Tag Archives: Creative Writing

The Lift

There’s a story behind this poem. We were staying in a hotel because the floor in the flat we were living in had wood worm and the council were ripping it up. It was a weird set up, two of us and two dogs crammed into a double room in a Travel Lodge for a week;  in the middle of an industrial estate! Needless to say we used the lift a lot. It was a busy lift with people from all nationalities coming and going, so I wrote this poem (or a version of it) on a piece of paper and stuck it to the mirror. I told whoever found it to take it with them and stick it in a lift in the next hotel they visited and so on and so on. I don’t know if it made it anywhere else because I saw a cleaner go into the lift shortly afterwards but I like to think it travelled the world.

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The Lift

Welcome to the smallest room in the hotel,
The shiny box, The bare bones, the up and downs
The coming’s
The going’s.

I offer you ten seconds to make a friend,
Eight to fall in love. Make somebody’s morning –
Hello, Hallo, Salut, Ciao, Hola, ……

I offer six seconds, to put on your face,
Four to wipe it clean. Make up excuses –
Traffic, Arbeit, Slaap, Morte

For two seconds you can pick a floor,
Tell a truth behind closed doors, tell a truth
You never told before –
Ma olen segaduses
Jestem samotny
Jeg er red
Je suis gay

I am the quietest room in the hotel,
I offer you a second alone,
One delicious seconds, to be who you truly are
Before I set you free.

I hope you have enjoyed your stay.

The Break of Dawn

Now published in Veggie Wagon Website.

two white and black cows inside shed

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It was dawn when they arrived.
Two orange beams of light
Cutting tight between the lines of furrows,
And illuminating trees.
Her baby stirred.

It was dawn when they arrived.
Gravel crumbling under tyres.
A slither of sun crowning the hill,
And puffs of cloud lay as still
As her sleeping calf.

It was dawn when they arrived.
Two brown rubber boots crunching
On grass, still tipped with frozen dew.
A banging gate. A magpie flew.
The baby shook.

It was dawn when they arrived.
Two white hands and a noose.
A gate held ajar by a damp lump of wood
Four white walls, a nest of hay,
A trembling baby stood.

It was dawn when they arrived.
Two blue eyes trailing the floor,
Stealing her crying calf out of the door
White walls, empty bed, empty floor
Her mother stood – alone.

It was dawn they left.

Scottish Oral Storytelling Tradition & The Ballad

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Sir Walter Scott recalls in his book Minstrelsy of the Scottish Border that ‘The Twa Corbies’ was ‘communicated to [him] by Charles Kirkpatrick Sharpe, esq. jun. of Hoddom, as written down, from tradition, by a lady.’ [1] The use of the word ‘Tradition’ suggests that ‘The Twa Corbies’ ballad survived orally. According to Buchan

The nonliterate person does not possess […] visual imagination, words for him cannot be translated into pictorial symbols, they exist in sound groups; his facility for imaginative retention is largely auditory. [2]

The traditional methods of ballad structure such as form, convention, uncomplicated language, and rhyme create the sound groups that Buchan is suggesting. Whilst assisting the performer and the audience in memorising the ballad, the construction of the ballad ensures that its bones remain intact regardless of time and place. This allows the longevity of the story.

The anonymous ballad, ‘The Twa Corbies’ has a chivalric theme. Morgan suggests that in the chivalric ballad ‘Neither historical figures nor legendary idols escape criticism, [in] the ballads of chivalry [they] serve to strip the façade of honor from their social betters.’ [3] Within a particular genre, the use of common tropes assists in memorising the narrative through fixed characters and themes. This also allows a performer to make a ballad contemporary whilst retaining the familiar narrative. Like most medieval ballads, ‘The Twa Corbies’ begins in Media Res, keeping the narrative brief whilst allowing the audience to quickly interpret the ballad’s intended meaning. The commonality of ballad themes means that multiplicity may occur, for example, ‘The Twa Corbies’ has great similarities to the English ballad ‘The Three Ravens’. Although the narrative of these ballads is similar, the tone sets them apart. ‘The Three Ravens’ conveys an optimistic tone which Morgan suggests ‘upholds the chivalric tradition of romance, complete with references to knightly behaviour, courtly love, and Christian piety’, (Morgan, p.119-120). The sombre tone of ‘The Twa Corbies’ however, implies a negative interpretation of chivalry with a realistic view of a social situation in which the importance of survival is crucial. This is found in the following three lines:

‘His hound is to the hunting gane,
His hawk to fetch the wild-fowl hame,
His lady’s ta’en another mate, [4]

The abandonment and disregard for the dead knight’s body offers the audience a natural and realistic account of life and death and the nature of survival. These three characters resume living in the most natural way. The theme of survival is clarified in the final line of the stanza:

So we may mak our dinner sweet. (TTC, 12)

This line highlights not only that compassion is essential for survival but also that all creatures are equal, a direct criticism of chivalric hierarchy. The tone of ‘Sir Patrick Spens’, is similar to ‘The Twa Corbies,’ in that it demonstrates the danger of the hierarchal structure, for example

‘O wha is this has duin this deed
An tauld the king o me [5]

The phrase ‘duin this deed’, suggests that the speaker has already accepted his deadly fate which, predetermines the remainder of the ballad. In addition, these lines not only demonstrate danger of royal hierarchy but also of the Kings right to assume the role of God. The ballad audience however, are already aware that the elderly knight is responsible:

O up and sat an eldern knight (SPS, 5)

The use of ‘O’ at the beginning of the line mimics the form of the traditional hymn. As a result, this technique elevates the position of the knight to God. This allows the audience to question not only the idealism of royalty, but also the hierarchal structure of the royal court and it’s danger of improper decision-making. The effect of tone in both ‘Sir Patrick Spens’ and ‘The Twa Corbies’, in addition to theme, structure and word choice directs the reader to the underlying meaning and intention of the ballad.
The generic ballad form allows the performer to navigate his way through the ballad by creating self-contained narrative frames, or stanzas. Each frame consists of a variety of stylistic conventions that create auditory symbols, instructions, and prompts, essential for the performer and the audience in memorising the song. For example, the opening couplet in ‘The Twa Corbies’ acts as an essential idea, setting the scene of the narrative. The first person speaker recalls an incident in past tense:

As I was walking all alane,
I heard twa corbies making a mane; (TTC, 1.2)

The use the of verbs ‘Walking’ and ‘makin’ rather than ‘walked’ and ‘make’ are coded words which have a dual purpose, firstly to fulfil the rhythm of iambic tetrameter and also to describe movement, firstly from the speaker then followed by the corbies. The progressive verb choices, in addition to the past tense narration demonstrate the continuity of life and the underlying theme of the narrative, which is survival. Performed in thin Scots, the mixed dialect gives the audience a sense of place, whilst acting as a comparison to the English dialect – the dialect of the hierarchal chivalry. In addition, the refrain of the rhyming couplets assist the performer in memorising the sound units whilst allowing the narrative to be adapted and developed within a set structure. In the first couplet ‘all alane’ (TTC, 1) is a triad of assonance, with the ‘a’ sound at the start of the three syllables. This acts as a sound group, important for memorising. In line two, ‘making a mane’ (TTC, 2) is a refrain of consonance. The ‘m’ sound lands at the beginning of a two-syllable word followed by a one-syllable word. This elongates the sentence making the ‘mane’ onomatopoeia. It is therefore the manipulation of sounds and beats that aid the speakers memory rather than the words themselves.
The symbolism of the corbies – a Scottish word for ravens, has various mythological connotations, one of which is that ‘Ravens as birds of knowledge appear throughout myth, especially in Odin’s two ravens, Huginn (Thought) and Muninn (Memory)’. [6] This tale will have been familiar to audiences in medieval times, therefore informing the audience of the role of the corbies within in this ballad to represent thought and memory, crucial for the survival of the narrative.
There is a tense change in the final line of the first stanza when the narrative changes into dialogue:

‘Where sall we gang and dine to-day?’(TTC, 4)

This change indicates a scene break that allows the oral storyteller to move on to a different frame with different conventions. The leaping between scenes or frames requires the audience to read between the lines and flesh out the narrative themselves. This closing line in stanza one is the last line in a long sentence, moving from past to present. This demonstrates movement in time, also survival and tradition – which is the link between past and present. The introduction of ‘we’ prompts audience participation, a further mode of memorising.
In stanza two, the speaker uses ironic juxtaposition in a couplet. The ‘auld fail dyke’ (TTC, 4) conceals ‘a new slain knight’ (TTC, 5). ‘Auld’ is the primary word, situated before ‘new’ in the stanza. This gives the former superiority. Not only does this romanticise an older way of life but also demonstrates the strength of the old through the symbolism of the wall and its survival. These conventions are important to allow the framing and unfolding of each stanza, important for prompting memory, and continuity.
The generic form found in ‘Sir Patrick Spens’ is the most commonly found traditional ballad form; a four foot line followed by a three foot line. The consistent rhyming scheme, ABCB allows the framing of each stanza, which, like ‘The Twa Corbies’ is an arrangement of quatrains. Whilst this ballad is greater in length, the techniques are consistent of the ballad tradition. The sound refrains such as ‘whare will’ (SPS, 3) creates a sound like the wind, whilst ‘skeely skipper’ (SPS, 3) makes a storm like sound. These techniques not only create an ambiance, but also are sound symbols. Due to the length of this ballad, the refrain is demonstrated on a wider scale, such as ‘To Norway’ is repeated three times in stanza four. Using a variety of different conventions within each frame, aids the memory of the oral storyteller through the use of sound, symbols and prompts.
Whilst ‘Sir Patrick Spens’ is a much larger poem in length than ‘The Twa Corbies’ the techniques of style and convention are similar. The overall effect of the style and convention in both ballads is to aid the memory of the performer whilst guiding and prompting himself and the audience. The purpose of this is to deliver a story within the bones of a well-known narrative theme, which, through auditory symbols and sound groups, makes it adaptable as it is re-told and reworked over time. Moreover, whilst many medieval ballads adopt a familiar theme, resulting in multiplicity, the tone and dialect set them apart.

 

Bibliography

Anonymous, ‘Sir Patrick Spens’, in The Penguin Book of Scottish Verse, ed. by Robert Crawford and Mick Imlah (London: Penguin Books, 2006)

Anonymous, ‘The Twa Corbies’, in The Penguin Book of Scottish Verse, ed. by Robert Crawford and Mick Imlah (London: Penguin Books, 2006)

Buchan, David, The Ballad and the Folk (East Linton: Tuckwell Press, 1997)

Frankel, Valerie Estelle, The Symbolism and Sources of Outlander: The Scottish Fairies, Folklore, Ballads, Magic and Meanings that Inspired the Series (North Carolina: McFarland and Company, 2015)

Morgan, Gwendolyn A., Medieval Ballads: Chivalry, Romance, and Everyday Life. A Critical Anthology (New York: Peter Lang Publishing, 1996)

Scott, Sir Walter, Minstrelsy of the Scottish Border, 2nd edn (Edinburgh: James Ballantyne, 1803)

My Name is Leon by Kit De Waal – Book Review

‘…he misses the photograph of Jake and he has to close his eyes to remember it. He holds on to Big Red Bear and thinks about all the things he didn’t say to his mum. How long will it be for her to get better? When is she coming back for him? […] Will she come back? Where is she? Where is Jake?’ (My Name is Leon. p.78)

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Shortlisted for the Costa First Novel Award, My Name is Leon (2016) by Kit De Waal is a heart tugging, sad yet hopeful book. Set in England the late 1970’s – early 1980’s, Leon and his baby brother Jake are living with single mother Carol.  Leon’s father is in prison and Jakes father is married and wants nothing to do with Carol or the child. Carol is terribly lonely and desperately unhappy. Struggling with deep depression, the mother’s fragile state leaves her  unable to care for her children :

Leon has begun to notice things what make his mum cry: when Jake makes a lot of noise; when she hasn’t got any money; when she comes back from the phone box; when Leon asks too many questions; and when she’s staring at Jake, (p.12).

After Carol takes to her bed, Leon, at just nine years old,  takes on the role of carer and parent. Through the eyes of this young boy, the reader watches his world fall apart, fragment by fragment.

Eventually the boys are taken into care and find solace in the home of Maureen, an experienced foster carer with a deep love for both cakes and children. Maureen is a lovable character who feels a deep affinity for Leon, even though Leon is highly suspicious of anyone in the care system, but when Jake is adopted, it is Maureen who picks up the pieces.  It is perhaps her honesty rather than her role as parent that soothes Leon in his most difficult times:

‘Now listen carefully because I want you to understand something and I don’t say this to all the children because it’s not always true but with you it’s true so you have to believe it. And when you believe it you will stop grinding your teeth […] You will be all right, Leon.’ (p.55-56).

But when Maureen is taken into hospital, Leon is left with Maureen’s sister Sylvia, a less motherly role model than Maureen but with a desire to please her sister none the less. Their relationship is strained and often uncomfortable, but soon enough Leon finds comfort in a new friend, Tufty. Tufty is a young man who looks after a plot in his father’s allotment. The man and the boy form a friendship that grows alongside the seeds that they plant in the garden, so when they both find themselves in the midst of the Birmingham riots, they naturally come together to save each other. 

This is a coming of age story unlike any other, it is not a happy ever after but hope for a child and his future. 

I love this novel, it is clearly written with believable characters and honest emotions. At the start of the novel I was concerned about the character’s point of view – a third person limited perspective from the child’s perspective – but it is cleverly done. While the reader gathers glimpses of emotions from inside Leon’s head, there is still enough distance to feel the tug of the story from the outside. It is as if the reader is holding the child’s hand and experiencing his life with him as it unfolds. Brilliantly done and brilliantly written. Go Leon. 

 

Spring Is Failing

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Spring is failing.

And it’s not just the forecast

Crooned by the weather person

Or the news headlines saying –

‘Scotland still without power,’ – it’s failing!

 

It’s failing the birds

And the hibernating animals,

Too scared to wake, too tired to sleep.

 

It’s failing the people;

Stung from the gas boards who rub

Their fat hands over fat blue flames.

 

And as the meter’s tick, tick, tick, empty –

Spring is failing.

 

 

And still the snow dances,

Falling from the sky like confetti

On a stone man’s wedding,

While the red breasted bird

Salvages the last piece of fat

From the half moon, hanging by a rope

out back.

Spring is failing.

 

 

 

Refugee

 

Dawn breaks with a whip of fire across the ocean.

The boatmen rise and fall upon the waves as morning takes its first breath,

and the boatmen sing.

Down below in wooden boxes they peer through wooden lines.
They breathe;  stretching cramped limbs as the cusp of  the morning  creeps through cracks,
and they pray.

The song is everywhere, echoing through the morning wind, diving into

The tumbling waves then spat out as salty spray that rises in a vapour

towards the sky.

The dead are everywhere, and buried deep in heaving arms, a brother, a child,
A too little. A Too late. They locked the gate and tried to save them; save them all.
Save themselves.

Clouds fall into the ocean and the afternoon melody becomes enclosed

within a circle of grey and white hazy mountains. A theatre of fog.

The song escapes.

A sound falls from lips as cracked as the pavements she fled from. A groan
that rocks the boat from the inside out, rising up, crashing against the roof.
Dripping like blood.

Caught amongst the flapping wings of the sea birds, the music takes flight

And it circles and hovers amongst the stickmen, floating on a

Streak of mist, facing heaven’s door.

Caught amongst barbed-wire fears, they surrender to a promise;  written
In another time, on a scrap of paper – with another language. Lost.
They surrender to the sea.

The boatmen weep and wave goodbye and the song becomes a hymn,

And the shrinking sun dips peacefully upon the sorry sea,

As the day dies and the boatmen sleep.

The Role of the Cross-Dressing Male in Literature For Children.

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The role of the cross-dressing male in literature for children serves to either reinforce societal gender norms or criticise them.  In order for the genre of cross-dressing to exist, however, the implied reader must already live in a society where dress plays a significant part in gender recognition and is generally practised as a social norm. Transsexual activist Nancy Nangeroni quoted that ‘It is not gender which causes problems; rather it is the imposition of gender on an individual by another.’[1]  Due to the socialisation of gender in Western societies, the cross-dressing male in literature for children is treated as the ‘other’. By discussing David Walliams’s novel The Boy in the Dress in comparison to Terence Blacker’s Boy2Girl, Kenneth Grahame’s The Wind in the Willows, and Mark Twain’s The Adventures of Huckleberry Finn, I will identify the key issues surrounding the cross-dressing male in literature for children such as masculine reinforcement, sexuality, humour, and gender performance.

Written in 2008, Walliams offers an original critique of the male child cross-dresser in his novel The Boy in the Dress by addressing the way that clothing can create ‘otherness’. The opening statement of the novel is ambiguous, ‘Dennis was different.’[2] This statement not only poses the question of what or who is Dennis different from but also puts Dennis into the category of ‘other’. The narrator proceeds by telling the reader that ‘When [Dennis] looked in the mirror he saw an ordinary twelve-year-old boy,’ (The Boy in the Dress, p.11). This implies that Dennis is not ‘different’ because of his appearance but rather because ‘he felt different- his thoughts were full of colour and poetry, though his life could be very boring’ (The Boy in the Dress, p.11). In this quotation, the italicised ‘felt’ in addition to his thoughts of colour and poetry not only demonstrate Dennis’s aesthetic view of the world but also an unconventional representation of the traditional masculine expression. Social theorist Victor J. Seidler suggests that ‘expressing emotions allows men to connect to an aspect of their subjectivity that traditional forms of masculinity have denied them.’ [3] Walliams is demonstrating that Dennis is aware that he deviates from the stereotypical Westernised idea of masculinity and therefore, feels different.  

Masculinity in The Boy in the Dress, suppresses the protagonist’s subjective self. Walliams demonstrates this by exploring masculine reinforcement within the child’s family. When Dennis’s mother leaves home, his father makes a rule of ‘No crying. And worst of all- no hugging, (The Boy in the Dress, p.16). For Dennis, his father’s lack of emotion is a result of depression, (The boy in the Dress, p15). Fischer suggests that

men hardly disclose their personal feelings, and tend to conceal the expression of emotions like fear, sadness, shame, and guilt. This can be understood as a strategy to boost conventional masculinity.[4]

By repressing his feelings, Dennis’s father reinforces his masculinity to the detriment of his sons. The repercussions of his behaviour are installed in Dennis’s brother who tells that protagonist that, ‘Only girls cry,’ (The Boy in the Dress, p.17). Walliams demonstrates the effects that masculine reinforcement has on Dennis’s freedom of choice. When the protagonist is encouraged to try on Lisa’s dress, ‘he imagines for a moment what he would look like wearing it, but then told himself to stop being silly, (The Boy in the Dress, p.83). Identifying his discomfort, Lisa reassures him by saying she ‘love[s] putting on pretty dresses. I bet some boys would like it too. It’s no big deal,’ (The Boy in the Dress, p.83). This contemporary reaction to cross-dressing is a result of the ‘differences [that] have been found in the perceptions of men and women towards transgender behaviours and people. In general, women are more tolerant.’ [5]  Dennis however, is torn between what he desires and how he has been taught to behave, ‘Dennis’s heart was beating really fast- he wanted to say “yes” but he couldn’t,’ (The Boy in the Dress, p.83-84). Walliams criticises the Western construction of masculinity by showing Dennis’s oppression due to the masculine reinforcement he receives at home.

Unlike Walliams’s criticism of masculinity, Kenneth Grahame’s The Wind in the Willows, published in 1908 promotes masculinity in order to reinforce Western gender norms. The character of Toad is represented as a carefree independent and wealthy animal with a disregard for societal rules. Following his imprisonment for joyriding, Toad’s female prison guard suggests that he dresses as a washerwoman to escape, explaining that ‘You’re very alike in many respects – particularly about the figure,’ [6] The character’s genderless shape allows him the ability to disguise himself. Dress for Toad is one of the ways that he can outwardly expose his masculinity in addition to gender performance and reputation.   It is for this reason that he is delighted when the original washerwoman suggests she should be tied and up and gagged before he escapes as she wants to keep her employment, ‘It would enable him to leave the prison in some style, and his reputation for being a desperate and dangerous fellow untarnished, (The Wind in the Willows, p.80).  The word desperate in conjunction with dangerous reasserts Toads masculinity as he is proving not only that his cross-dressing is a necessary deviance but one that enhances his power. Moreover, whilst the cross-dressing incident is presented as humorous, ‘Toad’s behaviour simply reinforces the normative gender binary rather than engaging with the subversive function of the carnivalesque.’[7]  For Toad, cross-dressing is a way for him to misbehave and divert attention from his true masculine self and as a result, gender binary is reinforced.

Gender performance is a key trope in male cross-dressing literature and highlights preconceived assumptions of gender roles. In Mark Twain’s Adventures of Huckleberry Finn, published in the United Kingdom in 1884, the protagonist is encouraged to wear women’s clothing in order to obtain information. Huckleberry’s friend Jim suggests that Huckleberry ‘put on some of them old things and dress up like a girl?’[8] In this instance, the act of cross-dressing is a fun experience and supplemented by an illustration by E. W. Kemble. This shows Jim kneeling down behind Huckleberry and laughing, whilst Huckleberry looks over his shoulder grinning and posing in a feminine manner. Flannigan suggests that

male cross-dressing is used for comedic purposes. The male cross-dresser, adored in feminine apparel worn in such an inexpert manner that his true sex remains no secret is a well-established comedic strategy,’ (Flannigan, p.135).

Flannigan’s suggestion demonstrates the reaction that the cross-dressing male has on its audience but fails to address the problematic response. In order for the act of cross-dressing to be deemed as comedic, the implied reader must already assume that the male character is acting incorrectly according to his perceived gender role. Walliams identifies this problem in The Boy in the Dress, by raising the issue of female inequality and the difficulty of femininity. Lisa suggests to Dennis that it’s ‘Not easy being a girl is it?’ (The Boy in the Dress, p.124). Furthermore, cross-dressing Dennis discovers the difficulty of being a girl:

Remember to cross your legs when you are wearing a dress, and most importantly, Don’t catch the boys’ eyes as you may be more attractive than you thought! (The Boy in the Dress, p.138).

In the above quotation, Walliams explores some of the rules of femininity. Not only is he discussing the female etiquette of ‘cross[ing] your legs’ but also the ways in which girls are sexualised by boys. The exclamation at the close of the quote illustrates male dominance, as it is the female who must divert her eyes from the male. Moreover, when Dennis’s father asks his son if he enjoys wearing a dress, Dennis replies, ‘Well, yes, Dad. It’s just…fun,’ (The Boy in the Dress, p.167). The pause before ‘fun’ suggests that the protagonist is searching for the correct word that will console his father. Walliams is, however, criticising the way in which cross-dressing in literature for children is perceived as humorous. For Dennis, cross-dressing allows him the happiness that he normally suppresses whilst in his conventional male role, ‘He felt so happy he wanted to dance,’ (The Boy in the Dress, p.100). This then raises the question ‘why are girls allowed to wear dresses and boys aren’t? It doesn’t make sense,’ (The Boy in the Dress, p.175).  Dennis can see how illogical the typical Westernised view of cross-dressing is.

Sexual orientation is often explored in literature for children when a cross-dressing male is a main character.  In Terence Blacker’s Boy2Girl, written in 2004, Sam Lopez, is persuaded to cross-dress as part of an initiation into the Shed gang. The gang decide that Sam should go to his new school wearing girl’s clothes for five days. The novel is written with first person multiple narrators with the exclusion of the protagonist. This immediately demonstrates Sam’s lack of individuality. His first reaction demonstrates a common reaction to male cross-dressing, “You want me to be some kind of fruit?”[9]  Fruit or fruitcake is a common slang word that refers to a homosexual. [10] This association derives from the Victorian fin de siècle when ‘widespread contemporary fear[s] that perversion and deviation [from gender norms were] agents of degeneration.’[11]

This notion is also identified by Walliams in The Boy in the Dress when Dennis is caught by his Head Teacher wearing the orange sequined dress in school. The Head Master expels the boy and tells him ‘I am not having a degenerate like you in my school’, (The Boy in the Dress, p.163). Cross-dressing is often thought of as sexually motivated.  ‘Male cross-dressing is perceived as inherently sexual in nature (either in a fetishistic sense or in a homosexual context),’ (Flannigan, p.49). Sam’s reaction to cross-dressing in Boy2Girl demonstrates that the remnants of Victorian fear still remain. Similarly, in The Boy in the Dress, Dennis’s brother suggests that boys who read girls magazines are ‘Woofters!’(The Boy in the Dress, p.56), which is another popular term to describe the homosexual man. Whilst cross-dressing is identified as deviant behaviour in Walliams’s novel, Harrison suggests that cross-dressing can be referred to as:

“Gender Deviance” [which] simply refers to an individual who falls outside of our ordinary everyday understanding of male/masculine and female/feminine.’[12]

This critique raises the question of how the male child cross-dresser can be legitimately deemed as deviant when he is still in the early learning stages of his life and may not be fully aware of the Western gender ideology.

Walliams addresses gender ideology in childhood as problematic. In The Boy in the Dress, Dennis becomes bored due to his confinement within a socially constructed gender role. The word boring is mentioned eleven times throughout the novel and cross-dressing allows him to ‘feel like he [doesn’t] have to be boring Dennis living his boring life anymore’ (The Boy in the Dress, p.107).  This quotation illustrates the stifling effect that conformity has over the protagonist. Cross-dressing gives him a feeling of liberty. Walliams demonstrates this freedom through a change in narrative voice, from the third person to first, ‘I can be whoever I want to be,’ (The Boy in the Dress, p.107).  The ‘I’, allows the character independent thought, whilst the repetition of ‘be’ gives him freedom of choice and finally ‘whoever’ is gender neutral.  The action of cross-dressing gives Dennis insight into life without gender conformity and he tells ‘Lisa I want to thank you for opening my eyes’, (The Boy in the Dress, p.207). Walliams is teaching the reader that gender should not be defined by what one wears.

The idea of gender neutrality is found in Adventures of Huckleberry Finn, the author demonstrates Huckleberry’s non-conformity due to his preference of wearing no clothes and his inability to accept and conform to civilisation:

We was always naked, day and night,[…] the new clothes Buck’s folks made for me was too good to be comfortable, and besides I didn’t go much on clothes, nohow, (Adventures of Huckleberry Finn, Para.3 of Chapter 19).

In the above quotation, Twain demonstrates Huckleberry’s relaxed nature and how he is comfortable in himself without the stifling effects of clothing. In addition, the author points out that adults are a child’s source of clothing, therefore limiting their independence. Huckleberry’s nakedness makes him gender neutral as opposed to conforming to socially constructed masculinity.

Cross-dressing in literature for children is often used to either reinforce societal gender norms or criticise them. Walliams, however, demonstrates that cross-dressing simply means a person who does not conform to Western dress codes. Dennis identifies this in his Sikh friend because he is ‘the only one who [wears] a patka,’ (The Boy in the Dress, p.63). Dennis asks, ‘Do you feel different Darvesh?’(The boy in the Dress, p.63). The emphasis on the italicised ‘you’ alters the tone of the question suggesting that Dennis is aware of segregation due social conformity of dress. Darvesh’s reply allows Walliams to highlight how otherness is socially constructed; ‘When mum took me to India at Christmas to visit Grandma I didn’t at all. All the Sikh boys are wearing them,’ (The Boy in the Dress, p.63). Walliams is demonstrating how alienating clothing can be for children, not only in gender but also within a cultural context.

Walliams, at the end of The Boy in the Dress, addresses exclusion or ‘othering’ due to societal control over children’s dress. In order to include Dennis in the football match after his exclusion from school, the full football team dress in women’s clothing. Suddenly ‘There was a huge cheer from the crowd’, (The Boy in the Dress, p.192). Walliams normalises the act of cross-dressing to demonstrate that exclusion due to gender or cultural dress is unnecessary. The final message in the novel serves to convince the reader that clothes are irrelevant to gender;  Dennis notices a red jacket coming towards him ‘And then the red jacket turned into a man,’(The Boy in the Dress, p.196).This defies the contemporary Western ideology of gender binary through dress.

I found that many of the authors wanted to demonstrate the effects of socially constructed gender. In The Boy in the Dress, this meant that the protagonist felt alienated through his family’s masculine reinforcement. Both Walliams’s novel and Blacker’s Boy2Girl, highlight the discrimination towards the cross-dressing male, which illustrates an out of date notion of homosexuality being linked to dress. Twain aimed to deconstruct the gender binary by presenting a character that was not affected by gendered clothing, whilst Grahame used the act of cross-dressing to reinforce gender binaries. Humour was a trope in all of the novels which was a result of inadequate gender performance, however, this highlighted that gender is socially constructed and therefore, unnatural. Not only did Walliams attempt to deconstruct the notion of the gender binary and demonstrate how emotions are similarly gendered, he also encouraged his reader to believe that clothing is irrelevant to gender. The originality of Walliam’s novel arises from his exploration of feelings surrounding gender and gendered dress and how these restrict individual freedom and result in segregation.

 

Bibliography

Adams James Eli and Millar Andrew H, Sexualities in Victorian Britain (U.S.A: Indiana University Press, 1996)

Blacker, Terence, Boy2Girl (Oxford: Macmillan Children’s Books, 2004)

Bolich, G.G, PhD. Today’s Transgender Realities: Crossdressing in Context (North Carolina: Psyche’s Press, 2007)

Fischer, Agneta, Gender and Emotion: Social Psychological Perspectives (Cambridge: Cambridge University Press, 2000)

Flanagan, Victoria, Into the Closet: Cross Dressing and the Gendered Body in Children’s Literature and Film (Oxfordshire: Routledge, 2011)

Grahame, Kenneth, The Wind in the Willows (London: HarperCollins Publisher, 1908)

Harrison, Kelby, Sexual Deceit: The Ethics of Passing (Plymouth: Lexington Books, 2013)

Nangeroni, Nancy, in Into the Closet: Cross Dressing and the Gendered Body in Children’s Literature and Film, ed. by Victoria Flanagan (Oxfordshire: Routledge, 2011)

Sedler, Victor J. in The New Politics of Masculinity: Men Power and Resistance ed. Fidelma Ashe (Oxon: Routledge, 2007)

Steen, Edwin B. and Price, James. H, Human Sex and Sexuality (London: Constable and Company, 1988)

Twain, Mark, Adventures of Huckleberry Finn (New York: Charles L. Webster and Company)

Walliams, David, The Boy in the Dress (London: Harper Collins, 2008)

[1] Nancy Nangeroni, in Into the Closet: Cross Dressing and the Gendered Body in Children’s Literature and Film , ed. by Victoria Flanagan (Oxfordshire: Routledge, 2011), p.258.
[2] Davis Walliams, The Boy in the Dress (London: Harper Collins, 2008), p.11.
[3] Victor J. Sedler in The New Politics of Masculinity: Men Power and Resistance ed. Fidelma Ashe (Oxon: Routledge, 2007), p.111.
[4] Agneta Fischer, Gender and Emotion: Social Psychological Perspectives (Cambridge: Cambridge University Press, 2000), p.173.
[5] G.G. Bolich, Ph.D. Today’s Transgender Realities: Crossdressing in Context (North Carolina: Psyche’s Press, 2007), p.271.
[6] Kenneth Grahame, The Wind in the Willows (London: HarperCollins Publisher, 1908), p.79-80.
[7] Victoria Flanagan, Into the Closet: Cross Dressing and the Gendered Body in Children’s Literature and Film (Oxfordshire: Routledge, 2011), p.143.
[8] Mark Twain, Adventures of Huckleberry Finn (New York: Charles L. Webster and Company), para. 9 of Chapter 10.
[9] Terence Blacker Boy2Girl (Oxford: Macmillan Children’s Books, 2004), p.44.
[10] Edwin B. Steen and James H.Price, Human Sex and Sexuality (London: Costable and Company, 1988), p.297.
[11] James Eli Adams and Andrew H. Millar, Sexualities in Victorian Britain (U.S.A: Indiana University Press, 1996), p.97.
[12] Kelby Harrison, Sexual Deceit: The Ethics of Passing (Plymouth: Lexington Books, 2013), p.9.