For some reason yesterday I needed to re-read The Secret Garden by Frances Hodgson Burnett. But I couldn't find a copy in the house. So I looked online for the movies. There are many, including the 1993 version with Maggie Smith as the housekeeper Mrs. Medlock. There is a 2020 version with the Yorkshire lad Dickon played by a POC. And there is a "steampunk" 2017 version that turns the whole thing into a post environmental apocalypse.
But the original novel was about the tricky issue of the children of Brits in India. The girl heroine, Mary Lennox, is the child of Brits that died of cholera. Mary knew nothing of her parents, being raised by "native" servants. Mary ends up at her hunchback uncle's place, Misselthwaite Manor, on the Yorkshire moors.
Misselthwaite is a morgue, because the uncle, Mr. Craven (!), is still in a depression over the death of his wife, and ignores his bedridden son. Because.
The story is about Mary's personal transformation from a spoiled, angry brat into a savior that saves not only herself, but her uncle and his bedridden son, with the help of the servant Martha and her younger brother Dickon, who is a dab hand at pet animals and anything to do with plants. It is, you may say, completely over the top.
In the 2017 steampunk version I watched, -- not mentioned on La Wik until I fix it -- the uncle owns a big factory that has completely run down after an environmental collapse and the death of the scientist mother, and the bedridden son turns out to be AI, invented by the dead scientist mom. It is a hot mess, but a rather charming hot mess.
The 2020 version features a young man of color as the Yorkshire lad, Dickon. And that got me to thinking.
The whole point of The Secret Garden, in my mind, is the cruel treatment of children by the upper class, whether it is powerful folks in the Empire dumping the kids on the servants, while they pursue their lives of power or self-pity.
Then there is the case of Rudyard Kipling, born in India, who was dropped off at a boarding house in Southsea, Sussex, with his sister Trix just before the parents returned India. Rudyard was five, and Trix was three. Kipling called this the "House of Desolation" writes Jad Adams in Kipling:
The children speculated miserably on why they had been abandoned, unable to understand what had led their parents to leave them to such horrors.
I wonder what Kipling meant in The Jungle Book about an abandoned child brought up by wolves.
So, you can see that children's books -- modern fairy tales, I suppose -- are often about the horrible neglect and cruelty often meted out to children, especially the children of the ruling class.
In The Secret Garden the secret ingredient to redeem Mary's humanity is Dickon, the child of nature. In The Jungle Book the redeemers are wolves!
Hey, isn't raciss to cast Dickon, the child of nature, as a child of color in the 2020 movie? Shouldn't the POC have been Mr. Craven the uncle? Oh no, because the POC can't be the villain.
But, to make the problem bigger, how do we, of western culture, invite the outsiders, which really means Africans, into our culture, without being insulting or patronizing?
For instance, was it insulting to have the black slave Mammy in Gone with the Wind? If the movie were reshot, should Mammy be played by a white bitter-clinger?
Was it patronizing to have the physicist astronomer in Interstellar played by a black? Or is it insulting to American-born blacks that the actor was born Ghanaian?
The point is that literature and the arts -- and especially children's stories -- are about stereotypes, recognizable stereotypes that leap out of ordinary life into the story. It must be so. And for the Jungians among us, we translate "stereotypes" into "archetypes."
If you muddy up the archetypes with ruling-class dictates and quotas and such I do not think you will achieve what you think.
And above all, no group will find its place in modern society as the Little Darlings in the petting zoo of the ruling class. Everyone of us, and every group, has to find their own way and their own niche that plays to their particular cultural heritage and acquired skills.
And here's the danger for America's blacks. The recent importation of millions of East and South Asians means that the old moral narrative of evil whites vs. innocent blacks is going to be replaced by a new narrative, probably along the lines of cultured Asians vs. jumped-up Europeans and primitive Africans.
Or it might be a fight between South Asian Brahmins vs. East Asian Mandarins, with blacks the clients of the Brahmins and whites the clients of the Mandarins.
Either way, our literature and our movies need to be peopled by real archetypes, not blurred and fake ones imposed by an unjust ruling class.