Rabbit Holes, Wardrobes, and Magical Doors—escaping into better worlds with sf/f
When I heard McGuire say that as a child she loved stories where the child protagonists went to a magical world where they became heroes and warrior-princesses and the like, but was always so angry that they then had to go back home, I was nodding emphatically in agreement. I wanted to get lost in the misty woods and find myself caught in a war between goblins and elves. Or go around a bend on a lake shore and find myself face to face with a giant beetle who greeted me and told me we had to run because danger was coming and so forth.
Except I didn’t want to have to come home again after the first adventure was over. The other world was so much better than the real world. I recall one time when I asked a teacher I trusted why the stories always ended there, she wasn’t very understanding. “Wouldn’t you rather be home with your mom and dad and all your friends?”
She didn’t know what to say when I asked, “What friends?” I didn’t add that if I could run away and never see my father again I would be the happiest boy in the world. This isn’t to say that I never had friends as a child. But being the kind of kid who was always quickly labeled a sissy (or worse words) and a weirdo whenever new kids met me, combined with the number of times we moved because of my dad’s work in the petroleum industry (ten elementary schools across four states), I never had a lot of friends. This particular conversation happened less than two months after we had moved yet again, and I hadn’t yet really found a friend at the new place.
Another time that I told someone how much I wished I could live in one of those magical worlds, the person tried to convince me that the things which seemed like an adventure would not be fun. “Real monsters aren’t just scary, they actually hurt you.”
I had learned through multiple experiences that if I told such adults that I already lived with exactly the kind of monster who actually hurt you that I would be disbelieved at best. Because the kinds of adults who will see a ten-year-old with stitches and multiple contusions on his face and one arm in a sling, look that kid in the eyes, then lecture him that if he was just more well-behaved his father wouldn’t do these things to him not only don’t know what monsters are—they enable monsters.
That reality is precisely why portal fantasies appealed so strongly to me as a kid. And why the endings were always so frustrating.
Let’s pause a moment to go over some terminology. A portal fantasy is a story in which people from our mundane world enter into a different, fantastical world, through a portal of some kind. Classic examples are falling down a rabbit hole in Alice’s Adventures in Wonderland, or through the enchanted wardrobe in The Lion, the Witch, and the Wardrobe, or carried off by a tornado in The Wizard of Oz, or being injured and losing consciousness to wake up elsewhere as in the Thomas Covenant books.
A portal fantasy is different than an immersive fantasy, where all of the action occurs within the fantastical world and there are no characters who come from the mundane world. Think of Lord of the Rings or The Last Unicorn or any of the Conan the Barbarian stories. It is also different from an intrusive fantasy, where magical/fantastic creatures somehow come into what otherwise appears to be our mundane world—sometimes the narrative assumption is that the magic has been there all along, but for whatever reason most of us are unaware of it and thus don’t believe in it. Think of Dracula or Harry Potter and the Philosopher’s Stone or A Wrinkle In Time.
The particular appeal of the portal fantasy for a kid like me is that in the fantastic world, I would have options that aren’t available to me in the real world. I didn’t see how any of the monsters and evil overlords in the fantasy books were worse than things my father (and the whole structure of society that enabled child abuse) did to me. As a kid, I may not have really understand the concept which is summed up by the old adage, “Better the devil you know than the devil you don’t,” but there was one thing that the protagonists of the portal fantasies had that I didn’t have in the real world: agency. The kids transported to the magical kingdom may have been put in perilous situations, but they weren’t powerless.
It wasn’t just when I was a young child that other people critiqued my enjoyment (and enthusiastic recommendations) of portal fantasies. In my teens and later, an additional critique was added: “You just want a happy ending.” This was usually served with a heaping helping of cynicism about how happy endings don’t exist in the real world, and people who don’t understand that are defective in some way. All of that judgmental cynicism is also the foundation of critiques (that often comes from certain people who call themselves fans of sf/f) which dismiss many works of speculative and fantastic fiction as merely fan service.
I have two responses to this line of argument.
First, go back up and re-read the bit about having to survive beatings from my dad that led to hospital trips. I suspect I know far better than the people who make the happy ending argument just how bad the real world can be. And I survived that. And you better believe that part of the reason I survived it is because fantasy books helped me to imagine a life where the monsters could be conquered. That alone should justify the existence of so-called escapist literature.
For the second and more important response, let’s go back to the Wayward Children books and the author thereof. There are two things I’ve come to expect from a Seanan McGuire book:
- At some point in the story she will break my heart,
- By the time I get to the end, I will be holding my hands out (metaphorically) toward the author like a Dickensian urchin and will plead, “Please, may I have some more?”
And to be clear, I mean there are things that happen in the stories (not just this series) to the main characters that make me physically shed tears as I’m reading. Sometimes McGuire has left me sobbing uncontrollably with some developments that happen. Characters in her stories do not always get a happy ending. Many very unhappy things happen to them. So if all I wanted was happy stories where nothing bad ever happens, why do I keep reading her stuff (excitedly pre-ordering things when I can; and recommending the stories to others)?
Because I never get the feeling that she is doing it just to shock me. She never allows harm to happen lightly—even to the bad guys. Death never happens senselessly. By which I mean both that the bad things always makes sense within the world, but also because the bad things are integral to the plot. It always feels genuinely that she knows this pain and she understands it. These stories don’t sensationalize or revel in pain and suffering, they show pain because real people suffer things that hurt this much. In the real world, far too often the pain of many types of people is ignored, rationalized, and even celebrated.
I don’t want to celebrate pain. Celebrate the moments of happiness and love that characters seize despite misfortune? Yes, please!