Re-editing Enid
Not only are publishers, rewriting history in the name of rightspeak, editors are robbing an era of authentic voice.
Faint hope of that, considering other icons of popular literature are being remorselessly rousted out of their eras and contexts in the name of contemporaneity; Sherlock Holmes has been recast, ditto Bond, and now even Tarzan is getting a makeover. The fear is that eventually Enid Blyton’s jolly adventurous youngsters who got up to high jinks, had hearty ‘teas’ that featured thick ham sandwiches and ‘lashings of ginger beer’ may be forced to become cool dudes in unisex clothes, feasting on hamburgers and cola in the name of ‘updating’ .
But modifying a language to make it more attractive to children could, in fact, have unintended consequences. Would a classic Shakespearean line such as ‘Out upon thee, knave’ seem more logical to children if it is re-edited as, ‘Get out, you sod’ ? Or, instead , could it lead them to think that English is probably the most stodgy of languages as it has not evolved for 500 years? At least if arcane phrases like ‘jolly good’ and ‘what ho!’ — used to such great effect by P G Wodehouse to evoke the lifestyle of a certain time and class — can teach young readers to understand that cultures evolve as do languages, they would have a more realistic attitude towards whatever they speak at the moment.
Not only are publishers, in effect, rewriting history in the name of rightspeak, they are robbing an era of their authentic voice. In any case, when language is becoming alarmingly crude and graphic, if children can be persuaded to keep a modicum of anachronistic innocence for even a little while, even at the expense of political correctness, the world will be a gentler place!
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