H-NET BOOK REVIEW
Published by H-Albion@h-net.msu.edu (March 2008)
Owen Dudley Edwards. _British Children's Fiction in the Second World War_. Societies at War Series. Edinburgh: Edinburgh University Press, 2007. vi + 744 pp. Illustrations, figures, index. $200.00 (cloth), ISBN 978-0-7486-1651-0.
Reviewed for H-Albion by Stephen Heathorn, Department of History, McMaster University
Too Many Fairies and Not Enough Tale
If one word could possibly sum up a 744-page book, then in this case I would have to say it would have to be "indulgence." I must admit up front that it took me a long time to read Owen Dudley Edwards's _British Children's Fiction in the Second World War_, and despite the interesting topic, I am not sure it was worth the effort. It is not that Edwards writes poorly or has little of interest to say. On the contrary, every page is filled with learned allusions, wit, and genuine insight, and his primary research has been prodigious. The problem is that this research and the insights gleaned
from it are not presented in an intellectually disciplined manner. Edwards has crammed into his book every last fact, every last supposition, and every last connection he has discovered in the course of reading his sources. This indulgence--and that of his editors and of the press--makes for a massive and unwieldy tome that, unfortunately, is sometimes rather tedious to wade through. The indulgence in description, extensive quotation and allusion--and, frankly nostalgia--where explicit argument and synthesizing analysis were called for, diminishes the impact of what might otherwise have been an excellent book.
Although the works of over a hundred authors are mentioned or discussed in passing, the key protagonists of Edwards's tale are really Enid Blyton, W. E. Johns, Richmal Crompton, E. M. Brent-Dyer, and Frank Richards. The others--including such literary heavyweights as J. R. Tolkien, C. S. Lewis and George Orwell--are more or less the supporting cast, discussed to illuminate specific issues rather than the main theme of the book. That theme can be summarized as follows: the war was a time of relaxed or absent parental control, and British children inhabited a world, therefore, in which they were particularly susceptible to the messages of the popular literature and commercialized juvenile culture on which they, by necessity of parental relaxation/absence, relied to make sense of their world. So, Edwards's argument--implicit in a number of statements spread through the book rather than explicitly detailed--is that children's fiction, especially that of Blyton, Johns, and Crompton, provided "resources" for children to "manage" their experience of war. I find this instrumental view of children's literature a more contentious proposition than does Edwards, and because he does not explicitly explore or defend his argument empirically or theoretically, I do not find that his view ultimately carries much conviction ...
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