By Astrid Lindgren
Tiny Seacrow Island is considered one of hundreds and hundreds of islands within the glowing blue of the Baltic Sea. notwithstanding small, it has every thing you'd wish in an island: woods to wander in, plant life to select, fish to seize, boats to sail in, all types of animals. however it doesn't have very many youngsters. So whilst the 4 Melkerson teenagers and their father stream into Carpenter's Cottage one June day, they're instantly welcomed through the imaginitive islanders: Johan and Niklas Melkerson, at twelve and 13, are normal partners for adventurous Freddy and Teddy (girls precisely their age); dreamy Pelle, the child of the family members, will get as much as difficulty with bossy Tjorven and fanciful Stina; and ever-responsible Malin, who at nineteen takes care of her scatterbrained father in addition to her brothers, catches the attention of all of the island's younger males. earlier than lengthy Seacrow Island and Carpenter's Cottage (tumbledown and leaky although it can be) became a true domestic for the Melkersons.
Seacrow Island is a impressive tale, packed with sweetness and sorrow, humor and suspense, and peopled with the bright, unforeseen, splendidly successful characters we've come to anticipate from the writer of the unforgettable Pippi Longstocking.
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Additional resources for Seacrow Island
25 As I shall demonstrate, however, Kingsley’s, and later Buckley’s, appeal to wonder through the motifs and characters of the literary fairy tale constitutes more than just a reduction of scale. Unlike Gosse’s approach to nature in his Romance of Natural History, their use of fairies and fairy-tale motifs to enhance the beauty and wonders of the natural world is also, I will argue, a means of dealing with tensions, in particular those related to the crisis of faith which followed the publication of Darwin’s On the Origin of Species.
H. Huxley (1825–95) and John Tyndall (1820–93), refuted the idea that science had moved away from imagination: reason and imagination must be combined. Hence Huxley’s description of the new vision of science as 36 Fairy Tales, Natural History and Victorian Culture a ‘Cinderella’, giving Theology and Philosophy the roles of the ugly sisters: In her garret, she has fairy visions out of the ken of the pair of shrews who are quarrelling downstairs. 89 Huxley’s Cinderella is typical of the ways in which fairies were used in the second half of the nineteenth century both to call attention to the importance of imagination and – as popular science books on natural history make clear – to quiet fears related to scientiﬁc materialism.
The tales, ﬁguring animals, birds or insects, anthropomorphized them humorously, offering fantasies poles apart from earlier dry didacticism. Among the Victorian writers who attempted to explain natural history to children, Charles Kingsley, Arabella Buckley, Margaret Gatty (1809–73) and Charlotte Yonge (1823–1901) are the most signiﬁcant. Kingsley’s Madam How and Lady Why (1870) celebrates in the preface John Aikin and Anna Laetitia Barbauld’s Evenings at Home, a collection of narratives combining natural history and more ‘scientiﬁc’ topics, such as chemistry or astronomy, with poetry and moral stories.