Books For the Inner Child

With some kids lit or entertainment there is the unique pleasure of the wry wink to the adults. Something about rabbits being good at multiplication in Zootopia, a sight gag that pays homage to the Godfather trilogy or a wry, sly pun that lets the reader know that the author knows who actually has to read the book. Perhaps one of those elements lies dormant in a child's memory or imagination like a buried treasure awaiting maturity for revelation.

I have, however, come across children's books that leave me wondering if a child needs the message or moral of a story.  Maybe it is a little early for a child to think seriously about the place you will actually go as Dr. Seuss described them and as my Philosophy of Education professor read to the class at the end of our year with him. He was, with Oh, The Places You Will Go, an early adopter, one who had identified adults' needs for that particular message and shared that with my classmates and I in 1990 without any trace of irony or the weariness that might have followed 10 or 15 years later when it was, like many aptly-written stories or lines, unfairly rendered cliche.

With the exception of the countless variations on stories of fire trucks at work and similar tales, there are stories with clear messages in them that are both a pleasure to pass down as they are to share. Whether it is the criticism of tyranny in Seuss' Yertle the Turtle (to name only one of his) to the more recent description of the boundless and growing unconditional love Nick Bland describes in The Runaway Hug or the timelessness of friendship in Marianne Dubuc's buried treasure of The Lion and the Bird, those theme-rich children's stories thrill me when they come down from the shelf.

There are other stories that make me wonder if a child actually needs to hear them. Or, to be more specific, whether my four-year-old needs to hear them yet. The first story that comes to mind is The Little Prince, which -- length aside -- might simply prompt a child to say, "Well, of course" at each of the passages from the book the adults hold onto like talismans or mantras to navigates them through the baffling rationalizations and foibles adults find themselves prone to.

Beyond that classic, there are other stories that I have come across that baldly express to adults something that we need to hear. Koji Yamada's What Do You Do With An Idea is the compact and beautiful complement to the numerous weighty tomes on creativity that have emerged like April dandelions in the last few years. It foregoes the theory, the psychological research, priming exercises and reflective practices that so many adult-oriented creativity books contain in favour of an extended poem about the life span of an idea. Yamada points out all the stages along the way from the nascent discovery of a thought to changing the world in a matter that one can memorize over time. This is not to say that a child would not get it - just that they are more likely to think, "Well, of course."

In his book The Uses of Enchantment, Bruno Bettelheim talks about the distinction between the conscious, subconscious and the preconscious, saying that it is intrusive to make our preconscious thoughts conscious. Stories can help us ensure those preconscious aspects of our character or our interpretation of the world are reinforced and perhaps ensure a child that it is okay to believe certain things that might be drawn into doubt at times that would make even a four-year-old ask, (as he has), "What is this world coming to?!"

For adults, getting lost and reassured in a lesson on creativity, the whimsy of a desert-stranded pilot's reflections or hallucinations on adulthood and mortality or a mantra that assures you of what makes a family a family seem better suited for adults in need of the courage or evidence to believe in certain possibilities at a time where the safest place in the world is in a bedtime fortress of pillows and blankets burrowing into an illustrated truth delivered from a wise, succinct storyteller.

A Dystopian Little Prince

Over a year ago, the first trailers for an animated adaptation of Antoine du St. Exupery's The Little Prince first appeared and promised an enchanting film that I had told myself would, along with Inside Out be a pair of movies that my son could turn to for wisdom for years and years.  Throughout the months that followed the promise of a blockbuster bringing the hordes to the theatres fizzled and left me puzzled. There were delays and delays for the English language version to be released.  In March 2016 it made a brief appearance in Canada while news came out that the film would go direct to Netflix. Odd harbingers all.

Still, I was eager to take my son to the movie whenever it would be released.  I tried reading my son a chapter a night for a few nights and then when the movie tie-in book came out I resorted to that for the sake of having a one night read. When the time came to see it in March, I headed out to see it on my own.  He was tired that particular day and the showings were scheduled so sporadically that it suggested that it would be better to see it alone if I were to see it while it was still in the theatres.

I had only come upon The Little Prince when I was in my late 20's. It immediately had an impact on me and since reading it I have probably purchased at least a dozen copies whether as gifts or replacements for leant copies that remained wayward. I currently have three copies, including a French-language version and the film tie-in I mentioned. I was going in informed and with a vested interest in how it turned out.

It was evident in the trailer that the movie was going to lean toward a telling of the story hat would indicate it's telling and themes rather than directly tell the story in the manner that St. X wrote. There was a clever reference to a modern single mom's ambition to get her child into Werth Academy - named after dedicatee Leon Werth and I thought that was an interesting sign that every corner of the book was going to be mined for its potential. As the story moved back and forth between the pilot's interaction with the modern world and his recollection of the story in the desert as he first wrote or experienced it, the story was true to its source and as enchanting as hoped.

The distinctive animation of the desert scenes had a delicate element to it which reflected in a small way the illusion that St. Expuery's story was of those drawings that he shared and keeping alive a shallower roman a clef truth to what he concocted out of his experiences when his own plane crashed in the desert. The animation lends itself to the profound and ancient rather than mere whimsy and in these scenes of the movie, the novella's wisdom is respected and delivered effectively to the screen.

If only the whole movie were presented in that delicate manner. The alternating "modern" scenes about the now-ancient pilot's efforts to befriend and enlighten the high-achiever-to-be girl next door, are of a more contemporary CGI look and the efforts there eventually test the patience of those more familiar with the original story. The framing emphasizes the importance of the story and its messages in our modern world but the reality is that the source is an exceptionally deep 108 (illustrated) pages. 

This interpretation of the story for screen ultimately fails on the dark turn the story makes during the concluding act. The filmmakers discard the fragility of the desert scenes for a dystopian sequence that calls to mind George Orwell's 1984 or Pink Floyd's "Another Brick in the Wall." The sheer menace during these scenes would have prompted me to leave before the film ended if I had been watching it with my son. I finished the film on my own, but felt disappointed at the end result. Given the responsibility of adapting The Little Prince, the filmmakers blew it with their third act and that would provide some reason why the film had such an odd route to (home) screens in North America.