THE FATHERLY IDEAL
Historian Bernard Wishy has noted that as paternal rule in the New England household faded in reality, it flourished a good while longer in story and myth. In popular advice books for parents of the 1830s written by Jacob Abbott, Samuel Goodrich, and others, “it was the mothers who were at the centre of home life, [but] in books for children written by the same authors, the father was clearly in control of the family. This difference,” according to Wishy, “is not surprising for it had not been decreed that the mother formally replace the father. She had, for the sake of practicality, stepped into roles in the nurture literature that the American father could not play well.” Under the new regime, not least of the mother’s primary duties was “to teach the child that he owed supreme respect, love and obedience to his father.”
— Minders of Make-Believe by Leonard S. Marcus
A case could be made that there are already plenty of flawed parents in young adult literature. Richie, from Rainbow Rowell’s Eleanor and Park immediately comes to mind. Is there a more despised character in YA? For me, no.
– Bryan Bliss
‘I hate him,’ Eleanor would say.
‘I hate him so much I wish he was dead,’ Maisie would answer.
‘I hope he falls off a ladder at work.’
‘I hope he gets hit by a truck.’
‘A garbage truck.’
‘Yeah,’ Maisie would say, gritting her teeth, ‘and all the garbage will fall on his dead body.’
— from Eleanor and Park
Fathers In Picturebooks
It’s common for a young boy in a picturebook to want to impress his father. This can even drive the plot, forming the ‘Desire’ part of the story structure (Desires to prove himself to his father).
Examples are the Spot books by Eric Hill and some of the Dr Seuss books — notably his first, And To Think I Saw It On Mulberry Street, in which a boy tries to impress his father by concocting an interesting story about what he saw on the way to school:
When I leave home to walk to school,
Dad always says to me,
“Marco, keep your eyelids up
And see what you can see.”
This desire line feels to me like a specifically masculine one; I can’t easily think of picture books (or even stories for older children) in which a boy or a girl must prove themselves to their mother. In storybook world, a mother’s unconditional love is taken for granted whereas that of a father must be hard won.
Fathers In Fairytales
‘There is hardly a tale in the Grimms’ collection‘ — argued the Grimm scholar and fairy0tale activist Jack Zipes, in 1995 — ‘that does not raise the issue of parental oppression.‘ And yet, ‘we rarely talk about how the miller’s daughter is forced by her father into a terrible situation of spinning straw into gold, or how Rapunzel is locked up by her foster mother and maltreated just as children are often locked up in closets and abused today.’
— Frances Spufford, The Child That Books Built
Fathers and Disney Fairytale Adaptations
“My Heart Belongs To Daddy”: Fathers, Bad Boys, and Disney Princesses
Fatherhood is a powerful force in Disney Princess films. Fathers bequeath nobility and exert influence over their daughters, whose marriages often effect the reproduction of economic capital. Even when the fathers of Princesses are absent, as in Snow White, Cinderella, and The Princess and the Frog, they instigate storylines: Snow White’s and Cinderella’s fathers marry cruel stepmothers, setting in train narratives in which the monstrous feminine is central. Angela Carter describes this scheme in her story “Ashputtle or The Mother’s Ghost,” where she reflects that in “Aschenputtel,” the Grimms’ version of the Cinderella story, the father is “the unmoved mover, the unseen organizing principle, like God.” In The Princess and the Frog, Tiana’s father has died by the time the story begins, but not before impressing upon Tiana the imperative of hard work, which, he promises, will enable her to “do anything you set your mind to.” Disney’s Sleeping Beauty features two fathers: Aurora’s father King Stegan and his friend King Hubert, who arrange the betrothal of Aurora to Prince Phillip, Hubert’s son. While the Sleeping Beauty scenario comprises the most explicit reference to practices of dynastic marriage in aristocratic families, all the Princess films strenuously advocate heterosexual romance and (with the exception of Pocahontas) marriage, so arguing for the maintenance of “traditional” social and economic orders.
from The Disney Middle Ages: A Fairy-Tale and Fantasy Past by Tison Pugh, Susan Aronstein