Gitte Holten Ingerslev Associate Professor, Ph.d. Danish School of Education Aarhus University 16 !

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Young peoples reading of Fantasy Literature as a way to Personal Insight and Reflection
A study of literary reception !he Danish contri"ution to the study of literary rece(tion in the 4altic Sea 5egion 6as carried out in the last year of lo6er secondary school 7year /8 a9ong 16:10;year;olds and in the first year of u((er secondary school 7year 1&, the Danish gy9nasiu98 < a9ong 1.:1/;year;olds. !he t6o te=ts 6hich 6ere read 6ere Ursula leGuin1 $erastion 71// 8, 6hich 6as the co99on te=t in all 4altic Sea 5egion (ro#ects, and 5ay 4rad"ury1 He 6ho 6aits 71/6 8.1 >antasy literature is "eing read ?uite e=tensively in Den9ar3 a9ong young (eo(le as 6ell as older generations. !he stories a"out the fight "et6een the good and the evil see9s to a((eal to all generations as a 9irror of every (ersons inner fights and conflicts, so so9e of the choices (eo(le 9a3e 9ight "e recognised in the fantasy literature. @uite a general attitude is that "y reading fantasy you can get 6iser and gain insight into yourself and the 6orld around you. Head of de(art9ent at the >uresA;li"raries in the outs3irts of 'o(enhagen, li"rarian 4eth HAst 74H8, gives a (ortrait of the develo(9ent 6ithin fantasy;reading in Den9ar3%. In the 6&s there 6as not such a thing as fantasy. Everything 6as catalogued as Science >iction. !hat tendency has changed dra9atically over the years. )o6 a lot of readers have read for instance Harry Potter and Phili( Pull9an. 4H as3s the ?uestion1 Bhy are Danes attracted to fantasy literatureC 4H states that the interest gre6 tre9endously in the early /&s 6hen Billia9 Gi"sonDs cy"er(un3; trilogy The Sprawl Trilogy 7also 3no6n as the Neuromancer, Cyberspace and Matrix trilogy8 6as translated into Danish. Anne 5iceDs "oo3s a"out the "oth hu9orous and se=y va9(ire, 6hich are (ri9arily for gro6n u(s, also had 9any readers. EeGuinDs The Wizard of arthsea has "een read e=tensively over the years as has Eloyd Ale=anderDs Chronicals of !rydian, "ut The "ord of the #ings "eats the9 all, and the interest has gro6n after the fil9 (roduction. In the introduction to Ursula leGuins essay collection The "anguage of the Night 71/0.8, the editor Susan Bood 6rites that the hu9an "eing 6ould li3e to "elieve that he or she lives in the light, "ut the fact is that one
1 %

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half of the 6orld is al6ays in the dar3, and #ust li3e (oetry fantasy uses the language of the dar3, so fantasy is not only a"out no"le 3nights that fight forceful dragons in the honour of their ?ueen, it also contains the dread of the dar3 forces. Gost of Ste(hen $ingDs "oo3s "elong to this category and 9a3e it (ossi"le for the reader to live through the dee(est, 9ost (ersonal dread and anguish. Another i9(ortant reason for reading fantasy is the never ending dialogue in a readerDs 9ind on ethics and life values. '.S. Ee6isD Narnia is a good e=a9(le of that, "ut the e=a9(les are legioH Eyra for instance in the Pull9an trilogy 9atures and realises that not till she sto(s lying, 6ill she (roceed. !he reader of good fantasy literature identifies and learns 6ith the (rotagonists and is co9(letely a"sor"ed < and is that not 6hat it is all a"outC < to "e a"le to find yourself, a free s(ace and a (assage to another (art of the 6orld fro9 6here you can return as a freer and ha((ier individualC I Den9ar3 the reading of fantastic literature has a long history as Hans 'hristian AndersenDs IEventyr og HistorierI 7$airy Tales and Stories% fro9 the early 1.&& are regarded as fantastic stories. !he Sno6 @ueen for instance 7Danish1 Snedronningen8 is a fairy tale, it 6as first (u"lished in 1. ,, and centers on the struggle "et6een good and evil as e=(erienced "y a little "oy and girl, $ai and Gerda. !he story is one of AndersenJs longest and is considered "y scholars, critics, and readers ali3e as one of his "est. It has "een read and read aloud to 9any Danish children. It has a dou"le focus on reality and on a 9agic 7evil, cold8 6orld. A lot of the 9otives you find in the fantastic tale are also to "e found in the fairy tale. Ho6ever, the fairy tale tends to have a "asic structure, and the fantastic story is 9ore un(redicta"le and o(en to inter(retation. !he sa9e difference can "e (ointed out "et6een the fantastic story and fantasy literature.

Fantasy literature in Danish schools

>antasy literature does not have a 6ell defined (lace in the Danish school curricula, fantasy and science fiction. It is the teachersD decision 6hether those genres are introduced to the students of the age level of our study or not. An ongoing discussion is 6hether or not one should 6or3 6ith fantasy literature in the teaching of Danish at all. Gay"e the teacher should #ust leave that initiative and choice to the childrenC Gay"e #oy of reading "elongs to the childrenDs s(are ti9e readingC 4ut the o((osite (oint of vie6 is also (ut for6ard and 9ore (ositive in a school connection1 Bhy not ta3e advantage of the childrenDs interest in fantasy literature as a start of engaging literature teachingC !he teacher can ta3e advantage of the childrenDs 3no6ledge a"out ; and interest in < for instance &arry !otter'

An argu9ent in the discussions is that reader;res(onse teaching 9ethods are very 6ell suited and challenged es(ecially in connection 6ith these te=ts.

The Baltic Ring project

!he ai9 of the 4altic 5ing (ro#ect is to (ro9ote the coo(eration "et6een authors, translators and researchers in the 4altic countries, S6eden, Den9ar3 and Ger9any. !he research ?uestions 6ere as follo6s1 Ho6 is fantasy literature read in the countries in ?uestionC Bhat can "e deducted fro9 the young (eo(leDs ans6ers in relation to "ig (revailing the9es in society, such as1 Glo"alisation )ationality Gedia *alues 'ultural clashes Individualisation

!6o school classes of 16;1/ year;oldsK in the countries in ?uestion 6ere as3ed a"out their reading ha"its as3ed to read a fantasy te=t "y Ursula EeGuin, (erastion, fro9 A $isherman of the )nland Sea, *++,%, as3ed to read a fantasy te=t chosen in the country in ?uestion. !he te=t chosen in Den9ar3, 6as 5ay 4rad"ury1 !he one 6ho 6aits 71/6 8 !he 5ay 4rad"ury te=t 6as chosen "ecause it is a co9(le= story 6ith no si9(le ans6ers. !he ?uestions 6hich 6ere as3ed all students in the study 6ere1 What is the story about in your opinionWhich feelings does this story awa.e in you/o you li.e the story- Why- Why not-

All students gave 6ritten ans6ers.

In Den9ar3 one class fro9 last year of lo6er secondary school and one class fro9 first year of u((er secondary school 7Gy9nasiu98 !he te=t 6as handed out 6ithout the authorDs na9e and 6ithout year of (u"lication

!he te=ts 6ere read in class, and the teachers a((roach 6as reader;res(onse oriented in order to give the o((ortunity for o(en, reflective ans6ers fro9 the students. 7cf. Ur(o $ovala %&&K, 1/.8. REFERE !E""""" !he reason for choosing fantasy te=ts for the (ro#ect 6as The popularity of fantasy is strongly related to Anglo0American popular culture, including the 1ast success of fantasy in films' Also the fan acti1ities connected with these cultural phenomena are increasing, not to mention the number of people participating in those 1ia the internet' Thus, fantasy can perhaps be seen as a response to some deeper needs of young readers in a way that reflects the changes of society and the indi1idually experienced but collecti1ely shared processes' $antasy, especially in the form of fol. tales, has been seen as a carrier of shared archetypes, 1alues and utopian impulses'7 Ir9a Hirs#Lrvi, MyvLs3ylL University8 REFERE !E""""" Research #uestions !he research areas 6hich should "e covered during reading the studentsD te=ts 6ere )ndi1iduality, family and society in the story A% Narrati1e2 construction of stories from the text 3% xpression of emotions in the responses C% )dentification of genre, and the effect of pre1ious reading on the reception /% "ocating the story $% Notions of 4good literature5 in the responses 6% The effects of gender on the responses 4efore entering into the studentsD reading of the a"ove 9entioned te=ts, it could "e interesting to loo3 at the studentDs reading ha"its in year /. Reading ha$its a%ong the &'(&) year*olds 7Near /, Eo6er Secondary School8 !he class consisted of 1/ (u(ils. 1, 6ere 16 year old, and 11 "oys. !hey all live in the countryside. #eading and T78habits2 A9ong the9 four (u(ils 6rote that they neither read "oo3s 7outside school8 nor 6atched !*. >ive girls and three "oys read a lot of fiction and 6atched a lot of !*. Si= "oys and one girl 6atched a lot of television, "ut did not read, so in this (articular class, 6e altogether have . readers 7five girls and three "oys8 out of 1/, and 6e have 0 !*;6atchers 7si= "oys and one girl8. 6ere 10 year old. !hey 6ere . girls and

What did you read within the last month- !he 9a#ority 71K8 6rote that 6ithin the last 9onth they have read t6o "oo3s in school. 1 student has read 1 "oo3 a(art fro9 school 6or3, % have read , "oo3s, and % (ri9arily read 9agaOines. 1 has not read at all. What do you prefer to read- K 6rote that they donDt 3no6. !he "oys (refer "iogra(hies, non fiction and 9agaOines. !he girls (refer fiction, Hans 'hristian Andersen, Muvenile "oo3s and Harry Potter. &obbies' !he girls (refer friends, (arties, fa9ily and s(orts. !he "oys (refer s(orts, cars, co9(uter ga9es, and t6o had no ho""ies. Reading ha$its a%ong Danish &)(&+ year*olds 7U((er Secondary School, 1. year of Gy9nasiu98 !he class consisted of % (u(ils. 1 6as 10, 1K 6ere 1. and 1& 6ere 1/. !hey 6ere 1& girls and 1 "oys. !hey live (artly in the countryside and in a s9aller city. #eading and T78habits2 A9ong the9 three (u(ils 7t6o girls, one "oy8 6rote that they neither read "oo3s 7outside school8 nor 6atched !*. >ive girls and seven "oys read a lot of fiction and 6atched a lot of !*. >ive "oys and one girl 6atched a lot of television, "ut did not read, and further9ore in this class 6e find t6o girls and one "oy 6ho read a lot and 6ho do not 6atch television, so in this (articular class, 6e altogether have 1, readers 7seven girls and eight "oys8 out of % , and 6e have 1. !*; 6atchers 71% "oys and 6 girls8. What did you read within the last month- Des(ite the ans6ers a"ove 1, students state that they have not read any "oo3s during the last 9onth < / girls and 6 "oys. !hree "oys and one girl 6rite that they have read three or 9ore "oo3s during the last 9onth. >ive "oys have read 1 "oo3 a(art fro9 school 6or3, and % have read 9agaOines, non;fiction, school 6or3 etc. What do you prefer to read- !he "oys (refer "iogra(hies, non fiction, 9agaOines, Eord of the 5ings, Ste(hen $ing. !he girls (refer fiction, love stories, #uvenile "oo3s, so9e non fiction and Harry Potter. &obbies' !he girls (refer friends, (arties, fa9ily and s(orts. !he "oys (refer (arties, s(orts, cars, co9(uter ga9es.

Different ways of reading Fantasy

Essays on ,rsula le-uin. /erastion 0&++12 3ge &'(&) !he9es found in the studentsD essays on (erastion are as follo6s1

Identification, sadness, forgiveness 4) li.e the way she is sad about her brother5' A 9a#ority of girls 6rote that these 6ere the 9ain the9es Sadness, ha((iness, freedo9 A 9a#ority of "oys 6rote that these 6ere the 9ain the9es A grou( of students 6ere angry 6ith the te=t, they 6ere "oth "oys and girls, and they 6rote 40 this is a test, and the text is impossible to understand, filled with difficult words, it is too philosophical, thing should be told outright5

Pne "oy re#ected the te=t1 5) don5t want to read a text li.e this, it ma.es me thin. of all the sad things in life, my mother5s death, my brother5s death, why should one read stuff li.e that-5

Essays on Ray Brad$ury. 4e who waits 0&+'12 3ge &'(&) !he9es found in the studentsD essays on &e who waits are as follo6s1 A "ig grou( of (ri9arily "oys 6rote that the the9e 6as >ascination of the universe and found the story !hrilling A "ig grou( of (ri9arily girls 6rote that the the9e 6as 'oncern for the future. !hey e=(ressed 6orries a"out the technological develo(9ent A s9aller grou( of girls re#ected the story. Q) cannot see why we are to read a story li.e this95 A grou( of "oys and girls e=(ressed lac3 of understanding 0 4) would li.e to see the film95

Essays on ,rsula le-uin. /erastion 0&++12 3ge &5(&+ Identification, sadness and forgiveness, Q) imagine ha1ing lost my brother, and the feeling ) would ha1e inside95 Borries < "eing re#ected "y your fa9ily, your roots < suicide. QThe human psyche is 1ulnerable, and the worst thing ) could thin. of would be to be re:ected by my family'5 5eligion < su((ression 7A "ig grou( of "oth "oys and girls e=(ressed disgust 6ith su((ressive religions8 Q< there are so many negati1e things connected to religion95 this grou( of students 6ere critical to6ards Qa society build li.e that, a society which lea1es no space for the indi1idual5 A s9all grou( 6as )ot really engaged < 4the text is too programmatic5

Essays on Ray Brad$ury. 4e who waits 0&+'12

3ge &5*&+ A "ig grou( of "oys and girls clai9ed that the 9ain the9e 6as 5eincarnation Another the9e 6hich a "ig grou( 9entions is >ascination of the universe, QMan has a need to explore life, science, the world, the uni1erse, and in this exploration he meets 4the fog5 on the edge of his cognition, and he has to be careful' The astronauts were not careful 0 but 1entured to loo. in the well without thin.ing'5 Another the9e1 'oncern for the future. Borries a"out the technological develo(9ent A s9aller grou( of "oys e=(ressed Dread < Qthis is about a body with se1eral souls fighting 0 when are you e1er yourself-5 It is interesting to see the differences "et6een the t6o age grou(s and their 6ays of reading the te=ts. As I see it, it 6ould "e relevant to use the research of M.A.A((leyard to analyse the ans6ers fro9 the t6o classes.

Beco%ing a Reader
In his "oo3 3ecoming a #eader 7A((leyard 1//18 M.A.A((leyard divides reading develo(9ent into stadiu9s "ased on PiagetDs thin3ing. !his 6ay of seeing reading and develo(9ent has "een su"#ect of criticis9, 7Gal9gren, 1//08 "ut A((leyardDs categorisation creates a good thin3ing fra9e for considering reading develo(9ent. At the age of ,;6 6e 9eet The Reader as Player )n the preschool years the child, not yet a reader but a listener to stories, becomes a confident player in a fantasy world that images realities, fears, and desires in forms that the child slowly learns to sort out and control' 7A((leyard, 1//1, (. 1 8. A((leyard 6rites in connection 6ith 4ettelhei91 The ;ses of nchantment 74ettelhei9, 1/0681 The )nner life of a child is chaotic, full of transient and ambi1alent emotions that a child cannot comprehend rationally as an adult might' To sort out and control these feelings, a child needs the help of fantasy images that fill the gaps in .nowledge and spea. directly to the unconscious' 7A((leyard, (. K6;K08 )e=t ste( is The Reader as 4ero and 4eroine 0'*&6 7r2 The school8age child is the central figure of a romance that is constantly being rewritten as the child5s picture of the world and of how people beha1e in it is filled in and clarified' Stories here seem to be an alternate, more organized, and less

ambiguous world than the world of pragmatic experience, one the reader easily escapes into and becomes in1ol1ed with' <Appleyard, *++*, p' *,% =8 reading is a way of exploring an inner world= <>% ?but it also focuses on issues of identity, in the image of the powerful or cle1er hero or heroine who in one guise or another is the principal archetype of most stories school8age children read= <Appleyard , *++*, p' @+% A((leyard s(ea3s of The reader as spectator and participant < this dou"le 6ay of a((roaching a te=t is develo(ed at this stage < the participant is the person who identifies with the heroAheroine' The spectator is the one who has a =realistic acceptance of experience= <p'BC% they =tolerate outcomes that are more realistic than wish fulfilling and indeed expect to encounter in stories unpleasant and e1en disturbing material= <p'BC8 A((leyard de(icts a reader that 6e also 9eet a9ong the 16;1/ year;olds < a reader 6ho identifies 6ith the fictive (ersons. Another reader 6e 9eet in this age grou( is The Reader as Thin8er. =888 reading gi1es you a lot more insight about how people thin.= 7A((leyard (. /,8. !hrough reading the young (erson 6ants to =construct theories and ideological systems, de1elop ideals, understand others5 points of 1iew=888 = thin. about thin.ing, reflect critically about one5s own thoughts= 888 introspection <p' +B% In this (rocess "oth Male autonomy and female interpersonal empathy <p' ++% are constructed. According to A((leyard there are "asically three 6ays that young (eo(le tal3 a"out literature. 1. Identification. They explicitly mention the experience of in1ol1ement with the boo. and identification with the character <=it was :ust li.e ) was there=, = you can sort of lose yourself in it=, =it could ha1e been written about me=%.7(. 1&&8 =This is wholly consistent, of course, with the adolescent disco1ery of the self' )t suggests, too, that the distinction between participant and spectator roles in the reading process reaches a new le1el of self8consciousness in adolescence and that all subseDuent responses to stories will be mar.ed, to a greater or lesser degree, by some sense of the di1ision between the experiencing and the :udging self' That an adolescent thin.s a good story is realistic and that it =ma.es me thin.= are the most immediate of the reactions that e1idence this split=' 7(.1&08

!he s(lit consists of t6o sides < the reader identifying 6ith the characters in the te=t on one side, and the reader ste((ing "ac3 and analysing, evaluating characters, actions and (lot. %. -ood literature is a$out reality9 A ty(ical state9ent a9ong young readers is1 =The story is 1ery good because it is about something that could be true= !hey tal3 a"out the realism of the story <=it was true to life>belie1able=%' 7(.1&&8. !he young (erson realiOes 7through reading a9ong other things8 that =the real world is not the green world of romance but a much dar.er and dangerous place= 7(.11&8 and the feeling is that therefore it is good and useful to read so9ething realistic, so you can 9a3e ac?uaintance 6ith that ne6 6orld. K. -ood literature is thought pro:o8ing9 RA good story is a story that ma.es me wonder about life= says the young reader 6ho discovers that a te=t can have a 9essage, that there is so9ething called inter(retation, and 6ho changes his a((roach fro9 identification to ste((ing "ac3 and "eginning to see the "igger connections 6ithin and "ehind the te=tual universe. A((leyard e=(resses it li3e this1 =To get beyond this into techniDues of analysis and the categories of literary criticism is something the best students may get a glimpse of and some may appear to be good at because they are cle1er at imitating the language of their teachers, but it finally reDuires a new way of loo.ing at a story 0 as a problem of textual interpretation 0 that is substantially different from the adolescent5s impulse to thin. about a story, e1en about what it means'= <p'**E% A((leyardDs (ortraits of different age grou(sD 6ays of encountering literature are 6ell docu9ented in the essays 6e have received fro9 the students in this study. Be 9eet the young thin.er 6ho identifies 6ith the fictive (ersons and relate the the9es of the te=t to reality through reflections on their o6n (ersonal life. !he follo6ing e=a9(les of the studentsD (ersonal state9ents in relation to their reading underline this. !hanging relations $etween indi:iduals and societies Bithin this the9e 6e find interesting state9ents a9ong the &'*&) year*olds9 4oy 71681 the story is li.e our society 0 we are also di1ided into being high or low caste in our society depending on whether we are rich or poor' The story made me reflect'

Girl 71681 the story ta.es place in the future, but is 1ery much li.e a #ed )ndian society 0and maybe e1en li.e the society we all li1e in8 it is about 1alues and dignity that we should consider e1ery day' ; and a9ong the &5*&+ year*olds9 4oy 71.81 1en though we li1e in a modern society, we li1e by rules that we do not e1en .now of, ancient rules and ancient 1alues go1ern our li1es' Girl 71/81 /e1elopment goes too fast 0 stop and consider where you are 0 what you are doing' The world is inhabited by zombies' ;ays of relating to local and glo$al issues A9ong the &'*&) year*olds. 4oy 71681 The soul in the well is a symbol of Satan. &5*&+ year*olds. Girl 71.81 Fou can conDuer a country or an area, but you can ne1er conDuer the soul of things without empathy, care and understanding' The men on Mars do not .now anything about the place where they are, and they are not cautious 0 that is the reason why they ha1e to die 4oy 71/81 Macho types with no understanding for local rules will ne1er conDuer the world or the uni1erse The construction of indi:idual identities &'*&) year*olds. 4oy 71081 The story <(erastion% is about shame and death, but there must be reasons for what is happening 0 otherwise it is too sad' (eep up your good spirits9 4oy 71681 The well is created in the men5s imagination 0 their souls are attracted to the clean and pure water 0 they do not .now what they are dealing with, and they cannot protect themsel1es' They are cle1er technicians, but cannot handle the spiritual world &5*&+ year*olds. 4oy 71/81 3eing young in a modern society puts tremendous pressure on you' Fou ha1e to select what to do in order to become a success and you ha1e to pass tests and li1e up to expectations, that is why so many young people commit suicide 0 this is what (erastion is about Girl 71.81 Fou ha1e a right to be free 0 you are born free 0 and you should li1e free 0 ) re:ect suppressi1e societies, you ha1e the right to social mobility 0 you also ha1e to comply with the rules of society, but not to let down your own integrity. Fou ha1e to consider life and your choices and ne1er let go of your ideals, e1en if you must die for them' The main sin is to li1e in unconsciousness' Girl 71.8 Maybe &WW is about a man5s constant longing to be one with another human being' The soul is ne1er itself, but li.e a chameleon Girl 71/8 )n &WW the men symbolize the conscious self, and the spirit in the well the subconscious, if you do not recognize and integrate your subconscious, it may cause your death ;hat can $e read off these responses in relation to the ongoing changes in our societies

&'*&) year*olds. Pne 7"oy, 168 6orries a"out the technological develo(9ent. /oes man.ind .now what it is doing&5*&+ year*olds. 4oy 71.81 ) feel hatred towards a society which can suppress a young man li.e that, a society which does not ac.nowledge and appreciate his s.ills Girl 71/81 #eligion can be cruel and ruin people5s li1es 4oy 71/81 )n many ways the society in (erastion is a picture of our society today 0 where religion is concerned 0 )f a /ane chooses to become a Muslim, he may be re:ected from his family' )f a Muslim chooses to become a !rotestant, he may be re:ected from his family' )f you tell your family you are gay, you may ha1e the same reaction 0 people are narrow8minded 0 it is easy to become an outcast if you do not fit into the norms of your society 4oy 71/81 )f shame and honour rules a society, it will .ill its people <ain the%es After having read the 9aterial, it see9s as if there 6ere three significant 9ain the9es that ca9e out of reading the Danish student essays. !hey e=(ressed a need to consider three i9(ortant areas1 The dangers of wealth 0li1ing with a focus on material goods without really being present in your life The need to understand other cultures The enormous pressure on young people 0 fear of suicide !here is no dou"t that the reading of these t6o te=ts have "een of i9(ortance to the students, and the study su((orts the general conce(tion that the (o(ularity of fantasy literature is connected to the 6ay this genre touches on the the9es that engage young (eo(le. !he (rotagonists in fantasy literature are on their o6n in a universe 6here they have to find their 6ay and find their o6n solutions. !his re9inds the young readers of the conditions they 9eet in everyday life, and the reader can easily identify 6ith the (rotagonist and 9ove "et6een rationality and irrationality. !he ?uestions and o(en ended stories in 9ost fantasy literature invite the reader to relate, identify and (roduce his or her o6n inter(retation. !he young reader has a s(ecial a"ility of "eing inside the te=t and outside the te=t at the sa9e ti9e. !hat 9eans that the reader can identify and "e inside the te=t. 4ut at the sa9e ti9e the young reader can ste( "ac3 and relate the narrative to hi9; or herself and to (ersonal (ro"le9s and life in society as such. !he 9any state9ents fro9 young readers in this study (rove that.

Litteratur A((leyard, M.A. 71//181 3ecoming a #eader Gal9gren, E. G. 71//08. Gtta "Hsare pI Mellanstadiet. Eund1 Studentlitteratur. Goos, Ingelise og S3ygge"#erg, Anna $arls3ov 7%&&081 $antastis.e fortJllinger i .ort form 0 en genre med rele1ans for under1isningen' Det digitale "i"liote3 o9 "Arnelitteratur. 666.dans3lf.d3:"oernelitt Nedslag i bKrnelitteraturfors.ningen L, 5os3ilde Universitetsforlag %&&1 )i3ola#eva, G.1 The Magic Code 0 The use of magical patterns in fantasy for children, Universitetet i Stoc3hol9 1/.. Sylvi Penne1 3arns beho1 for bK.er' &1a s.:er nIr barnet er =inne i te.sten=- Grbo.a %&&%.

3ttach%ent & Te=t nu%$er 6 Ray Brad$ury. The one who waits from <achineries of joy &+'1 !he story "egins 6ith the first (erson narrator descri"ing 6hat it is li3e to "e living in a 6ell. Eiving as s9o3e and stea9 doing nothing "ut 6aiting, 6atching the stars and the sun and singing songs a"out ho6 the (lanet used to "e. 4ut one 9orning, the narrator hears a tre9endous thunder and distant voices in a foreign language. !he voices are 9oving closer and suddenly they discover the 6ell. !hey say that the 6ell 9ust "e at least ten thousand years old. !he narrator loo3s u( as three o"#ects are leaning in over the 6ell. And no6 the narrator rises u( to6ards the9 as they are drin3ing the 6ater. >loating li3e cinna9on dust. Pne of the 9en, Mones, gets a headache "ut it (asses straighta6ay, and no6 the narrator 3no6s 6ho he is. He is Mones. Must arrived fro9 the (lanet Earth and standing on Gars 6ith his good friends. !he narrator is no6 sensing everythingH the 6ords, the food, the s9ell of the air, the sun on the flesh. It feels nice doing all this again after ten thousand years. All the others, e=ce(t for a 9an called 5egent, returns to the shi(. !he narrator s9iles and gra"s hi9 "y the ar9 as he tells hi9 that the 6ell is a soul 6ell. A (lace 6here "eings, once dressed in flesh and "lood, are 6aiting. Pne "y one the 9en are ta3en over "y the soul fro9 the 6ell, one "y one they try to fight, one "y one they are dra6n "y the 6ell. Pne "y one they fall into the 6ell and "eco9e one 6ith the one 6ho 6aits.