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The Tale of Despereaux
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From: Eliza T. Dresang <edresang>
Date: Mon, 19 Jan 2004 12:45:19 -0500
As chair of the 2004 Newbery Committee, I'd like to share with you a bit of my perspective on the use of the Dear Reader convention. (As those of you familiar with the policies of the process know, I am speaking only for myself, not for my committee).
This literary convention, as far as I could determine from my research, was first used by Henry Fielding in his novel Tom Jones, published in 1749. I do not know, of course, whether Kate DiCamillo considers Despereaux as in this literary tradition or not. I have not heard her mention Fielding, but rather Dickens, as an inspiration. But I was intrigued by what seemed to me a somewhat similar style and by what Fielding himself and critics across the centuries have had to say about this 'envolving' or 'intruisive' style
(depending on one's perspective.)
I ordered a copy of Tom Jones (and no, I did not read all 750 pages of it) that contained critical essays written from the time the novel was published in the 18th century to the 20th century. (Note it is still in print more than 250 years later). Two quotes from the novel (made by Fielding himself) seemed particularly interesting -- because he knew he was creating a controversial style (I don't now that he could have imagined it would still stir the same controversy in the 21st century!)
Here they are (page references to my copy of Tom Jones):
As interesting as Fielding's own words (which might have been DiCamillo's!), were the critiques across the centuries. Apparently this is a style upon which no one has EVER been able to agree.
Here are a couple of other critics' comments that I found relevant to Despereaux as well as to Tom Jones
and
So is Despereaux derivative?
Well, derivative literally means derived from, but as we use it in the 21st century, it is pejorative. From my study of this style, I see it as a convention to draw in the reader. Despereaux is a double-leveled tale, one
'story' if you will, is a conversation with the reader, intending to establish intimacy and engagement; the other is the story itself. Fielding and DiCamillo apparently had the same purpose with their use of this style, but DiCamillo's presentation of it is completely new and fresh and
'respectiful ofof children's understandings, abilities, and appreciations."
Not only does Desperaux not seem derivative of Fielding (but simply in the tradition of), the use of the style differs completely from that of Lemony Snicket. There was a Lemony Snicket book this year, so I could make the comparison. If you'll note, LS uses the definitions of words to make up his own defintions' to suit the purpose of the story at hand. This is a suitable vaudeville device, but it is not that of DiCamillo who is having a serious and respectful discussion with young readers. She is not using this style as comic relief or exaggeration.
I find it interesting that this risk-taking style has created controversy among the best of thinkers (and readers) for so many years. So it is not surprising that readers react differently to it today. As one of my friends said, 'like it or not,' it provokes conversation and interest in reading." Perhaps the style itself is one more way to engage the reader (even the angered one). Perhaps that is one aspect of the book that makes it individually distinct and a superior achievement.
DiCamillo says in an NPR interview (noted on this list serv) that she almost stopped writing Despereaux after 9/11. But when someone next to her on an airplane told her not to stop because the world needed (my own words) the comfort of and belief in story, she resumed. Perhaps that is why she wanted to leave the reader with this thought (whispered in the ear)-- that story is essential in our lives, particularly a story of a small unlikely hero who succeeds despite being a disappointment.
Eliza
At 10:25 AM 1/19/2004 00, Susan Lempke wrote:
_________________________________________________________ Eliza T. Dresang, Professor School of Information Studies/ Florida State University Tallahassee, Florida 32306!00 e-mail: edresang at mailer.fsu.edu Phone: 850 644 5877 (w) FAX: 850 644 9763 (w)
Received on Mon 19 Jan 2004 11:45:19 AM CST
Date: Mon, 19 Jan 2004 12:45:19 -0500
As chair of the 2004 Newbery Committee, I'd like to share with you a bit of my perspective on the use of the Dear Reader convention. (As those of you familiar with the policies of the process know, I am speaking only for myself, not for my committee).
This literary convention, as far as I could determine from my research, was first used by Henry Fielding in his novel Tom Jones, published in 1749. I do not know, of course, whether Kate DiCamillo considers Despereaux as in this literary tradition or not. I have not heard her mention Fielding, but rather Dickens, as an inspiration. But I was intrigued by what seemed to me a somewhat similar style and by what Fielding himself and critics across the centuries have had to say about this 'envolving' or 'intruisive' style
(depending on one's perspective.)
I ordered a copy of Tom Jones (and no, I did not read all 750 pages of it) that contained critical essays written from the time the novel was published in the 18th century to the 20th century. (Note it is still in print more than 250 years later). Two quotes from the novel (made by Fielding himself) seemed particularly interesting -- because he knew he was creating a controversial style (I don't now that he could have imagined it would still stir the same controversy in the 21st century!)
Here they are (page references to my copy of Tom Jones):
As interesting as Fielding's own words (which might have been DiCamillo's!), were the critiques across the centuries. Apparently this is a style upon which no one has EVER been able to agree.
Here are a couple of other critics' comments that I found relevant to Despereaux as well as to Tom Jones
and
So is Despereaux derivative?
Well, derivative literally means derived from, but as we use it in the 21st century, it is pejorative. From my study of this style, I see it as a convention to draw in the reader. Despereaux is a double-leveled tale, one
'story' if you will, is a conversation with the reader, intending to establish intimacy and engagement; the other is the story itself. Fielding and DiCamillo apparently had the same purpose with their use of this style, but DiCamillo's presentation of it is completely new and fresh and
'respectiful ofof children's understandings, abilities, and appreciations."
Not only does Desperaux not seem derivative of Fielding (but simply in the tradition of), the use of the style differs completely from that of Lemony Snicket. There was a Lemony Snicket book this year, so I could make the comparison. If you'll note, LS uses the definitions of words to make up his own defintions' to suit the purpose of the story at hand. This is a suitable vaudeville device, but it is not that of DiCamillo who is having a serious and respectful discussion with young readers. She is not using this style as comic relief or exaggeration.
I find it interesting that this risk-taking style has created controversy among the best of thinkers (and readers) for so many years. So it is not surprising that readers react differently to it today. As one of my friends said, 'like it or not,' it provokes conversation and interest in reading." Perhaps the style itself is one more way to engage the reader (even the angered one). Perhaps that is one aspect of the book that makes it individually distinct and a superior achievement.
DiCamillo says in an NPR interview (noted on this list serv) that she almost stopped writing Despereaux after 9/11. But when someone next to her on an airplane told her not to stop because the world needed (my own words) the comfort of and belief in story, she resumed. Perhaps that is why she wanted to leave the reader with this thought (whispered in the ear)-- that story is essential in our lives, particularly a story of a small unlikely hero who succeeds despite being a disappointment.
Eliza
At 10:25 AM 1/19/2004 00, Susan Lempke wrote:
_________________________________________________________ Eliza T. Dresang, Professor School of Information Studies/ Florida State University Tallahassee, Florida 32306!00 e-mail: edresang at mailer.fsu.edu Phone: 850 644 5877 (w) FAX: 850 644 9763 (w)
Received on Mon 19 Jan 2004 11:45:19 AM CST
