The importance of fantasy for children and young adults (YA)

 This is an outline of the below article by Pierce.

Fantasy: Why Kids Read It, Why Kids Need It. Pierce, Tamora. School Library Journal. Oct 1993. 39, 10. Education Magazine Archive. pg. 50.  

1.     YAs are responsive, idealistic, and imaginative. Haven’t experienced the harshness or reality and haven’t lost their “revolutionary derives” such as emotional energy, time, and dreams.

2.     Their responsive potentials are the seeds of great visions for the future, but they need fuel to spark. That fuel can be found in myth, fairy tales, dreams, legends, and fantasy. These genres have nothing to do with reality but challenge the way things are and touch the realm of “what if”, therefore, welcomed by YAs.

3.     Challenging and the desire to see beyond the real world lead to imagine alternative ways of thinking. In such a speculative world everything can be mutable, and YAs’ quests will influence them for further speculation when they become adults.

4.     Fantasy empowers. Although it may negate bad traits, it always provides with trails while never heroic -if good fantasy.

5.     In fantasy, those perceived unimportant are vital players. In Pawn of Prophecy the ordinary character shifts to hero. YAs can be recognised in such an instance.

6.     More importantly, in fantasy weak and strong are equally treated.

7.     Fantasy may help the member of dysfunctional families to get rid of their tough times.

Childhood is a Social Construction

The idea that childhood is socially constructed means that it is invented by members of society. The important point about childhood is that it is not biological but formed by social interactions throughout time, and therefore, it is subject to cultural elements such as symbols, languages, values, etc. So, it differs based on time and place. Childhood shapes relevant social institutions and it also affects the narratives in cultural discourse. For instance, children’s literature and kindergarten which did not exist in the 18^th century are the outcomes of this social construction. 

In the Phantom Tollbooth, human traits are given to some objects and concepts. DYNNE, which is actually “din” has given human qualities he described by “thundered […], sobbed [and] cried the anguished DYNNE”.