Exploring the Fantastical and Gothic Elements of Neil Gaiman’s Coraline-Diversity in Children’s Literature
A Critical Essay and An Analytical Blog
Coraline is one of many famous fantasy stories in the realm of children’s literature, specifically commendable for its ‘uncanny’ and ‘psychoanalytic’ nature (MMU, no date). Gaiman (born in Hampshire, now living in the US) began his writing career as a journalist. He produced his first piece of work, which was a biography of the famous rock band Duran Duran (Gaiman, no date). He later went on to make the popular comic series ‘Sandman’ which received ‘a large number of US awards [and] became the first comic ever to receive […] the 1991 World Fantasy Award for Best Short Story’ (Gaiman, no date:online). Since then, Gaiman’s fanbase has grown immensely; he is now ‘listed in the Dictionary of Literary Biography as one of the top ten living post-modern writers’ (Gaiman, no date:online) and has over 900k followers on Instagram (Instagram, no date). He has written both children’s and adult fiction in literature and TV, in the fantasy, gothic and horror genres and continues to evolve as a writer and director. In this essay, I aim to discuss the way in which Gaiman uses fantasy spaces, fantastic tropes, and gothic elements to create an immersive experience; and why Coraline is still very relevant and enjoyed by younger and older audiences today.
Gothic literature dates back to the 18th century, specifically, the 1760s-1820s (MMU, no date). The book was published in 2002 and has proved to be quite educational whilst combining fantasy with realism. In Coraline, the settings that the protagonist encounters are vivid, enticing, and perhaps overstimulating, especially for a child. When Coraline visits the ‘other world’, she is met with a beautiful garden full of ‘brightly coloured flowers, strange and impossible blossoms’ (Gaiman, 2002), which contrasts a beautiful and normal image (something you would see in the real world) with a perplexing one. This is what critics refer to as the uncanny (also known as Unheimliche). Freud argues that the term has two meanings; ‘familiar, […] intimate and friendly’ (Schers, 2016:online) vs ‘concealed, […] and withheld’ (Schers, 2016:online), which can relate to the idea of censorship and what is acceptable for children to read. Many books get banned for all kinds of reasons, such as language choice, themes, and hidden meanings. For example, Lewis Carroll’s Alice in Wonderland tale was banned in New Hampshire as they believed the book made ‘references to sexual fantasies, […] masturbation [and feared] that it would promote drug use’ (Buzzfeed, 2016:online). This is an interesting point, as the same assumption could be made about crime books, suggesting that children may commit criminal acts due to being exposed to books in that genre.
Soon after seeing the garden, Coraline is advised by the other Miss Spink and Miss Forcible that if she has any sense, she will not touch anything that lies in the garden and that ‘things that are too good to be true are usually too good to be true’ (Gaiman, 2002). This is a warning to the reader that not everything, especially things that are new, intriguing, and revolutionary, is always good. The reader may participate as an active reader and draw their own conclusions in relation to concepts or objects presented by higher powers, such as the government, which may not always be true, and Gaiman plays into the idea of propaganda. Like all children, Coraline’s curiosity gets the better of her, and she cannot help but explore the garden. Soon she learns the consequences of her actions and discovers the other mother’s true intentions (to eat her). Now whilst Coraline ventures into the garden after being told not to, her rebellious nature is what aids her epiphany and what saves her and her real parents from the other mother, teaching children to realise and accept that their actions have consequences as well as the importance of independence and learning about the world. Equally, it reminds parents to give their children the attention and care they need; otherwise, they may decide to go on an adventure of their own; this narrative is all about balance.
At the time of Coraline’s release, society was seeing an uprising of youth activism and ‘in young people advocating for change, to local projects to develop skateboard parks, to an ever-increasing range of academic and other literature’ (Tisdall, 2021:online). There has always been an unwritten rule that children must do as they are told because they are the child, and it almost gives a hollow, depersonalised feeling towards children and their childhood; that you are ordered around like a machine. However, Coraline is left to her own devices and is written as a very intelligent character and, in the end, ends up being the one to save her parents. So, there is reinforcement here that you should not underestimate young people and their power. This narrative shows the importance of owning and embracing your identity instead of trying to run away from it. So, whilst Coraline should not have gone against the rules, by doing so, she learnt more about her identity, strength, trust, and the outside world.
Gaiman’s Coraline possesses a similar aesthetic to the Alice in Wonderland narrative, and admittedly, there are similarities in tropes and fantastical elements. The main protagonists are female; they both enter an alternate reality and exist in a fantasy world. In gothic tales, the female characters have always been written as the femme fatal, the suppressed, or the othered character. Although for an adult readership, Angela Carter plays around with the idea of recasting the female character in her short story collection The Bloody Chamber, inspired by original Grimm tales. The point I want to focus on is that both Coraline and Alice are looking for their sense of self and embarking on a journey of self-discovery and that, unlike the stereotypical female figure, they do not require a male figure to save them. Both characters are challenged by their willingness to reach their full potential. For example, Alice must find her way home (in the 2010 film adaptation, she must slay the Jabberwocky), and Coraline must save her parents; they intentionally put themselves in the line of fire. The complicated journeys they both partake in to meet their destiny promote female empowerment and crush societal stereotypes. Also, this idea could correlate with technology and the introduction of online presence in the early 2000s. The hiccups and the deceptive atmosphere they experience on their journeys can be seen as a metaphor for the overwhelming nature of navigating social media and the influx of content and how it can alter our emotions and outlook on the world. This book is still, and even more relatable now as we are constantly evolving and having to stomach the idea and adapt to the new technologies being introduced, and with little control over it.
Like many authors, Gaiman intentionally subverts the fantasy genre. Coraline is imminently aimed at children, so as readers, we expect magical, pretty, vibrant imagery, yet the book uses a lot of gothic elements within the story, which at first glance, people may say is too scary for children. I have heard people say that Coraline, especially the film adaptation of 2009, scares them and that even now, in adulthood, they are still haunted by the button eyes. There is a saying that the eyes are the windows to the soul, so when the other mother and father have plastic and thread for souls, it makes you question their character. It could also be inferred that the other mother wants to steal the identity and souls of youth to keep her young; we see this when Coraline meets the other children (ghosts). There tends to be a stigma behind getting old and preserving one’s youthfulness, so there could be a jealous and resentful element to it, the contrast between young and old and wanting to stay looking and feeling young. There’s almost a feeling of regret in which the reader may pity the other mother. It is typical of many children’s novels that there are good and bad characters, and they are easy to distinguish from the others. This may be characterised by an evil laugh or wearing a long white fluffy coat made out of Dalmatian fur. Yet, the other mother is a more nuanced kind of villain in that she is not wholeheartedly evil; a part of her still cares for Coraline, and in the beginning, she shows her ability to be nurturing and make Coraline feel welcome.
The mother in the real world shows neglectful tendencies. Coraline asks what she should do. Her mother lists off that she can ‘read a book, watch a video, play with [her] toys’ (Gaiman, 2002) but ends the conversation with ‘I don’t really mind what you do’ (Gaiman, 2002), which is interesting; notice how she says ‘mind’ instead of ‘care’ which would employ a more abrupt tone. This suggests a more passive tone rather than a lack of care for Coraline. While the other mother’s actions can be seen as controlling and manipulative. For example, the other mother lures Coraline into the other world by making her ‘A huge, golden-brown roasted chicken, fried potatoes, tiny green peas’ (Gaiman, 2002) and an overly decorated room with ‘wind-up angels, books with pictures that writhed and crawled, and dinosaur skulls that chattered their teeth as she passed’ (Gaiman, 2002). It’s even the slight temptation of things; ‘she took some more chicken’ (Gaiman, 2002) it’s that idea of trying to fill the void; when are you satisfied? The narrative teaches children to be mindful and grateful and to show empathy for those who may have less than them. On the outside, she seems like a good, if not better, mother than Coraline’s real mother, but soon her true intentions are revealed, reminding us not to take things at face value and not to be tempted by materialistic things and see gifts as an immediate sign of affection; the other mother uses gift-giving to blindsight her. We can agree that the real mother pays very little attention to her daughter, and while her absence can be seen as neglectful, a lot of parents will be able to relate to the struggle of trying to balance the work and play lifestyle. At the end of the story, both the mother and father recognise Coraline’s feelings, showing that they are flawed, and the horror they have endured makes them appreciate each other and brings them closer together.
The portal to the other world creates this very eerie tone of both wonder and fear. In this portal, there are also many creatures like the cat, mice, and bugs. The author leaves little breadcrumbs throughout the story that hint at the other mother’s true intentions and the overarching theme of deception. For example, bugs are a recurring symbol throughout the narrative. Bugs are seen as insects, little nuisances that scurry about and wiggle their way into small places, and in the book, there is the reoccurrence of bugs from beginning to end. Now we have the imagery of the other mother in her true form (a Black Widow Spider) at the end, luring Coraline into the portal (her web), and she is in pursuit of capturing her and eating her. The other mother sees the bugs as her children but also as a form of entertainment and control. The bugs are very obedient and will do what she says on command i.e., chase and capture Coraline; they are echoes of her manipulation and control. The button’s eyes and the concept of dolls are also very unsettling. In horror fiction, dolls are usually quite an unnerving image, but apparent in gothic fiction, especially in horrors. There is something very therapeutic and intimate about sewing button eyes onto a doll, and there is that idea of completion once they are attached. The choice to use black plastic buttons to bring an inanimate object to life has the opposite effect. If anything, the buttons dehumanise the characters and make them appeal more puppet-like; (the other father and the other Wybie are her creations), further emphasising the control the other characters are under and that idea of a child being expected to do as they are told. Gaiman allows the mice and the cat to talk, which is not unfamiliar with fantasy stories however, the dialogue given to the cat and the mice is very cryptic. Both the mice and the cat’s purpose is to guide and inform Caroline. The messages are given in riddles so Coraline still has room to discover the world herself instead of being spoon-fed information, which is something parents tend to do with their children because they believe they are helping them when actually they could be doing them a disadvantage.
Overall, Coraline is a book that offers a different and modernised perspective on childhood. The author uses gothic elements and fantastical spaces and tropes to subvert the traditional genre, show personal growth, and explore deception and control. The book gives its readers hints about the deeper meanings and advantages of exploring our imagination and, in turn, creates a magically eerie narrative that causes us to question the monsters and the things in our lives that may be deceiving. We are also reminded that the journey of life will be full of fears and anxieties that may be difficult to navigate both in chid and adulthood. This is a narrative that will continue to educate generations to come. Coraline proposes the question, ‘What is your relationship with yourself, others, and the world like, and have you ever wandered down the path of deception, and are you still on it?’
Analytical Blog
Representation in Children’s Literature; Why We Need More Diverse Voices and Stories
Representation is something we as readers want and authors strive for, but most importantly, it has to be done right. But sometimes, getting the ball rolling and having representation at all is a struggle in itself. To represent is to show how a particular group or person lives, their history, achievements, beliefs etc., and the intent is to show them in a positive light and normalise and integrate them into modern society. As we welcome new generations, it is important to show representation in relation to sex, class, identity, and race showing that literature is a space for everyone.
The subject matter that authors choose to tell children can shape their outlook and opinions on the world and allow them to understand and ‘develop empathy and respect for cultural differences’ (Braga, 2022:online), and the same goes for religions. Empathy is something that is taught and engrained into children throughout their childhood, and if you’re not careful and do not take an active interest in the content your child is consuming, you may risk them not having empathy for others. The child’s mental health can also be sacrificed at the expense of old- fashioned and non-inclusive companies not wanting to represent all people. For children ‘to see themselves and their families represented in the books they read can [aid] self-acceptance and reducing feelings of detachment in children who perceive themselves as “other”’ (McPartland, 2021:online). Yet, authors and bookstores have to be careful that by being inclusive, they do not fall into the trap of making, for example, LGBTQ+ children, disabled people etc., fall into the ‘specialty items’ which would still ostracise them. What we must work on is integrating themes such as love, friendship, self-discovery, etc alongside these topics to reduce the stigma. The film The Greatest Showman does an excellent job of creating a musical that addresses the importance of owning your identity but focuses on familiar themes of love, ambition and self-acceptance.
Yet, despite there being content in libraries and online for children to read, there has only been a ‘3% growth in the number of authors and illustrators of colour published in the UK in the last two years’ (Book Trust, 2020:online), and some people, (I included), still believe there is space to develop and increase in the number of diverse employees in the publishing industry. Jill Coleman makes an interesting point that it’s not just about including ‘Black, Asian or minority ethnic [backgrounds]’ but we also have to look at it from a careers point of view; it’s about ‘[children’s] aspirations to become authors and illustrators of the future’ (Book Trust, 2020:online). What do we want the future of literature to look like? Equally, there is that idea of tokenism and often, directors and brands are guilty of this and will hire someone of colour or sign an author of colour to save face; the idea of being diverse is more of a trend and doesn’t stay consistent, further damaging the minds and dreams of young people.
Decolonizing literature is difficult to grasp, not because the concept itself is difficult but rather because it takes frequency and re-occurrence to eliminate biases and prejudices. If you look at the Disney princesses you grew up with, such as Snow White and Cinderella. Although Disney produced Mulan, that wasn’t until 1998. Yes, there is an exploration of Chinese culture however, some feel it shows a very simple overview; this may be due to the production team behind the scenes having a lack of diversity. Since the late 90s, we have had Brave, including a Scottish female lead and The Princess and the Frog, with a female African American protagonist. Still, these modern tales could be scrutinised, but overall, it’s a step in the right direction; Tiana is chasing her dreams of opening up her own restaurant with her unique recipes, and Merida is a strong female-led with confident fighting skills. But diversity is not just needed in texts and authors; there also needs to be ‘a range of academic teaching staff’ (Iqbal, no date:online). Decolonisation is about analysing ‘the relationship between the location and identity of the writer’ (Iqbal, no date:online) and appreciating voices that have been marginalised in our Western World. If we look at the history curriculum, there is a tendency when it comes to ethnic minorities for schools to show them in a vulnerable light, and whilst you could say this is sympathetic, they fail to show, for example, Indian and black inventors and instead discuss their relation to slavery. There is a want here for some people to preserve English history, yet, ‘these communities contributed significantly to its wealth and heritage’ (Iqbal, no date:online); it proposes the question is literature ‘supposed to be the works of white and English writers and theorists’ (Iqbal, no date:online). Toni Morrison made an important point that these white, British authors could write about the experiences and lives of these minorities without any risk of them ‘talking [or writing] back’ (Iqbal, no date:online) because there wasn’t a place for these othered authors to express their views and talking about their experiences in society and growing up in a westernised society.
Overall, diversity is something we have explored but must continue to represent, and we must work as authors, readers and teachers to decolonise literature. This change creates many positives in encouraging young readers and writers to pursue their career goals and dreams in literature or in any other field. By showing the representation of marginalised groups early on in a child’s reading journey and education, we are reducing stigma and prejudices towards people who live, speak, and have different beliefs from us. The change starts with you, and so I encourage you to read a variety of texts with different perspectives and by authors of different backgrounds so that we can create a more empathetic and open society.
Bibliography
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