PDF Ebook Freud in Oz: At the Intersections of Psychoanalysis and Children's Literature, by Kenneth B. Kidd
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Freud in Oz: At the Intersections of Psychoanalysis and Children's Literature, by Kenneth B. Kidd
PDF Ebook Freud in Oz: At the Intersections of Psychoanalysis and Children's Literature, by Kenneth B. Kidd
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Children’s literature has spent decades on the psychiatrist’s couch, submitting to psychoanalysis by scores of scholars and popular writers alike. Freud in Oz turns the tables, suggesting that psychoanalysts owe a significant and largely unacknowledged debt to books ostensibly written for children. In fact, Kenneth B. Kidd argues, children’s literature and psychoanalysis have influenced and interacted with each other since Freud published his first case studies.
In Freud in Oz, Kidd shows how psychoanalysis developed in part through its engagement with children’s literature, which it used to articulate and dramatize its themes and methods, turning first to folklore and fairy tales, then to materials from psychoanalysis of children, and thence to children’s literary texts, especially such classic fantasies as Peter Pan and Alice’s Adventures in Wonderland. He traces how children’s literature, and critical response to it, aided the popularization of psychoanalytic theory. With increasing acceptance of psychoanalysis came two new genres of children’s literature—known today as picture books and young adult novels—that were frequently fashioned as psychological in their forms and functions.
Freud in Oz offers a history of reigning theories in the study of children’s literature and psychoanalysis, providing fresh insights on a diversity of topics, including the view that Maurice Sendak and Bruno Bettelheim can be thought of as rivals, that Sendak’s makeover of monstrosity helped lead to the likes of the Muppets, and that “Poohology” is its own kind of literary criticism—serving up Winnie the Pooh as the poster bear for theorists of widely varying stripes.
- Sales Rank: #10280369 in Books
- Published on: 2011-11-22
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 1.00" w x 5.50" l, 1.10 pounds
- Binding: Hardcover
- 336 pages
Review
"This canny and original study is far more searching, wide-ranging, and fun than its modest title suggests. Kenneth B. Kidd not only analyzes but somehow evokes for us the way the child and stories told about her drift through our dreams, literature, and culture, giving form to our finest aspirations and darkest nightmares. An essential, generous, deeply-informed book." —James Kincaid, University of Southern California
About the Author
Kenneth B. Kidd is associate professor of English and associate director of the Center for Children’s Literature and Culture at the University of Florida. He is the author of Making American Boys: Boyology and the Feral Tale (Minnesota, 2004).
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2 of 2 people found the following review helpful.
Children's Literature Teaches Psychologists Plenty
By Gilbert B. Cross
Kidd's main goal is to tell "a story about the historical encounters of children's literature and psychoanalysis, thereby suggesting new directions for research. (p. 205). It is a masterwork of careful research and synthesis--almost one third of the book is devoted to notes and bibliography. He likes to venture where few have gone before. His excellent Making American Boys: Boyology and the Feral Tale (Univ of Minn, 2005), was the first thorough study of boyology. Over the Rainbow: Queer Children and Young Adult Literature (Univ of Mich, 2011) was the first scholarly collection of essays devoted to LGBTQ issues and children's literature.
Scholars and critics have devoted endless time to analyzing books for children. Freud in Oz makes the original and compelling case that psychoanalysis owes an even bigger debt to those same books using them to articulate and dramatize its themes and methods. Kidd hopes to call "sufficient attention to psychoanalysis' debts to the materials and forms of children's literature" (xxvii).
When putting children's literature on the couch, the scholar's obvious starting point is the märchen--the so-called "fairy tale" that became "enshrined as the cornerstone of children's literature" primarily because psychoanalysis consolidated it as such. Freud and others delved into these tales to find out about "primitive man." Freud had the huge collection of märchen compiled by the Grimm brothers at hand, and all major psychologists still apply psychoanalytic theory to folklore. Freudians look for infantile dramas; Jungians discover spiritual truths, but all made a compelling case for intimacy of fairy tales and childhood. Bruno Bettelheim's The Uses of Enchantment (1976), while derivative in nature, "effectively synthesized and repackaged decades of psychoanalytic research on childhood and fairy tales" (17) and ensured the folktale became the core of psychoanalysis. Those who argue about the unsuitability of many tales for children have, ironically, helped firmly cement the two together.
There is a chapter devoted to "Poohology," showing how the two books have long been the subject of psychoanalytic and pop psychological discourse. Who can forget Frederick Crews' The Pooh Perplex (1963)? Though some may be surprised to learn Winnie ille Pooh (1958) was the first foreign language title to make the New York Times' bestseller list!
The Pooh books are classics, but they are increasingly the stuff of adult popular discourse. "Poohologists don't just read Pooh, they become Pooh, absorbing and mimicking its lessons and rhythms "(63).
Kidd applies close analysis to three "case studies"-Alice, Peter Pan and The Wizard of Oz. Case histories undertake the education of the reader, but also include a criticism of ignorance, innocence and immaturity. In American children's literature, the immature male who doesn't want to grow up, has special resonance. Kidd examines Lewis Carroll as Good Carroll/Bad Carroll, noting that what was once regarded as a celibate shyness might be something less palatable. Peter Pan, while a cautionary tale about immaturity, has led to questions about Barrie's sexuality. It was always speculated he had a mother-fixation, and he never recovered from the deaths of his brother and his adopted son, Peter. Films have generally avoided the man-boy love theme, but in In Stephen Spielberg's Hook (1991), the villain tries to win over Jack, Peter's son, by emotional appeals. They go nowhere. It is interesting to note Michael Jackson was scheduled to play Peter because the director thought he was "one of the last living innocents" (quoted 90).
The chapter on Maurice Sendak and Picturebook Psychology is most perceptive. The artist of Where the Wild Things Are returns to the world of folk tale fears. Kidd regards this book as a turning point of picturebook psychology--"reworking in a contemporary idiom, the themes and forms of progressive pedagogy and child analysis as well as those of Freud himself" (135-6).
Freud in Oz concludes with chapters on the young adult novel, a fertile field. Previously, these books were often catalogued as junior novels or adolescent fiction, suggesting it had always been thought of as a psychological form. After 1920, societal changes ushered in a new era of adolescent literature, although authors seldom thought of themselves as writing for young adults.
Young adult fiction naturally included questions of gender, sexuality and interiority. The Catcher in the Rye (1951) created a literary storm, but it wasn't the first book to deal with identity in relation to sex and gender, though it masculinized the genre. Kidd believes Maureen Daly's Seventeenth Summer (1942) is a legitimate starting point for the modern young adult novel. The author insists in taking the problems and emotions of the heroine seriously. Angie is allowed "a rich and even autoerotic inner life" (161).
Finally, Kidd turns to the literature of atrocity. Astonishingly, considering the long-held view that childhood should be a time of happiness and free of stress, literature intended for children has become the home for works of trauma. "It is the amalgam of literary and psychological discourse in which certain kinds of trauma take priority" (182). Moreover, the picturebook offers the most dramatic view of trauma. We may have come from witches and werewolves to the Twin Towers. It is still atrocious and psychologically troubling.
Freud in Oz is an original work, wide-ranging and essential to the study of children's literature and psychology, written in an easy flowing style, free of the usual pomposity of scholarly publications, yet revealing the author's all-consuming knowledge of the subject. He should be very proud of this book.
G. B. Cross
Professor Emeritus
2 of 3 people found the following review helpful.
A Geography of Children's Lit Criticism
By Jerry Griswold
Kenneth Kidd's genius is geographic and lies in his ability to demarcate and describe the myriad endeavors of various critics engaged with children's literature. Here he examines: 1) using psychoanalysis to interpret children's literature; 2) using children's literature to explain psychoanalysis; 3) valuing children's literature because of its psychological benefits to the young; and-this is where Kidd mostly hangs out-4) valuing psychology because of its benefits to children's literature and its authors and critics. This book is an amazing mandala. It's like watching the Cat in the Hat breathlessly balancing (on hands and feet, on head and tail) an incredible array of items.
0 of 1 people found the following review helpful.
AN INTERESTING READ
By Tom H
REFERENCES TO FREUD WERE LESS THAN I EXPECTED
CONSIDERING "FREUD" IS IN THE TITLE
OVERALL AN INTERESTING BOOK
TERRIFIC INSIGHT INTO "WHERE THE WILD THINGS ARE"
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