Spirituality and Death from a Child’s Perspective in David Almond’s Skellig Antti Korpinen University of Tampere School of Modern Languages and Translation Studies English Philology MA Thesis May 2010 Tampereen Yliopisto Englantilainen filologia Kieli- ja käännöstieteiden laitos KORPINEN, ANTTI: “Spirituality and Death from a Child’s Perspective in David Almond’s Skellig” Pro Gradu -tutkielma, 91 sivua Kevät 2010 Tutkielman tarkoituksena oli selvittää, miten kuolema ja henkisyys esittäytyvät lapsille David Almondin teoksessa Skellig (1998). Lähestyn aihetta lapsen kognitiivisen kehityksen kautta pohjaten näkemyksiäni ennen kaikkea Jean Piaget’n teorioihin. Tarkoitukseni on selvittää, millä tasolla kirjan noin 12-vuotiaat päähenkilöt pystyvät käsittelemään kuoleman ja henkisyyden kaltaisia, käsitteellistä ajattelua vaativia aiheita. Noin 12 vuoden iässä lapsi aloittaa kognitiivisen kehityksen neljännen ja viimeisen vaiheen. Tämän vaiheen aikana hän oppii käsitteellistämään asioita. Sekä kuolema että henkisyys ovat hyvin monitahoisia käsitteitä. Niitä voi jopa pitää mystisinä asioina, koska nykyihminen ei ole vielä täysin pystynyt selittämään niitä. Vaikka kuolema on fyysinen tapahtuma, mutta se esittää ihmiselle metafyysisen ongelman ennen kaikkea siinä, että me emme voi varmuudella tietää, mitä ihmiselle kuoleman jälkeen tapahtuu. Henkisyyden kautta ihminen pyrkii ymmärtämään elämän merkitystä ja tarkoitusta. Tällaisen ymmärryksen saavuttaminen vaatii ihmiseltä kykyä nousta itsensä yläpuolelle. Huipussaan henkisyys onkin itsensä kokemista erottamattomana osana toista tai jotain suurempaa yhteyttä. Sekä kuolema että henkisyys ovat länsimaissa varsin vaikea puheenaihe. Lastenkirjallisuudessa nämä kaksi teemaa ovat kuitenkin – tavalla tai toisella – varsin yleisiä aiheita. Skellig-kirjassa niitä käsitellään kuitenkin poikkeuksellisella tavalla. Kuoleman käsitettä ei pyritä vääristelemään tai pehmentämään. Henkisyys ei puolestaan tarkoita tietyn uskonnollisen opin saarnaamista. Pikemmin nämä kaksi teemaa voidaan nähdä kirjassa asioina, joiden kautta ja joiden avulla lapsi voi kasvaa kokonaisvaltaisesti toimivaksi nuoreksi. Tutkielmassa päädyn siihen päätelmään, että kirjan 12-vuotiaat päähenkilöt pystyvät ymmärtämään kuoleman käsitteen älyllisesti, mutta vanhempien ihmisten tavoin he voivat pitää kuolemaa tunteellisesti vaikeasti hyväksyttävänä asiana. Toinen keskeinen päätelmäni on se, että 12-vuotiaan käsitys henkisyydestä ja uskonnollisuudesta on monesti vastavuoroinen. Tästä johtuen hän saattaa pyrkiä tekemään hyviä tekoja ansaitakseen vastapalveluksen. Tämä voi johtua myös siitä, että tässä kognitiivisen ja hengellisen kehityksen vaiheessa lapsi ymmärtää, että elämä on sellainen, minkälaiseksi hän itse sen tekee. Asiasanat: lapset, lastenkirjallisuus, kuolema, henkisyys, uskonnollisuus TABLE OF CONTENTS 1 Introduction......................................................................................................................1 2 The development from concrete to abstract understanding.............................................7 3 The concept of death.......................................................................................................11 3.1 Death and its subcomponents..................................................................................12 3.2 Death and society....................................................................................................14 3.3 Death in children’s literature...................................................................................15 3.4 How a child perceives death....................................................................................18 3.4.1 Reactions to death and the prospect of death inSkellig...................................19 3.4.2 Introducing the reality of death and the possibility of afterlife to children.....26 3.5 A child’s understanding of healing powers.............................................................29 4 Spirituality........................................................................................................................33 4.1 Defining spirituality..................................................................................................34 4.2 Spirituality and the Western world...........................................................................38 4.3 Representations of spirituality in Skellig...................................................................42 4.3.1 The angel myth..................................................................................................47 4.3.2Skellig, symbolism and William Blake..............................................................60 4.3.3 Dance of life: the apex of spiritual development in Skellig...............................67 4.4 Religious fairy tales –m eans to an end?...................................................................70 5 Conclusion.........................................................................................................................73 Bibliography.........................................................................................................................82 1 1 Introduction In this thesis I am going to study how spirituality and death are represented in David Almond’s novelSkellig (1998). In today’s world the concepts of spirituality and death are two of the few concepts that could still be considered as some sort of mysteries. Essentially, these two concepts are something that science has not yet been able to explain fully. Even though I study these concepts in their respective chapters, it is worth emphasising that a person’s spirituality strongly affects his/her attitude to death. It might be fair to say that in the face of approaching death (either with old age or terminal illness) a person’s attitude to spirituality can also change distinctly. Thus it is obvious that the two concepts are interconnected on a profound level. Although both spirituality and death are concepts that are universal and human, both of these concepts can be regarded as taboo to some extent. In no other situation is the dread of death more evident than with adults who often try to protect children from the unpleasant fact that eventually, either with terminal illness, accident, old age or something else, we will all face death. It is understandable that adults think that such a revelation might be too much for a child to handle and might result in anxiety and fear of death. With the media feeding us different, often either the most brutal or the most fantastical images of death, children’s eventual questions about death will have to be answered honestly. Most importantly, it is crucial that adults would not try to make our society seem deathless to children, because it is not. After all, research indicates that children can learn to understand death even at a young age, as long as it is presented to them in terms and language they can understand. Adults should not excessively simplify, let alone fable or anthropomorphise the concept, however. Unless children are given a truthful presentation of death, they can develop misconceptions about death which can lead to anxiety or even fatal 2 misconceptions.1 In addition to death, spirituality, too, is a concept which is often considered too delicate and complex for children to understand. In the largely Christian Western world where children are often baptised at a very young age, spirituality and religion, as regards children’s capability to understand them, would seem to be a difficult subject to discuss. Understanding spirituality in general terms, as well as experiencing a religious awakening, calls for a certain level of cognitive development, because one has to be capable of thinking in abstract terms and to make assumptions without tangible evidence. Skellig is David Almond’s first novel for children. The book is set in England and it tells a story about a 12-year-old boy named Michael who moves into a new house with his family. When the family is settling into their new home, which is in great need of repair, Michael’s mother goes into labour prematurely. Soon afterwards Michael’s newborn baby sister is diagnosed with a serious heart condition and has to fight for her life. Back at home Michael finds a strange human-like creature in their derelict garage. This creature is also in a bad shape and at first not even willing to participate in his own possible recovery. With his new neighbour, a home-schooled girl named Mina, Michael spends most of the book trying to help and nurture this creature who eventually tells the children to call him Skellig. In one of the novel’s fantastical turns, the children find out that there are something like wings on Skellig’s back. As Skellig recovers and Michael’s sister survives a difficult heart surgery, both the child characters of the novel and the readers are left wondering about the question we often ask, amazed by existence: Isn’t life strange? David Hay (2003, 1) asks a relevant question: “Compared with what?” First and foremost Skellig is a story about growth. The novel’s 12-year-old protagonist Michael stands on the threshold of becoming something new. Not only is a child2 at the beginning of puberty experiencing many physical changes, but their thinking also changes. 1 For example, the euphemism “eternal sleep”m ay lead to a child becoming afraid of sleeping, whereas watching a tv-series where a person is shot but returns back to life may lead to a child thinking that death can be reversed. 3 This is why I am going to approach the text from the angle of development psychology. The cognitive development from concrete to abstract understanding serves as a backdrop for the main themes of the thesis: development of spirituality and understanding of death. Chapter two, which deals with cognitive development, rests largely on the theories of Jean Piaget. If the main theme in the novel is growth, one of the novel’s two key concepts is death, which will be discussed in chapter three. With the help of cognitive development theories, I will try to answer the question of how children’s understanding of death develops as they become older. In order to understand the concept of death more profoundly, I will divide it into four subcomponents. I will also discuss how death is perceived in Western societies, because to a great extent the way children will perceive death depends on how people around them perceive death. Death is not an unusual topic in children’s literature, but I would argue that there is something unusual about how death is represented in Skellig. Therefore representations of death in children’s literature will also be discussed. As we approach chapter four, which deals with spirituality, I will briefly discuss the ways children perceive different healing powers and the possibility of afterlife. The second of the two key concepts inSkellig is spirituality3. In chapter four I will study how Michael and Mina, the approximately 12-year-old child characters of Skellig, represent spirituality. With the help of theories on spiritual development, especially theories by Jean Piaget4, I will also discuss how children’s spirituality tends to develop. This will lead us to the important question of how and why the spirituality represented by the children differs from the spirituality of adults. First we need to answer the question, what spirituality is. This proves to be no easy task. Holmes (2007, 24) states that spirituality is a concept which “by its very 2 In this thesis, the word ‘child’w ill be used to refer to the pre-teen main characters of the novel. 3 Religion will be dealt as a subordinate concept for spirituality. It will be argued, however, that inSkellig the line between these two concepts is as fine as it can be. 4 Piaget does not explicitly talk aboutspiritual development. Rather, the concept of cognitive development is used. This is a field of particular interest, as it includes the theory on the development of a child’s abstract thinking, which is essential to spiritual development. 4 nature” might well defy “any single definition.” This is why Hyde’s (2008, 23) notion of “describing rather than defining spirituality”b ecomes important for this thesis. Sperry (2001, 21–25) sees that human experience has five basic dimensions: psychological, social, moral, somatic, and spiritual,”w ith the spiritual dimension at the very core of human experience. Levitt (2005, 62) divides spirituality into cognitive, experiential and behavioural aspects. An important cognitive aspect is the search for meaning and purpose. Experiential aspects refer to human emotions such as love, connection and inner peace. Behavioural aspects include the ways a person manifests his/her spiritual beliefs and inner spiritual state – for example by subscribing to a specific, dogmatised spiritual view, i.e. an organised religion. However, Levitt (2005, 62) emphasises that “spiritual awareness is not necessarily associated with a belief in a supreme being.”H yde (2008, 32) separates the spiritual into five competencies, which largely crystallise into the notion of transcendence, the ability to surpass the self. Most of the writers would also seem to agree with David Hay (paraphrased by Martin W. Ubani 2003, 19) in that spirituality is innate rather than learned or developed. Indeed, Hyde (2008) maintains that spirituality is a natural human predisposition. It is argued that the “spiritual history of the human species is at least 70,000 years old”( Hyde 2008, 24). This thesis largely focuses on how children view and express spirituality. Like with the concept of death, I would argue that also the ways in which children perceive spirituality are to a great extent affected by the society. Therefore I will study how spirituality tends to be perceived in the Western world. At times, the waySkellig represents spirituality could be said to border on the religious. Even though I would argue that, in the traditional sense, Skellig is not a religious children’s book, I will discuss the possibility of stories like Skellig having a propaedeutic effect on children’s capability of receiving Biblical stories and even on children’s indoctrination into religious institutions. It could be asked, in fact, whetherSkellig is a conventional children’s book to begin with. The complex angel-like character of Skellig invites a lengthy discussion of the history of 5 angels in this thesis. In an unusually complex way, the poetry and esoteric views of William Blake are also incorporated into the story. Maria Nikolajeva (1998, 233) points out that the classic way of reading traditional children’s literature is to look there for morals and educational values. With some of the children’s literature from past decades it would seem, however, that we need a new way of approaching children’s literature. According to Nikolajeva (1998, 233) “we see clearly a shift in recent children’s literature from mimetic toward the symbolic approach to artistic representation.”T aking into consideration the number of intertextual references and the use of symbolism and metaphor in Skellig, it would seem obvious that the novel is not trying to preach moral and educational guidelines to its readers like a traditional children’s book. By the end of the book the readers –c hildren as well as adults – are likely to have learned something, however. Like for Michael, I would argue that the lesson the readers learn from the book is the one of learning to know themselves a bit better – perhaps even learning self-transcendence. Since its publicationSkellig has received some academic attention. A study which comes closest to mine is Laura Salonen’s recent MA thesis “‘The World’s Full of Amazing Things’: Death and Spirituality Represented to Children in E.B. White’s Charlotte’s Web and David Almond’s Skellig”( University of Tampere, 2008) which deals with some of the same topics that I will be discussing in my thesis, but approaches the topics from a different perspective. Salonen’s thesis also lacks any significant discussion on religious myths, the angel myth, in particular. Unlike my thesis, Salonen’s thesis is a comparative study which includes Skellig and E.B. White’s Charlotte’s Web. Despite the differences, however, I owe the discovery of some useful secondary sources to Salonen’s work. It is likely that there are other MA level theses on Skellig written elsewhere, but unfortunately it is rather difficult to track them. Salonen’s thesis aside, I was able to find out that academic research has been done on Skellig focusing on the inter-relationship between the real and imaginary (Joan Webb 2006), 6 the themes of children and salvation (Michael Levy 2003), the novel as a response to the debate between Christian views of creation and Darwin’s theories of evolution (Susan Stewart 2009), intertextuality (Don Latham 2008), magical realism (Latham 2006b), and the novel as a representation of contemporary risk society (Elizabeth Parsons and Elizabeth Bullen 2007). Unfortunately I was not able to get hold of Webb, Levy and Stewart’s works, as they might have helped me to a better understanding of the novel’s spiritual and fantastical aspects. 7 2 The development from concrete to abstract understanding In this chapter I am going to discuss the cognitive development of a child, especially the development from concrete to abstract understanding. This phase in the child’s development is crucial to this thesis, as I am interested in seeing how a child of approximately 12 years of age will understand the concepts and experiences of spirituality and death, two rather abstract concepts. Before moving on to studying those concepts, I will try to give a brief yet accurate summary of the theory of cognitive development, which will largely rest on the theory developed by Jean Piaget. As pointed out in the introduction, Skellig is a novel about growth. It is also about threshold and learning experiences. In the following chapters, chapter 4 in particular, I am going to discuss the sort of learning and development that includes the more intuitive element of a ‘leap of faith,’b ut in this chapter I will focus on the more theoretical side of child development psychology. Resting largely on theories developed by Jean Piaget, I will show that the protagonists of Skellig, Michael in particular, represent accurately the sort of changes and behaviour one should expect from a child of approximately 12 years of age. For example, after Michael has been caught on one of his nightly wanderings to see Skellig – the outing for which Michael makes up the excuse of sleepwalking – his inner changes, the more physical ones and perhaps also the cognitive ones, are acknowledged by the character Michael refers to as Dr. Death: “‘It’s a difficult time,’h e [Dr. Death] said. ‘Everything inside you’s changing. The world can seem a wild and weird place. But you’ll get through it’”( Skellig, 124). It is not surprising that it is Dr. Death, a man of science, who makes this comment after raising his eyebrows when hearing the explanation about sleepwalking, because as a doctor he would know about and have strong faith in physiological and psychological development theories. The more spiritual and non-scientific side of human development does not fit into his thought patterns, which is why he tries to explain Michael’s behaviour in terms of physiological