Kim's Maturity

            Kipling’s interest in identity construction carries over deeply into the latter portion of the novel.  Whereas the first section that we read contains Kim questioning his personhood (“I am only Kim. Who is Kim?), this section witnesses Kim comprehending more aspects of his personality, albeit in a gendered manner (163).  Chapter XI contains a scene in which Kim provides advice to a father regarding his sick son, and the incident “proved that he was a man” (228).  This relates to several other moments throughout the next few chapters, and one specifically where Kim controls “himself with an effort beyond his years” (248).  These references to Kim’s budding maturity, in a sense beyond his enhanced power as a central figure in the world of Children’s Literature, solidify Kim’s status as a member of his society, within the context of the novel. 

            This concept of change, or maturity, maintains certain connotations within the world of Children’s Literature.  Identification with a character can develop strong ties between a reader and a work of literature, and the reader often experiences emotions associated with that character in a sense of solidarity and relation.  This holds particularly true in Children’s Literature—through the characters in specific works of literature associated with Children’s Literature, such as the adventure prototype that Kim plays upon, readers identify strongly with the characters, and in a way can deeply experience their same exploits.  The complicated sense of identity construction in Kim is even more fascinating in this way—beyond analyzing all the intricacies of development and personhood already involved with identity construction, Kim addresses this in association with childhood.  When Kim develops into more of an adult, the reader experiences that change, and children must undoubtedly experience that same feeling of progression and development.  How this plays into their personal lives is crucial to understanding the relationship between the private experience and the outside connection with art.

Kipling's Treatment of Culture

Rudyard Kipling’s Kim presents an interesting view on Children’s Literature, or what one considers as literature enjoyed by children.  Set in India, Kim explores the story of a young, white, English boy living in India, engrossed by its culture and his relationship to it.  Reflective of Kipling’s personal experience as an English child raised in India, this setting illustrates specific elements of Eastern life that do not transcend into English and American cultures, presenting to the readers of those nationalities a differing view of the world, and to Indian readers a glimpse of how these different cultures relate to one another. 

The story of Kim meeting the holy man, or the lama, and their subsequent journeys, presents a patchwork of cultures and customs, creating a collaged view of facets of Indian culture.  The containment of Buddhism and its central ideologies lies in accordance with this.  Religious beliefs motivate the characters, and they often discuss and exhibit pillars of the religion—the Middle Way, the Wheel of Things both become integral to the plot.  The practice of the characters themselves also utilize Buddhism as a plot influence, as the lama’s identity as a priest allows Kim to follow as his helper, and their quest for the River and the Bull draw heavily upon their religious aspirations.

Kim also presents a challenge to its adult and child readers.  Because it contains so many elements of Eastern cultures, those that differ so strongly from Western thought, this novel can incite broad interpretations, beyond the page.  Even this simple blog takes a stance as a white American reader—although I am conscious of my comparing the cultures, I still know my culture and view Kim as representative of a different one.  This can be a heavy load for children, either Western or Eastern, as they begin to develop ideas about races, religions, and identities different from their own.  Kipling holds a high amount of power in this novel, and the second half of the novel will solidify a representation of these difficult concepts. 

Black Beauty's Feminism (and Other Notes)

Anna Sewell’s Black Beauty is one of those classic texts popularized as children’s literature that I completely missed as an actual child.  Therefore, when I saw it on the reading list for our class I was excited to delve into a novel I’d heard much about for most of my life (as is the case with most texts assigned in this class).  I’ve noticed strong elements of Sewell’s personal life reflected in the Introduction and Part I of Black Beauty.  Clearly, she utilized her art as a reflection for her personal morals.  The positive treatment of animals pervades the entire first section of this book—Black Beauty himself experiences mostly positive treatment, although he relies tales of disrespect and abuse, such as explaining the use of bridles and their negative effects upon horses.  A heavy reliance on God also pervades Black Beauty’s tales, attributing existence to God’s creation and utilizing phrases such as “‘God is Love’”¹ (47).  A strong presentation of these ideals constructs Sewell’s specific moral culture within the context of a fictional reality. 

Most impressively, though, are the undertones of gender equality present in the novel.  We obviously must be way of labeling Black Beauty as Feminist, as doing so would be retroactive and would use terminology and concepts not yet popularized in the social sphere.  However, elements of the book do portray positive views of women.  The horses themselves are effeminized—humans in general are referred to as masculine, immediately gendering the human race as male.  The separation between humans and animals, most notable the mistreatment of those animals, represents the unequal male/female relationship of real society.  At one point, Ginger states, “men were my natural enemies, and that I must defend myself”¹ (30).  Although the literal understanding is that she as a horse must protect herself from humanity’s cruelty, this statement reaches farther than that, commenting upon very real aspects of relationships between males and females.  At another point, she states “men were both brutes and blockheads,”¹ further enriching these quasi-Feminist undertones (37).  The introduction to Black Beauty even recalls Ruth Padel’s statement that the novel is “‘almost … one of the great feminist texts’”¹ (xxii).  These notions of gender equality establish a strong introduction for analysis of the rest of the novel. 

¹Anna Sewell, Black Beauty, Oxford University Press.  2012. 

Harry Potter and the Search for an Alternate Reality

Like so many others my age, the Harry Potter series had a major impact on my childhood and early adult life.  Although I read and explored other books and forms of media as a child, few have had as lasting an impression as the Harry Potter series.  In these novels, J.K. Rowling establishes a new reality in which both young readers and adults alike can easily escape their worlds, bonding together through this experience.  I distinctly remember the series helping me deal with the loneliness of being an only child raised by a single mother.  I recall many nights reading the Harry Potter books as my mother worked late in the basement, with Harry and Hermione and Ron and the whole wizarding world to keep me company. 

I feel as if this is a common occurrence within the community of Harry Potter fans.  Harry himself is introduced as an abandoned child waiting for a home.  I’ve gathered that many people my age feel alienated by their status as millennials, or whatever we’re supposed to be called these days.  And though these realizations are establishing themselves later in our lives, as we struggle to relate to technology and as well as members of others generations whose daily lives differed so much from ours not so long ago, the foundations of this confusion rests in our childhoods.  The Harry Potter series offered an alternate world where kids could establish a safe space, feel included, and not worry about the failing romances of their parents or the immediate effects of a failing economy. 

I have noticed that my fondness for Harry Potter has faded throughout the years.  I’ve gone from re-reading every book three times to not even watching the final movie, as it was released during a transition of maturity in my life where I sought the solace the books gave me in other forms of art and literature.  However, I feel nostalgic as I reminisce about reading the books—even whilst writing this blog post, I’m texting a friend to see if she wants to watch one of the movies later tonight. I still maintain an understanding of just how powerful the world of Harry Potter can be to a child, young adult, or mature adult, as it profoundly affected my life in a positive way and taught me a great deal about human relationships and literature as a medium.