WHAT IS REALISM?
There is a spectrum of how real-world a story feels. At one end we have naturalism, all the way through to about ‘speculative realism’, after which we’re in speculative fiction realm:
- NATURALISM — This term is often used interchangeably with realism, but if you want to talk about realism as a group of terms, naturalism is at the MOST realistic of these different types of realisms. Basically, any hint of romanticism is completely stripped away. The subject is neither idealised nor flattered. God is also kept out of it. The tone is generally pessimistic. Realism/naturalism emerged in the 1800s. Sometimes the difference between naturalism and realism depends on the subject matter. In realism the main focus is on the middle class and its problems. Naturalism often focuses on poorly educated or lower-class characters, and on themes involving violence and the taboo.
- SOCIAL REALISM — ‘Kitchen sink realism’. Draws attention to the middle class and its problems. Use the term ‘social realism’ when you want to be clear that you’re not talking about naturalism.
- SURREALISM — Describes the ‘super real’. See this post for more.
- MAGICAL REALISM — Lately there is a movement among Latinx people from South America to keep the term magical realism specifically for South American writers using magical realism to write stories about the South American experience of colonisation. The argument is that another word exists which we can use for every thing else — fabulism. While I have some sympathy for this view, the fact is, magical realism did not begin in South America, and there are many reasons for making use of magical realism in storytelling. I am happy to call it fabulism myself. Here is a list of fabulist children’s books. Fabulism is especially popular in literary middle grade fiction, and I’ve noticed literary agents and editors are constantly on the hunt for it, and keep complaining that true examples of magical realism rarely crosses their desk.
- ‘DIRTY’ REALISM — This is a concept coined by the Granta Magazine guy, who is actually an American who moved to England. So the term is used in England, whereas Americans might call it ‘minimalism’. Dirty realism describes a specifically North American way of writing in which the author focuses on the seedier, mundane, nasty bits of everyday life. A lot of these writers are white men — Richard Ford, Cormac McCarthy, Raymond Carver. But there are also some women. Take Carson McCullers, Annie Proulx. When you find dirty realism in a short story, it’s often called KMart Realism.
- METAPHYSICAL REALISM — There is a reality independent of humans’ conscious perceptions of it. The world is as it is and what humans think of it is irrelevant. If this describes your worldview, here’s your metaphysical realist card.
- SPECULATIVE REALISM — Okay, so are we still talking about realism now? This is a term suggested by a guy called Ramón Saldívar (an American professor and author) to describe work which is a hybrid between speculative genres and any of the different levels of realism. In children’s literature, the book American Born Chinese by Gene Luen Yang is a contender for speculative realism. American Born Chinese is an experiment in discussing minority racial identity through metaphor made possible through genre blending. The experiment leaves us ultimately with a parallel between a monkey god from folklore and a young adult American-born-Chinese in a realistic context. For more on that, see here.
REALISM IN CHILDREN’S LITERATURE
Bear in mind, children’s literature is a recent form of literature and emerged with the establishment of realism.
Many of the notes below are from Professor David Beagley, La Trobe University, Genres In Children’s Literature: Lecture 13: Realism In Fiction For Children, available on iTunes U
REALISM FOR MIDDLE GRADE READERS
My Girl (the film) is an interesting work to contrast with Bridge To Terabithia because the plot is very similar, and is about a girl and boy the same age. But the intended audience is adult.
Helicopter Man is another example of realism, aimed at upper primary school rather than high school aged reader.
Throughout the 20th century, British children’s literature is thought to have produced better and more lasting classic fantasy series than North America, which has leaned towards realism for longer.
Right around middle school, the fun books suddenly disappeared. Dreary realism replaced fantasy.Read Hatchet. Read Shiloh. Read Sounder. Read The House of Dies Drear. Read about kids in the Great Depression, whose dogs always die. Read about the gruesome fact of slavery. Read about Anne Frank in the attic. Today, class, we’ll be reading a graphic novel! […] it’s called Maus. No wonder I kept my nose buried deep in Dragonlance novels and The Collected Calvin & Hobbes. Eventually I accepted that the mark of serious, grown-up books was joy turning into woe. Merry old Gatsby is really a huge fraud who bites it in a swimming pool and no one cares but his neighbour. The end. Jake Barnes is living it up in Paris with Brett Ashley, but he got injured in the war and they can’t have sex, so… the end. The older I got the more books seemed to skip the joy part altogether—they just went from woe to more woe. The Joads are starving in the Great Depression so they head West but find that everyone else is starving too and then somebody dies in the back of a truck… the end. Frank and April Wheeler are hopeful suburbanites who dream of moving to Paris but then she gets pregnant and dies trying to give herself an abortion. The end!Why Children’s Books Matter
There is a certain kind of magic about realism in middle grade books, which is not magical at all, and not magical realism, either, but magic.
I think there’s a kind of kid for whom an adventure based in realism — even if it’s stretched almost to the breaking point of plausibility — is so much more satisfying than pure fantasy. Because I knew for sure that I was never going to end up communing with a gang of bugs inside the pit of a ginormous peach — and I loved that book, I did. I loved the Narnia books, too, and the Wrinkle in Time series. But I had a special fondness for stories that could actually happen. Which explains, I think, something about the plot of One Mixed-Up Night. It is certainly unlikely that two kids would spend the night alone in a massive Swedish furniture store. But it is not impossible. And I had spent enough time listening to my son Ben and his best friend Ava leafing through the IKEA catalogue to know that having the run of the place was high on their list of fantasies. Were they ever going to spend a semester at Hogwarts? Of course not. But IKEA! That was an actual place where we actually went. What if they ditched their parents? What if that stylish and birch-patterned world became their oyster? I mean, it wasn’t likely to happen. But it could…Catherine Newman
HIGH SCHOOL READERS
Realism tends to be aimed at the high school reader. It began in earnest with J.D. Salinger’s The Catcher In The Rye (1951) and has been followed by work from authors such as:
- S.E. Hinton
- Robert Lipsyte
- Paul Zindel
- Richard Peck. Peck sometimes writes realism, sometimes historical realism (e.g. The River Between Us), sometimes realism with a humorous, exaggerated touch (e.g. A Long Way From Chicago), sometimes he writes fantasy (e.g. his mouse stories).
- Norma Klein lived from 1938 to 1989 and wrote about ‘the things real kids cared about’.
- M.E. Kerr couldn’t find an agent for her realistic stories so became her own agent. She ended up with a lifetime award for her contributions to children’s literature. She wrote under a variety of different pen names.
- Norma Fox Mazer and Harry Mazer. Norma lived between 1931-2009. The husband/wife couple had four children and were teacher/writers. Although they both wrote the same sort of thing, they didn’t work together. Each has their own books. Harry was born in 1925 and died recently, in 2016.
- Robert Cormier. The Chocolate War initiated a new level of excellence in young adult literature but also unleashed a storm of controversy. (Cormier didn’t intend a YA audience, actually. He wrote it for a general audience and it was marketed as YA.) Gatekeepers felt the subject matter was too dark. Cormier followed up with I Am The Cheese and After The First Death, in the same vain, ignoring the naysayers. He continued to get darker over the 26 years of his writing career. He definitely influenced other authors, who started to do the same.
If you notice more realism coming out of America, that’s because realism in children’s literature is largely American, whereas a lot of the most beloved fantasy comes out of Britain.
Australia has its own examples of realism in children’s literature. Australian literature for adults tends to be described as ‘gritty realism’. Take Helen Garner for instance, or the work of Christos Tsiolkas, who sometimes writes about young adulthood. The TV adaptation of Barracuda has a distinctly YA feel about it — more so than the novel upon which it is based.
The Valley Between by Colin Thiel is about the author’s own life, growing up in the Barossa Valley.
ACADEMIC READING ON REALISM IN CHILDREN’S BOOKS
Only Connect. Sheila Egoff died in 2005 but was an enthusiast for the proper intellectual consideration of children’s literature. Being Canadian, she had a huge impact in Canada. (A Canadian literature prize has been named after her.)
John Foster, Ern Finnest, Maureen Nimon: Australian Children’s Literature, an Exploration Of Genre and Theme, 1995 looks at family stories and the ‘problem’ novel.
Perry Nodelman’s book The Hidden Adult is about adults who read children’s literature without reminiscing, for the reading experience. Nodelman looks at what the adults can find in the children’s literature and the serious intellectual ideas that are there for children to discard.
From Romance To Realism by Michael Cart was published 1996. The author is an expert in YA literature.
THE INNER AND OUTER REALITIES OF REALISM
In a binary, the two things represented each require the other. For example, evil needs good. Light needs darkness. Each defines the other.
There is an ‘inner’ and ‘outer’ reality. In realism, this idea of the inner world and outer world revolves very much around you as the reader. Whereas primary and secondary worlds are based around the text itself, inner and outer realities rely on the reader and what the reader knows about him or herself. Your inner reality is yours. No one can take it from you. Others can influence it, but only if you let them. The outer reality is anything you share with family, friends, people you know — the settings in which you find yourself, the actions that happen to you, the noises you hear, the dialogues you have with other people.
Fiction on the realism spectrum aligns the inner and outer realities and exposes them. In our real life interactions we rarely get a glimpse at the inner realities of other people because sharing inner realities depends on a lot of trust. But in a book you can share someone else’s inner reality — how they think, what they want, why they choose to do the things that they do.
THE INNER AND OUTER REALITIES OF FANTASY
In fantasy we start with the fantasy but then move strongly from the probable to the extraordinary. The extraordinary dominates. In fantasy, the inner reality is best related to the probable (primary world). The fantasy is related to the outer world.
In fantasy, a character’s outer reality is the focus of the story. A fantasy story is not so much about the actions of the fantasy world, but about the ideas that we have in our probable world. All fantasy works describe reality.
You’ll still read ‘probable’ and ‘extraordinary’ elements in a realist story, but in realism, readers will be able to imagine encountering these problems themselves. (Maintain the distinction between ‘possible’ and ‘probable’. In a realist story, something isn’t necessarily ‘probable’, but it must be ‘possible’.)
FEATURES OF A REALIST STORY
In a realist story, something must happen to disrupt the ordinary. This something must not leave the realm of likelihood. Characters have to be the sort of people you could know in real life.
The setting must be somewhere you could go. Bridge To Terabithia takes place an hour of two’s drive from Washington DC. The town in which they live may not be a real town, but it feels familiar. (Lovettsville, Virginia?)
The plot itself is often character driven.
But if the story is too mundane the reader is going to wonder what the point is. The Famous Five are a good example: These stories are now very dated. How come these kids are always on holidays? How do kids this age get so much freedom? Even young readers are now used to the realist tradition and have come to expect mimesis unless the setting is obviously fantastic.
Realist books can be didactic (not in a negative sense) in that we can ‘vaccinate’ our children by giving them a little dose of hardship in a fictional environment where they still have the safety of coming back out of the story. But this can lead to books which are so heavily didactic that they are a sermon: This is the way you ought to feel/behave, and if you don’t, the problem lies with you, the reader.
The problems in the stories must not be solved by adults. In fact the adults are quite often the cause of the problem, especially in YA. If not the direct cause, adults are opponents, setting the boundaries, setting the situations, causing the situation or by keeping information to themselves, leading to the children to jump to conclusions.
Plot: The sequence and plot structure of a realist story is pretty much the same as a fantasy story. That’s because all stories share an underlying basic structure.
The Hero: The main character is often a lonely outsider. A child hero might be new at a new school or looking for a friend or something like that. These stories are often formed around separation of some kind.
Theme: Justice is another common idea explored in realist fiction. What’s right? How do we decide what’s right? A big subset of the justice idea is, “When is it okay to lie?“
Voice: Realist stories are dramatic, but not melodramatic.
Tiff and the Trout is an Australian story set in Mount Beauty (not called that in the story). The main character’s parents are splitting up. The father is a mountain person and the mother is a beach person. This symbolises their separation and Tiff is caught between. This story is neither melodramatic nor especially traumatic. There is one moment where the mum’s new boyfriend takes her fishing. She almost drowns. Apart from that, it’s ordinary, everyday stuff but is a very good exploration and discovery of how Tiff feels, not how the parents feel. In the end Tiff must choose which of her parents she goes to live with.
Endings: There is also a reasonably positive resolution, but not necessarily happy-ever-after. Characters are able to move on.
POSSIBLE PROBLEMS WITH REALISTIC STORIES
If a reader hasn’t experienced a situation herself, the plot may feel a little bit exotic. ‘That’s not really going to happen to me’. The author can also accidentally promote stereotypical attitudes. In the case of Josie Alibrandi, it might be easy for readers to conclude, ‘This is how all people of Australian Italian background behave’. Likewise, when reading Parvana’s Journey, if would be easy to assume girls in Afghanistan are all like that.
In Looking For X, the MC’s brothers are both autistic. The girl tries to find another homeless person who witnessed something that happened so that her mother can keep the boys. Is that a little too far from a reader’s experience? Are all Canadian homeless people like this one?
When including modern slang/attitudes/brand names and so on, these things will date quickly compared to details in completely made up fantasy worlds. 15 years ago Specky McGee was a popular Australian series, but now the footballers mentioned in the stories are all retired. How current to make a realistic story? [Dated stories can make for very interesting historical documents.]
CONTROVERSIES THAT ONLY SEEM TO AFFECT REALISTIC CHILDREN’S BOOKS
How ‘problematic’ must the problem be? If a story is about sexuality or drugs or other grim realities, do the readers really need to know all about that just yet?
Perhaps this is because children tend to emulate the behaviours of viewpoint characters in books:
The findings from the study reinforce the idea that young children have an easier time exporting what they learn from a fictional storybook to the real world when the storybook is realistic. The leap from a fictional human to a real one is simply smaller than the leap from an anthropomorphic raccoon to a human.