Children's Fantasy, page 4 of 5

Catherine Storr’s 1958 novel Marianne Dreams contains a perfect example of what Humphrey Carpenter calls the “Secret Garden”, found in so many classic kids’ books from Alice in Wonderland onwards — those Arcadian pocket-worlds that encapsulate an idealised childhood, part fantastic imagination, part golden-tinged nostalgia. In Storr’s book, the “Secret Garden” is a dream world 10-year-old Marianne creates through drawings made in her waking life. Bed-bound for weeks after an unspecified illness, she finds a special pencil (“one of those pencils that are simply asking to be written or drawn with”), thereafter referred to as The Pencil, in her grandmother’s button box. With it, she draws a standard child-style house, and when she sleeps, dreams of walking up to this very house, but being unable to get in. When she wakes, she adds a knocker to the door, and, for someone to answer it, a face at an upper window. Both details have been added to the house when she next dreams, but the boy at the window can’t answer her knock because the house has no stairs inside and (something he doesn’t admit immediately) he can’t walk. So Marianne starts working on interior drawings, too. In her waking life, because she can’t attend school till she’s well again, she’s being taught by a governess, who mentions another home-visit pupil, a boy called Mark whose illness has left him too weak to walk. When Marianne learns the boy in the dream-house is also called Mark, she realises her dream world isn’t entirely her own.

Marianne in the dream world. Illustration by Marjorie-Ann Watts

In the dream world, though, the two children don’t exactly hit it off. Both are tetchy from being bed-bound for so long, and Mark is resentful of the idea he might be living in a world Marianne has created. After a particularly heated spat, she punishes the dream-Mark by scribbling him out (though this only puts bars over his window) and, worse, by adding a single, watching eye to each of the boulders she drew outside the house. When she next dreams, she finds Mark terrified of “THEM”, the watching rock-creatures crowding the house. Regretting her anger, but unable to undo it (what she draws with The Pencil can’t be erased), the story comes to be about Marianne encouraging Mark to regain the physical strength and will to walk so they can escape the house and the watching, threatening presences.

Marianne and Mark. Illustration by Marjorie-Ann Watts

Aside from its dream world fitting neatly into Humphrey Carpenter’s idea of the “Secret Garden”, Marianne Dreams has other similarities to Frances Hodgson Burnett’s 1911 novel from which Carpenter got the name. In Burnett’s book, the slightly spoiled 10-year-old Mary Lennox, orphaned and sent to live with a reclusive uncle, discovers an abandoned, walled rose garden and in it comes to not only befriend her withdrawn and seemingly crippled cousin Colin (who, like Mark, can’t, or won’t, walk), but to engage in a wholesale healing of the family: Colin of belief in his physical frailty, herself of her spoiled nature, and her uncle of both his extreme grief over the death of his wife and his estrangement from his son. The main difference between the two novels is that, while Mary Lennox of The Secret Garden is basically working at healing the adult world (where Uncle Archibald’s mourning for his wife is the cause of all the other problems) in Marianne Dreams the focus is entirely on the children, not just in recovering from their illnesses, but in their working together to overcome the self-centredness which their long periods of convalescence have led to. There’s a feeling that they’re taking a step away from the dependence of childhood towards taking a fuller responsibility for their own lives.

Vikki Chambers as Marianne in Escape into Night

Storr’s book has been adapted a few times. The author turned it into an opera libretto in 1999. In 1972 it was adapted for television as Escape into Night (made in colour, but only surviving in black & white). This six-part series stuck faithfully to the book — perhaps too faithfully, as the story of Marianne’s coming to understand the relationship between her drawings and the dream world inevitably leads to a lot of similar-seeming scenes, though perhaps I only feel this because I watched them back-to-back — but it also comes across as slightly darker, as, somehow, showing the bizarre one-eyed stones surrounding the house makes them that much creepier. My first encounter with the story, though, was in a very different form, the 1988 film Paperhouse.

Charlotte Burke as Anna in Paperhouse

I can’t think of many children’s books which, when adapted, turn into films for adults — and I wonder if that was always the intent for Paperhouse (rated 15 in the UK), because, though it ups the scares of Catherine Storr’s novel, it doesn’t do the usual horror cliché of turning childhood itself into a scary world — there’s no tinkly toy piano music, or ghostly nursery rhymes echoing down empty corridors — so it’s still a story that’s for children rather than being about them. In fact, apart from the level of scares (always a difficult thing to judge), I think it would actually be a good film for young adolescents, as it’s very much about their experience — about the first tentative moves towards forging deeper emotional attachments away from mum & dad, and about the tug-of-war between growing up and remaining a child. (Now I come to think of it, the two main characters’ lingering in bed after their illnesses could well be a metaphor for lingering in a state of dependent childhood, putting off the first steps into independence and adulthood.)

Anna and Marc (Elliott Spiers)

Marianne from Storr’s novel is now Anna, a girl very much on the verge of adolescence. One moment she’s bunking off school to try on makeup and ask her friend about snogging (“Like kissing a vacuum cleaner”), the next she’s playing hide-and-seek. In contrast to the book (where the mother is pretty much a cipher), in the film, Anna’s relationship with her mother is strained by some very teenage tantrums. The real transformation from novel to film, though, is the father. In the novel, though he’s living at home, the father is all but absent — he pops into the story only briefly, to do those things a standard father of the 1950s was expected to do, i.e., authorise a few key decisions and knock in a nail. In Escape into Night, his irrelevance to the plot is smoothed over by having him working abroad. In Paperhouse, not only is he working abroad, but Anna is torn between feeling abandoned by him and being grateful he’s not there because of how he scares her sometimes when he drinks. In the film’s dream world, the stones-with-eyes (“THEM”) central to the novel’s sense of threat are replaced by a blinded father figure wielding a hammer. (This, more than anything, must be what makes it a 15 certificate, the way it turns the threat into a very real, domestic one, rather than a generalised, fantasy version of anxiety.)

All this brings a muted aspect of the novel to the fore. Anna’s ambivalence about her father is an ambivalence about males in general. Sitting up in bed after a checkup from the doctor (here, a woman — Anna’s world, including teachers and friends, is almost entirely female), she says, “I don’t like boys,” then immediately adds one at the window of the house she’s drawing, as though her unconscious has other things to say on the matter. Far more powerful than the horror element of the film is the sense that Anna is learning to transfer the complex feelings she has for her father to a more fitting male figure of her own age. Paperhouse’s scares and dream world shocks can seem a bit over the top — as can Anna’s teenage histrionics, though “OTT” may well be the definition of teenage histrionics — but the film ends with a real sense of combined loss and gain, all because of how Anna has matured from a self-centred child to someone who can start to have fuller, more mature relationships.

Catherine Storr was, at the time she wrote Marianne Dreams, married to Anthony Storr, author of some of my favourite books about psychology — his The Dynamics of Creation (1972) and Solitude (1988) are both very readable and interesting delves into the complexities of two subjects Marianne Dreams also touches on: creativity (Marianne, in the novel, is not great at drawing, and her frustrations at how her lack of skill has a real effect on the dream world make up one of the novel’s strands), and the pleasures and pains of being alone.

I was intrigued to find that, aside from Stephen King’s, there’s another book called IT, this one by William Mayne, published in 1977. I was even more intrigued by the plot: Eleven-year-old Alice Dyson, looking at her home town from a distance, spies a hill she didn’t know existed, and resolves to explore it. At the top she finds an ancient, faintly-carved stone, similar in shape and design to three crosses that mark the boundaries of the town (and of which her grandfather, a vicar who has written a local history, believes there to have once been a fourth). Digging idly in the mud beneath it, Alice finds a dark hole. She puts her hand in — and feels another hand grasp it. When she withdraws her hand, she still feels the presence of that other hand; hers is “still haunted by what had held it”.

Alice gets on with her everyday life. She’s a bit of a trial to her family, the sort of child who’s always doing the wrong thing. Her grandfather, a bit of an authority-figure in the family, in particular finds her wanting (“she was always a miserable milk-and-water miss, with the milk curdled and the water tepid,” he says). But this is not as bleak a book as the Mayne novel I reviewed last time, A Game of Dark — Alice herself has a lightness and humour that prevent these family tensions from building up to anything like the awful alienation that exists between Donald and his parents in that book.

Alice learns of a possible explanation for the ghostly hand:

“…a witch, or sorceress… had taken refuge in the town and then come into the Market Place and made terrible frightening threats against the town. Before she had finished them a retribution had come upon her and she had fallen down dead, some said struck by God, and others by the Devil, stabbed with an invisible knife in full daylight in front of a crowd of people.”

Returning to the hill, Alice pokes about in the darkness with a piece of rusty metal she finds nearby. Suddenly, she feels she has stabbed something, and the ghostly hand leaves hers. She, then, is the cause of that “invisible knife”. But her troubles are not over. She has attracted another presence. This is not the witch, but the witch’s familiar, a poltergeist-like spirit keen to attach itself to Alice as it once did to the witch. It starts providing Alice with rings that are meant to bind them together — often as not lifted from other people. Alice, quite sensibly, hands them into the police. The spirit starts trying to follow what it assumes are Alice’s wishes — she wins a game of monopoly with every dice roll landing in her favour; a friend who throws a snowball at her gets showered in the snow from a nearby window ledge; when Alice gets angry, the spirit starts to break things.

What stops William Mayne’s IT from being a horror novel is that Alice isn’t isolated by her strange experiences. In fact, several adults, including her grandfather, a local bishop, and her mother, all accept what’s going on. As her mother says:

“Don’t forget that I was… in New Guinea… I was your age at the time, and I was older, and we’re both quite familiar with wandering spirits that attach themselves to people for a time, so at least we knew what was going on. Believe me, we met far worse ones than yours. But of course out there it was much easier to talk about things like that.”

Perhaps it was because I was expecting IT to be more of a horror novel that I found it slightly unsatisfying at the end. Although the effects of the ghostly hand and the later familiar spirit can be quite spooky (whenever Alice approaches a church, she’s enveloped in her own little storm, as “IT” tries to prevent her from entering the holy place, which it can’t follow her into), Alice herself isn’t overly spooked, and instead, feeling sorry for this childlike spirit that’s attached itself to her, tries to find a way to free it, and her, from an unwanted bondage. She realises a ritual has to be carried out involving the four crosses that once surrounded the town. Usefully, there’s an annual parade that, if Alice can persuade the committee, could have its route changed so as to provide the sort of magical act required. She does this in a series of quick-cut brief scenes that bring a comic feel to the story. But Mayne’s skill at characterisation, and Alice’s constant little difficulties with people, particularly her family, prevent it from being the sort of E Nesbit lark-with-magic that might make it sound like.

IT passes through spooky territory, then, but never becomes a horror novel. Nowhere near as bleak as A Game of Dark, neither is it as powerful, though it has its moments. What lingers, rather than the sort of trials Donald Jackson went through in that earlier book, is the light touch and resilience of Alice’s character, and the way her determination to see this strange experience through, in her own way, finally wins round her previously disapproving grandfather, and the town as a whole.

The Moon Stallion was first broadcast on the BBC at the end of 1978. I don’t remember seeing it, though I may have caught it when it was repeated in 1980, on the Sunday teatime slot I so associate with BBC kids’ fantasy (perhaps because of the Narnia adaptations they showed in the late 80s). Anyway, I may not have seen it at the time, but sitting down to watch it now, I certainly feel I know it: it’s archetypal kids’/young teen fantasy of the sort the 1970s did so well (see The Changes, King of the Castle, and Children of the Stones earlier on this blog). Perhaps the fact it’s set in Victwardian times — or BBC costume drama times, anyway — that helps to recall so much classic, E Nesbit-style magical mystery romps, but The Moon Stallion isn’t an adaptation, it was written for the TV by Brian Hayles, the creator of the Ice Warriors and the planet Peladon for Doctor Who, as well as the scriptwriter of Warlords of Atlantis (also on this blog).

The other key Doctor Who connection, of course, is that it stars Sarah Sutton (later to play Nyssa of Traken) as the blind girl Diana. Visiting the home of Sir George Mortenhurze along with her younger brother and her father (an archaeologist brought in by Sir George to help prove a local King Arthur connection), Diana, though blind, sees the Moon Stallion, a wild horse of supernatural repute that, it turns out, Sir George and — even more — his groom and would-be “horse warlock” Todman have designs on capturing. Sir George wants the Moon Stallion because his wife died shortly after seeing it; Todman wants the Stallion so he can control the Moon Goddess, ride into Tir na Nog, and gain magical power. Dismissive at first of Diana’s link with the Moon Stallion, Todman later uses her to try and capture it. Throughout, Sutton plays Diana with a great deal of dignity, which really adds to her vulnerability at the key moments when she’s threatened.

In The Hill and Beyond, their encyclopedia of children’s TV drama, Alistair D McGown and Mark J Docherty say The Moon Stallion “in the final examination is no more than an entertaining hotchpotch of enticing legends and myths… a wonderful piece of light melodrama fit for any Sunday afternoon… a looker, then, but rather directionless as a story.” But David Pringle, in The Ultimate Encyclopedia of Fantasy, says “Hayles’s script was one of the most accomplished fantasies specially written for television.” I’d certainly say it was better than McGown and Docherty imply — The Moon Stallion may feel a little too made to seem like an adaptation of a classic kids’ book that never was, but I think it has a lot going for it. True, some of that may be nostalgia on my part. Recently, I’ve had a craving for that whole 1970s mystical-magic kids’ adventure thing, with its gleeful pick’n’mix of folk legends, King Arthur, standing stones (also, in this case, the White Horse of Uffington and the nearby Wayland’s Forge), magical moonlight, stately homes with family secrets and windswept moors by night, and The Moon Stallion was my latest fix. (I had to track it down on a German DVD, as it’s not available in the UK.) Like The Changes and Children of the Stones, The Moon Stallion (briefly) ties science up with magic, equating the two and implying that modern man’s loss of connection with the land, and his loss of respect for old beliefs, will lead to his undoing. As the Green King, a mystical figure who guards the way to Tir na Nog, tells Diana after giving her a future-vision of Concorde and a nuclear mushroom cloud:

“Your science is the magic of ancient times, forgotten, in darkness, now rediscovered and, not understanding its past, rushing into self-destruction, as so many times before…”

And this, ultimately, is the substance to the tale that Docherty and McGown say it lacks. They say: “…the discovery of strange magic by a vulnerable and pretty young virgin is usually a metaphor for sexual awakening in the gothic novel but Hayles deploys Diana on a purely surface level.” But, although Diana does spend a lot of the tale at one remove from the action — necessarily, perhaps, because her visionary connection with the Moon Stallion, and the Green King, can short-cut the tension — the tale is ultimately not about her coming-of-age, but about a much wider confrontation with, and acceptance of, death. Sir George wants revenge on the Moon Stallion for his wife’s death; Todman wants power, and that includes power over death. As the Green King says, “the wolf in man’s” lust for power so often ends in his own destruction, and it is only once these greedy figures have been done away with that it can be set back to rights. At the end, it is Sir George’s daughter who inherits his home and lands; the whole story has a feeling that what’s needed is a little less male power-grabbing, and a little more of the Moon Goddess’s feminine influence, and respect for what cannot be controlled. (Even Sir George’s demand that local evidence for King Arthur be found and confirmed feels like him trying to dominate and control elements of myth and legend, rather than feel any reverence for them.)

It’s not the story that lingers in the mind, anyway, but the magical and visionary feel of a connection with things of the imagination — things of moonlight, and of the ancient past — along with a lot of shots of people riding horses over magnificent rolling countryside, and down hedgerowed lanes, in flowing gowns and cloaks. Perhaps it’s best watched as a welcome dose of nostalgia, but, then again, fantasy is all about magic from the past.

(Full cast & credits at The Encyclopedia of Fantastic Film and Television here; also, details of a comic strip adaptation of The Moon Stallion from the girls’ comic Tammy.)