is Nelius. He is an ancient statue from Greece that was separated from the rest of his family. He is often lonely, but he likes observing people in the park and reading over their shoulders. Mary Poppins, who Nelius says he knows because she’s an old friend of his father, tells Nelius to get back on his pedestal, but Nelius begs her to let him play with Jane and Michael awhile longer. Mary Poppins agrees that he can play with the children for the afternoon, but then, he has to get back on his pedestal before he’s missed.

Nelius enjoys spending time with Jane and Michael and going to the book stall with them. However, he does attract unwanted attention. Mrs. Lark sees his dolphin and thinks that he’s cruelly removed a fish from the water, and she says that she’s going to report him. Various people worry because Nelius is running around naked, so Mary Poppins gives him her jacket to wear. At the end of the afternoon, Nelius gives Jane the book the man gave him, asking her to let him read it over her shoulder, and he gives Michael some money that the man at the book stall gave him to buy clothes. By now, people have noticed that the statue is missing, and the mayor is demanding that the park keeper explain the situation.

Peppermint Horses – Jane and Michael take their father’s walking sticks because they want to play horses with them, like they’re riding hobby horses. Mary Poppins gives the the walking sticks back to Mr. Banks and takes the children and Robertson Ay, who works for the Banks family, on errands. The children get tired of walking and start getting cross. Then, they see a woman named Miss Calico with what looks like a bunch of large candy canes and a sign that says she has horses for rent. The children are confused because they don’t see any horses. It turns out that Miss Calico’s candy canes are magical mounts that people can ride. Mary Poppins rents some of these peppermint horses for the children and Robertson Ay, and they ride them home through the sky, along with other people they know. Mary Poppins rides on her umbrella instead because she never uses walking sticks. The children want to keep their magical candy canes forever and continue to ride them, but they’re only rented. Miss Calico comes around at night and collects them.

High Tide – Mary Poppins takes the children to visit Admiral Boom and his wife because their parents want to borrow a bottle of port from them. They give them the port and a seashell for the children to enjoy. Michael is curious about what port tastes like, and Jane is fascinated by the seashell. She says that she would like to go see the sea.

That evening, while Mary Poppins is still having her half day out, the children hear a voice from the seashell telling them to dive in. They do and find themselves under the sea. The voice from the shell was a trout, and the trout introduces them to other sea creatures and takes them to a garden party that the creatures are having to celebrate high tide. Of course, Mary Poppins turns out to be the guest of honor.

Happy Ever After – It’s New Year’s Eve, and Michael wants to know what happens between the first chime at midnight and the last chime because he’s been told that the old year ends at the first chime and the new one starts at the last chime. Mary Poppins refuses to answer. She takes the children’s toys away from them, lines them up, and puts open books in front of them, also without explaining why, just telling the children to go to sleep.

The children wake up at the first chime of midnight and see their toys come to life. The toys lead the children to the park, where they see all sorts of storybook characters. (Friday from Robinson Crusoe is a rather uncomfortable character.) They explain that the period between the first chime and last chime of midnight on the New Year is called “the Crack”, and it’s the only time of year when characters can come out of their books, provided that they’re left open, and all be friends with each other, even if they’re enemies in their stories. It’s the only time when they truly have Happily Ever After. So, they all have a party to celebrate the Crack, and naturally, Mary Poppins is the guest of honor.

The next day, Michael asks Mary Poppins if they’ll ever have happily ever after themselves, and she says that depends on him.

The Other Door – Mary Poppins’s friends show up to say goodbye to her, although they try not to let the children know that Mary Poppins is about to leave. They all have a dance together, and Mary Poppins takes the baby home from the park before the other children. Jane and Michael realize that Mary Poppins is about to leave when her friends talk about “the door.” They rush upstairs to the nursery, but they don’t see her until Jane spots her in the reflection of the nursery in the window. The door in the reflection is the “other door” that she’d been talking about, and that’s the door that Mary Poppins goes through to leave. The children’s parents come into the room, and the children tell them that Mary Poppins is gone. Mrs. Banks is upset, but Mr. Banks dances because he likes the music from her goodbye party, which is still going on. The family thinks that they see a shooting star, but that’s Mary Poppins leaving. Still, they make a wish not to forget Mary Poppins.

Mary Poppins

Mary Poppins by P. L. Travers, 1934.

This book is a classic piece of children’s literature! This is the first book in a series of about the adventures of the Banks children with their magical nanny, Mary Poppins.

Mr. and Mrs. Banks of Cherry-Tree Lane have four children: Jane, Michael, and the infant twins, John and Barbara. When the story begins, the children’s nanny has just suddenly left her job with no real explanation. Mrs. Banks is beside herself, wondering what to do about this household upheaval, and Mr. Banks offers the practical suggestion that she should advertise for a new nanny in the newspaper. Mrs. Banks decides that’s a good idea, but a strange wind from the East brings an unexpected answer to this domestic problem.

When Mary Poppins arrives at the Banks’ house to take the position of nanny, it seems like she was blown there by the wind. When the children ask her, she says that’s indeed what happened, but she offers no other explanation. Mrs. Banks discusses the position of nanny with her, but it turns out that it’s more like Mary Poppins is interviewing her and evaluating the children to see if they’ll do. Mary Poppins refuses to provide references when Mrs. Banks asks for them (I would find that worrying), saying that people don’t do that anymore because it’s too old-fashioned. Mrs. Banks actually buys that explanation and doesn’t want to seem old-fashioned, so she stops asking. Mary Poppins basically grants herself the position of nanny as if she were doing the Banks’ family a favor. Maybe she is.

Jane and Michael can tell right away that Mary Poppins is no ordinary nanny. When she begins unpacking her belongings, it seems at first that her carpet bag is empty, but she soon starts pulling many different things out of it, including some things that should be too big to be in the bag at all. Then, she gives the children some “medicine” (she doesn’t say what kind of medicine it is or what it’s supposed to do) that magically tastes like everyone’s favorite flavor.

From there, the story is episodic. Each chapter is like its own short story.

On her day off, Mary Poppins meets up with the Match Man called Bert, who also paints chalk pictures, and when he doesn’t have enough money to take her to tea, they jump into one of his chalk paintings and have a lovely tea there. The children aren’t present for that adventure, but they do go to tea at Mary’s uncle’s house.

Mary’s uncle, Mr. Wigg, is a jolly man … maybe a little too jolly. It’s his birthday, which has filled him full of high spirits, and he literally can’t keep his feet on the ground. When they arrive, he’s hovering in the air. He says that it’s because he’s filled up with Laughing Gas because he finds so many things funny. It’s happened to him before, and he can’t get down to earth again until he thinks of something very serious. The whole situation is so funny that Jane and Michael begin to laugh and find themselves floating in the air, too. Even though Mary isn’t amused and doesn’t laugh, she makes herself float in the air also and bring up the tea table so they can all have their tea in midair. The merriment only ends when Mary Poppins finally tells the children that it’s time to go home, which is very serious indeed.

Mary Poppins understands what animals are saying, helping to sort out matters for a pampered and over-protected little dog who desperately wants a friend to come live with him. Then, when the children see a cow walking down their street, Mary Poppins says that cow is a personal friend of her mother’s and is looking for a falling star. On Mary Poppins’s birthday, she and the children attend a bizarre party in the zoo where the animals are their hosts.

There is an episode in the book which has some uncomfortable racial portrayals. It takes place when Mary Poppins shows the children how a magical compass can take them to different places around the world, and they meet people who are basically caricatures of different racial groups. (This episode has resulted in the book being banned by some libraries. P. L. Travers received complaints about it in her lifetime, and she revised the scene in later printings of the book, which is why you’ll see books labeled as “Revised Edition.” I have more to say about this scene, but I’ll save it for my reaction.)

Mary Poppins and the children visit a bizarre shop where the owner’s fingers are candy and grow back after she breaks them off and gives them to the children. (That’s actually pretty freaky.) The children save the gold paper stars from the gingerbread they buy at the shop, and later, they see Mary Poppins and the shop owner and her daughters putting the stars up in the sky.

There is a story about the babies, John and Barbara, and how they understand things that the adults and older children don’t, like what animals, the wind, and sunshine are saying. They are sad to learn that they will forget these things as they grow up.

Toward the end of the book, Mary Poppins takes the children Christmas shopping, and they meet Maia, one of the Pleiades (here she is considered to be a star as well as a mythological figure, and she looks like a young, scantily-clad girl), who has come to Earth to do her Christmas shopping as well.

In the end, Mary Poppins leaves the Banks family suddenly when the wind changes directions, flying off into the sky on the wind with her umbrella. She does not say goodbye, and the children are very upset. Mrs. Banks is angry with Mary Poppins for her sudden departure on a night when she was counting on her to be there to take care of the children. The children try to defend her, though, and say that they really want her back, even though she’s often cross with them. However, she does leave behind presents for the children that hint that she may come back someday.

The book is available to borrow and read for free online through Internet Archive (multiple copies).

My Reaction

In some ways, the Mary Poppins in the original books isn’t quite as pleasant as Julie Andrews in the Disney movie version. The Mary Poppins in the book is vain and stuck up. She can be intimidating in her manner, refuses to answer questions, and even gets rude and snippy with the children. She was a little like that in the movie, but in the book, she’s even more so. After any strange or magical thing happens and the children want to talk about it, Mary Poppins gets angry at them and denies that any such thing happened at all. I found that rather annoying because it’s kind of like gaslighting, denying things happened when they really did happen. I think we’re meant to assume that’s because the adults aren’t allowed to find out that magical things have happened because they might put a stop to it or because Mary Poppins realizes that the children can only enjoy this kind of magic for a brief phase of their lives and that they’ll have to grow up in the more mundane world, just like the little twins can’t help but lose their ability to talk to animals. It’s a little sad, but I think it’s meant to provide some kind of rational explanation about how magic can exist in the world but yet go unnoticed by most people.

There is a Timeline documentary that discusses the life of P. L. Travers and how she felt about the Disney movie version of Mary Poppins. Although many people came to know and love the character through the Disney movie, and it made the books much more popular, P. L. Travers thought that the animated portions were silly and the characters weren’t represented as she wrote them.

I’d like to talk more about the racially-problematic episodes with the magic compass. A compass that can take people to different areas of the world just for asking is a good idea, but the people they meet in the places they go are all uncomfortable caricatures of different races. The one part that I’m not really sure about is how seriously these were meant. When I was trying to decide what to say about this, I considered the idea that aspects of this part of the story may have been meant as a parody of things from other children’s books and popular culture at the time. I have seen even older vintage children’s books that poke fun at concepts from earlier stories, so it occurred to me that this book might be making fun of concepts about people from around the world that young children of the time might have from things they’ve read in other books. There is a kind of humor throughout the book that involves puns and plays on certain ideas, like the way her uncle insists that he floats when he’s in a humorous mood because he’s buoyed up by “Laughing Gas”, which is not what real “Laughing Gas” is. It’s like what a child might picture as “Laughing Gas”, if they didn’t already know what that term means. It’s possible that part of this scene might be parodying other children’s fantasy books about magical travel, but it’s still very uncomfortable to read the original version of this scene, if you don’t have one of the revised editions of the book.

On the other hand, I suspect that the author isn’t really that thoughtful or self-aware by the way the adult characters speak throughout the book series. At the end of the book, when Michael is upset at Mary Poppins suddenly leaving and he throws a fit and argues with her, his mother tells him not to act like a “Red Indian.” I’m not entirely clear on what that comment was supposed to mean in that context, but Mrs. Banks uses it as if she does, so it seems that there is some implied insult there, maybe equating Michael’s behavior to being “savage” or “uncivilized” or something of that nature. Even Mary Poppins herself uses racial language throughout the series, using words like “hottentot” or “blackamoor” to criticize the children when they misbehave. It makes me think that the author was accustomed to that kind of talk herself. If Mary Poppins can get snooty as a character, I think I have the right to express my disapproval of her behavior as well.

While I like the basic character of a magical nanny who takes children on magical adventures, I don’t like either those comments or the compass scenes because the obvious caricatures are uncomfortable, and I don’t think they make good story material for children. I would recommend saving that version for adults who are interested in reading or studying nostalgic literature and use the revised versions for children, who would probably just prefer to have a story they can enjoy for fun without needing a lesson on racial attitudes of the past to understand it. If they’re curious, they can always have a look at the original later, when they’re old enough to understand it better and put it perspective. In the revised compass scenes in later books, some printings still have people but some of the offensive words removed, and in later printings, the children meet different types of animals instead of people.