“A Very Old Man With Enormous Wings” by Colombian writer Gabriel Garcia Marquez is sometimes subtitled “A tale for children”. This short story reminded me of middle grade novel Skellig by British author David Almond. Sure enough, Almond has said in interview that he was influenced by the 1960 Colombian short story, and others have already looked into the relationship between the two.
What does it mean for a short story to be ‘for children’?
How is the story structured?
What do I get out of this story and how are its themes relevant today?
Letter to Momo is a 2011 Japanese feature anime directed by Hiroyuki Okiura, also known for Ghost In The Shell. After the oceanographer father drowns in a disaster at sea, mother and daughter move from Tokyo to the small island village where the mother spent holidays once per year with her aunt and uncle to recuperate from her asthma as a child. Creatures from Japanese folklore appear to guide young Momo through the grieving process, in this story intimately connected to Japanese Buddhist and Shinto traditions.
Hayao Miyazaki’s Ponyo is a feature-length anime which makes heavy use of myth and symbolism but is aimed squarely at a young child audience.
Dani Cavallaro, in Magic as Metaphor in Anime: A Critical Study describes Ponyo as ‘an intimate bildungsroman’ and writes:
Sousuke’s developmental journey begins with his rescue of a plucky little goldfish that has run away from her underwater home and is desperately keen on becoming human (presumably unaware that such a status is by no means unproblematically advantageous), whom the boy calls Ponyo, vowing to protect her at any price. At the same time, the anime’s intimate mood is reinforced by its close focus on domestic life and the little boy’s relationship by its close focus on domestic life and the little boy’s relationship with his mother Lisa. The bildungsroman dramatized in Ponyo concentrates concurrently on two interrelated journeys. One of these addresses the human protagonist’s emotional and intellectual development as he negotiates the various complications attendant on his relationships not only with the heroine and the marine domain she comes from but also his caring mother and often absent father. The other focuses on Ponyo’s evolution from the moment she decides to abandon her father’s protected abode and explore the outside world with all its unforeseeable wonders and perils.
Food usually has its own starring role in the setting of Miyazaki movies.
The feast that turns the parents into pigs in Spirited Away, then the steamed red bean buns and the sponge cake scene
“Goodbye My Brother” is one of John Cheever’s best known short stories. In fact, it was this story which contributed to Cheever’s receiving his Guggenheim Scholarship. Cheever returned time and again to the dynamic of an uneasy relationship between two brothers. The relationship is always a metaphor for something bigger.
I prefer the nihilist brother Lawrence, nick-named ‘Croaker’. He may have a tendency to point out the downside of any situation, but he is nonetheless right. When he notes that making improvements on a house near the coast is futile due to erosion from the sea, I’m reminded of that very modern division that can occur between family members at gatherings: Those who worry about climate change and rising sea levels versus those who insist that any climate change is a natural phenomenon and nothing at all to worry about. No matter the era, there will always be somewhat of a clash between pessimists and optimists; that’s what make this story timeless.
After reading “Goodbye, My Brother”, I suspected there was far more below the surface. Sure enough, after reading Peter Mathews’ essay A Farewell to Goodbyes: Reconciling the Past in Cheever’s “Goodbye, My Brother” I realise that in order to really understand Cheever you would ideally have an understanding of mythology, the history of religion, and a keen eye for symbolism. I’m sure I could keep digging into this one until I reached China.
WHAT HAPPENS IN “GOODBYE, MY BROTHER”
The Pommeroy Clan gathers at the family’s summer house, built in the 1920s on an island off the coast of Massachusetts. The four grown children and their families join their widowed mother for this summer ritual. This is a special gathering as they haven’t seen Lawrence in four years. Unfortunately, Lawrence has a reputation for putting a downer on proceedings, and sure enough, he starts to piss off the rest of the family by pointing out the negatives and refusing to be a ‘joiner’.