Further thoughts on Enid Blyton and Alan Garner
Having written about Blyton this month I started Peter Fiennes’ excellent book Footnotes, the opening chapter of which takes us to Dorset with its pleasant pastures and the clouded hills, and I feel I need to have a rethink. His staunch defence – amid a no-holds-barred exploration of her life – makes me at least want to add on some of his ideas about the ways in which Blyton writes. Although he is aware of her shortcomings, Fiennes likes Blyton, and puts her in context: immensely popular, a great manager of her own “brand,” with a love of nature and adventure that meant she was influential and lasting. With the prejudices of her time (a polite circumlocution for her attitudes to race and class), ambiguously portrayed or even attacked by her children, she nevertheless conjured her stories and teased at our childish longings. I have tried, since reading this chapter in Footnotes, to like her. I still can’t – but I can understand something more of her.
I chose the title for this blog because Fiennes gleefully points out how Blyton uses the adjective so much in what he calls her lumpen prose. However, rather then simply criticising her, he has this brilliant insight:
The simple fact is that Enid writes in archetypes; another word would be cliches. She had no interest in writing with the evocative precision about specific places. It is certainly hard to pin them down in her writings… Enid preferred to write her books and live her life on the surface. And to keep things vague. But even if it is hard to locate specific places, here in the Isle of Purbeck, the truth is that everything inside an Enid Blyton book is instantly recognizable. She takes the world and makes it less confusing, kneading her ingredients into something manageable, safe, tidy and above all familiar.Peter Fiennes Footnotes, Ch 1.
This is, of course why comparison with Garner doesn’t work. His interest is all to do with evocative precision about specific places; that’s what Garner does. In Arboreal, for example, his essay on the Alder Bog (note: the boggy woodland will re-emerge in Treacle Walker), is much more than a history: it is biography, autoethnography, where ‘he,’ the protagonist, has renewed the tamed wild. Garner has cleared the mess of derelict woodland, and from it has brought a poetic insight reminiscent of Hopkins, an historical sense of place like that of Kipling’s Tree Song, but earthier, deeper, more powerful. There is a love of the land and the language here that is worth more than repeating: it is worth celebrating:
Archaeologists came and trowelled one of the Bronze Age barrows near the house. With burnt bone they found the turves that built the burial mound and in them the pollen of the plants that lived then: willow, hazel, ivy, ash; alder, lime, elm, pine and oak; moss, fern, bracken, heather, sedge, and gorse; meadowsweet, vetch, daisy, buttercup; spelt, grass, corn spurrey, wheat; dandelion, chickweed and fat hen. Four thousand years ago the wild was cleared and gone. All was fields, farms, crops, cattle, order; rule: an open world.
The dead men in the ground had worked the same land.Garner: The Common Dean: The Edge.
I could want to sing that litany of plants.