Fantasy is a Literature of Desires
Rosemary Jackson had described literary fantasy as an attempt to compensate for
lack resulting from the constraints of culture. "Fantasy is a literature of desires
which seeks that which is experienced as absence and loss..." To what extent do the
elements of fantasy in one of the set novels serve as a compensation of absence and
loss? Demonstrate through close reference to the text.
As we have discovered regularly when exploring the various mediums by which
fantasy presents itself, it is the escape from the usual confines of reality that forms the
essential component. But it is then a matter of asking ourselves why this escape from
reality is so vital. The theory proposed by Rosemary Jackson is certainly one of the most
valid and easily identified of the others that may have either been proposed by students or
the literature they study. Fantasy becomes the landscape in which we examine and
integrate reality without having to conform with it and its 'expectations' (not that I'm
suggesting we really have a choice in the matter). Fantasy is a much relished escape from
the stress and confusion of the everyday world. Fantasy is the medium by which we
construct potentialities and scenarios for application within reality. The list goes on. But,
Rosemary suggests that we use fantasy as a means of attaining what we don't or cannot
have, that we compensate for what is lacking in our everyday lives. I will now explore this
extremely valid and interesting idea with reference to The Indian in the Cupboard by
Lynne Reid Banks.
After reading this novel and performing a close analysis of the text in relation to
the elements of fantasy that it contains, several things become apparent:
* There is a moral component to the book in which a respect for the very lives of
others and how they should be treated is explored. The concept of ownership and
possession is investigated.
* There is a feeling of a conflict between the children and the parents in the form of a 'secret'. This lives up to the common element within a lot of children's fantasy stories in which an us vs. them mentality is described.
* There is a system, a logic, to how the fantasy operates.
* Seemingly boring devices and circumstances lead to the fantastic scenario.
and, * There is an inherent symbolism throughout the text.
How do each of the above concepts fit into and support Rosemary Jackson's
theory? Looking at the first point we are forced to really think (That is, I was!). We may
say that the child has little understanding of morality at this stage on a complex scale, and
very little opportunity to explore a moralistic dimension independently. Parents define the
rules. They designate what is right or wrong and how the child should act according to
these judgments. A child lacks the opportunity to come to their own understanding of
what is right or wrong and therefore internalizes the parents judgments. They're older,
they know what's best. And why? Because they've been there, they've done that. But the
child has not. The have no experience from which to draw such conclusions except for the
parameters of their own imagination. Within fantasy, whether the child's own or as
generated by an external catalyst such as this novel, the child may explore why such things
are so and come to their own conclusions on what is correct. Omri learns a lesson in
morality. He learns that "(t)hey're people. You can't use people" (pg. 114). And by
reading and becoming involved in the fantasy, the child learns that to. The lack of
experience and exploration is compensated for in the creation of fantastic circumstances in
which the child is a participant.
The second point is perhaps the easiest to relate to Rosemary's idea and explores the fundamental 'lack' in a child's life - power. The adults are the authority and they possess the power. But it is in keeping a secret from the adult world that the child
subverts that authority and now has the power. The secret is the source of the child's new
found jurisdiction over what goes on. Ever heard a child say something like "I know
something you don't know" and then grin in such a way as to suggest the very same thing
even if they hadn't spoken a word? Don't/wouldn't you suddenly feel at their mercy? It is
this obvious advantage that allows the child to experience power. Also, we can see that in
Omri's case their are other circumstances leading to adult-like power. The fact that these
'toys' are under his control allows Omri to mimic the relationship between parent and
child. He has become their protector and governor, even "spirit" or spiritual figure in the
case of the Indian. This mimicry is a method for Omri to achieve the same 'position' as his
parents, and yet one step better!
Next comes the logic of the fantasy. I believe that this deals with the need for or
loss of control that a child may experience. Not only does knowledge of how something
works impart a sense of control over it, but the fact that a step-by-step process is involved,
a system that must be followed in order for things to occur donates control to the child. I
refer to the process involving a specific cupboard and key, and how the toys are transferred from plastic objects to real flesh-and-blood and back again. As well as the manner in which the Indian, cowboy and medic etc. are plucked from their respective times and 'shrunk'. The understanding on Omri's behalf compensates for the otherwise lack of
control that would exist not only over the cupboard (the fantasy) but his life outside his
bedroom (reality), such as Patrick and his involvement.
The fact that such a fantastic occurrence results from otherwise boring
circumstance suggests plainly the lack of interest and stimulation on behalf of the child.
This seems to me to be the primary reason behind fantasy in the first place - a lack of 'real
world' stimulation. Omri gets a rather boring cupboard and a plastic Indian of the variety
that is hardly new to him, and worse yet, so dull as to be second hand from a friend who
doesn't want it any more! The key from his mother already has some emotional
significance and therefore may already have a certain special quality, and yet no practical
purpose, which is a different sort of lack i.e.. lack of purpose. Wouldn't gifts such as these
put a downward spin on any child's birthday (even though he did get his skateboard)? So,
in order to compensate, the fantasy suddenly creates intricacy and magic where previously none existed. Suddenly the items are tools of fantasy, and no longer dull or boring but keys to something greater and so exciting as to be relatively earth-shattering!
This leads us to the final note, which is the symbolism inherent throughout the text. Here I wish to explore both the key and cupboard and the fact that Omri really wanted a skateboard for his birthday (and why he wanted a skateboard). The key and cupboard
become the symbols for unlocking the fantasy. They symbolize not only their real world
function but the metaphorical counterpart. What does such symbolism compensate for?
Hard for me to say, but I would suggest that the key then becomes another source of power
in that it exists as a physical icon of the unreal and is part of the secret described earlier. It may also be a way in which Omri mimics the adult world of special objects (his fathers
gardening equipment) and significant tools. But what of the inherent symbolism of the
skateboard? And how is that related to Rosemary Jackson's concept of compensation for
lack? The key (no pun intended) to understanding its significance is in knowing that
Omri's brothers both received skateboards. I would suggest that the skateboard has
become a symbol of progression, a physical representation of 'passage'. I have heard the
theory that a problem amongst today's youth is the fact that they have no 'rites of passage'
and so create their own, sometimes to their own detriment (legal drinking age,
girlfriend/boyfriend, violence and crime). In this way, we may envision the skateboard as
a means of Omri obtaining or engaging in one of the 'rites of passage'. It is the
signification of his age and progress through life. This is its symbolism, and it
compensates for the lack of visible progression on a less than physical level.
In conclusion, I find Rosemary Jackson's theory of compensation for lack extremely valid in not only an analysis of The Indian in the Cupboard, but in an examination of the basic motives and functions of fantasy in the lives of children. It can be readily applied to these components and logical connections drawn between the motives behind the genesis of a fantasy realm and a desire to compensate for what is lacking in our everyday lives.
POLONIUS (aside) "Though this be The Musings of Dan, yet there is method in't..."
or
"...suddenly there came a tapping, as of someone gently rapping, rapping at the door to The Lair of Dan"