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Science Fiction, Children's Literature, and Popular Culture - Coming of Age in Fantasyland - by G Westfahl

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 							Science Fiction, Children's Literature, and Popular Culture
  
  Coming
of Age in Fantasyland
  
  by Gary Westfahl
  
  Contentes:
  
  1. How Charlie
Made Children Hate Him: Fantasy and Reality in Stories for Small Children
  
  2. The Three Lives of
Superman—And Everybody Else
  
  3. Mystery of the Amateur Detectives: The Early Days of the Hardy
Boys
  
  4. Giving Horatio Alger Goosebumps, Or, From Hardy Boys to Hapless Boys: The Changing Ethos of
Juvenile Series Fiction
  
  5. From the Back of the Head to Beyond the Moon: The Novel and Film This Island
Earth
  
  6. Opposing War, Exploiting War: The Troubled Pacifism of Star Trek
  
  7. Even Better
than the Real Thing: Advertising, Music Videos, Postmodernism, and (Eventually) Science Fiction
  
  8.
Legends of the Fall: Going Not Particularly Far Behind the Music
  
  9. Hollywood Strikes a Pose: Seven Tales
of Triumph, Treachery, and Travail in Old Tinseltown
  
  10. In Defense of Stone Tablets: Isaac Asimov
Explains Why Science Fiction Is Skeptical about "New Information Technologies"
  
  11. Partial Derivatives:
Popular Misinterpretations of H. G. Wells's The Time Machine
  
  In a constantly changing world, individuals
are forever growing to meet the challenges and developments that emerge around them. In contemporary society, technology
is at the heart of change. Literature, too, reflects the evolution of culture and increasingly represents and considers
technology. And as children become young adults, their reading helps shape their understanding of the world. This book
examines representative works of science fiction, children's literature, and popular culture to show how these works
reflect the process of growing up in a technological world.
  
  The volume looks at the simple picture books
and comic books that appeal to small children; the formulaic adventures that fascinate older children; the films and
television programs that are watched by children and young adolescents; the music videos and programming that appeal to
young adults; and the popular novels that interest older readers. Included are discussions of Superman, the Hardy Boys,
Star Trek, science fiction films, and music videos. The book points to similarities among popular culture, science
fiction, and children's literature and demonstrates the relevance of these works to contemporary society.
  
 
By Midwest Book Review on Sept. 8 2000
  Format: Hardcover
  Westfahl's essays in Science Fiction, Children's
Literature And Popular Culture, range widely over American children's and YA popular entertainment, starting with a
little known children's series but covering Superman, Horatio Algier and the Hardy boys, SF film (esp. the fifties) Star
Trek and even music video in the context of film and advertising. Westfahl, a well known SF critic, allows himself more
free-play in these essays. His playfulness gives rise to many intriguing speculations, connecting popular culture
phenomena in convincing but previously unarticulated ways.
  I greatly enjoyed each of the essays, even the first
one about a now-obscure children's series that features a too good to be true boy called Charlie ("How Topsy Made
Charlie Love Him," from the Better Homes and Gardens Story Book), which he analyzes from a developmental and a feminist
perspective. The chapter "Giving Horatio Alger Goosebumps," supplements the Sands and Frank book referenced above with
critical perspectives on both production and marketing and social contexts for YA series fiction. "Opposing War,
Exploiting War: The Troubled Pacifism of Star Trek," should be read alongside Bartter's essay in Sullivan's collection,
listed below. "Legends of the Fall: Going Not particularly Far Behind the Music," offer basic analyses of MTV and VH1
stories of rock star legends, asking basic questions about their accuracy and comparing different 'kinds' of stories
told about these famous people. My favorite essay is "Even better than the Real Thing: Advertising, Music Videos,
Postmodernism and (Eventually) Science Fiction." In this essay, he describes for us the similarities in the stories told
within advertising on the media. Media-based advertising for products tells stories within which the products are set,
just like music videos which are used to promote artists and to promote music sales, and film trailers use some of the
same techniques to summarize or condense the film, telling a story about it that may or may not be true.
  Westfahl
makes a convincing argument for their inter-related development (similar to the critical argument made by Palumbo on
comic books in the Sullivan collection) and this is only one of several insights provoked by this essay. As Westfahl's
fifth through eleventh chapters emphasize, there are many more intersections between media which can be productively
explored, from the realization of written as film to the expansion of television SF through written series fiction. More
than any other sub genre, SF has adapted itself to the new media and made them an intimate link in the definition of the
genre. The links between fiction and other popular culture phenomena are pervasive, fascinating, and in need of further
attention. Thus, in addition to addressing age-based demarcations of SF, the critical works address defining moments in
the history of SF are we know understand it's ability to expand and adapt to changing tastes, habits, and indeed needs,
of its audience.
  Westfahl does not attempt a summary chapter, but ends with an analysis of The Time Machine and
its many permutations in cinematic productions, giving us, by example, a socio-historical perspective on the film
industry that also reflects on the history of science fiction. Since Wells' story is so tied up with the history of SF
as a genre and with all the media carrying the SF story, including radio, television and film, the final essay does give
us some sort of summary in that it covers the earliest and the latest forms for the story.
  Jan Bogstad,
Reviewer
   						

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