A box of dreams

The Box was of some very hard wood of a dense grain. It had been covered with shagreen, but the shagreen was black with age and sometimes worn away so as to show the wood beneath. Both wood and shagreen had been polished until they were as smooth as a polished metal.
— From Chapter Four, The Box of Delights

I now offer here what’s planned as my final thoughts on John Masefield’s fantasy The Box of Delights, though one shouldn’t say anything is actually final where thinking is concerned. These thoughts will focus on magic, on time and on space, and not just because these aspects are interconnected.

When I consider the magic in the novel I think of the materials — the Box itself and the Elixir of Life, principally — and the types of magic that seem to manifest in the narrative. In terms of time and space I want to highlight when exactly Masefield sets both this story and its predecessor The Midnight Folk, and where geographically speaking he imagines them happening.

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A book of delights

The Box of Delights (prop for the TV series: https://www.flickr.com/photos/danacea/491582034)

John Masefield: The Box of Delights
Illustrated by Judith Masefield
Mammoth 2000 (1935)

Imagine a child whose parents have separately died in tragic circumstances; a child who up to the age of ten is home-schooled, living with guardians who limit his reading so that he largely has recourse to just his own imagination; a child who has returned from his first term among strangers at boarding school, able to retreat back into that fantasy world of his own making.

Then imagine that child several decades later, successful in what he really wanted to do — to use his imagination in creative ways — looking back to that childhood. How would he recapture that wonder, the sense of play and the closet anxieties without turning his writing into autobiography?

Perhaps the way forward for John Masefield — given the accolade of Poet Laureate in 1930 — was to turn his past history on its head and make the dreamworld he’d conjured up more real than reality. This he appeared to have done in 1927 with The Midnight Folk, and this too is what he may have also done in 1935 with The Box of Delights.

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More boxing

Eastnor Castle, from ‘A series of picturesque views of seats of the noblemen and gentlemen of Great Britain and Ireland’ (1840)

This is part two of a discussion about John Masefield’s The Box of Delights, based on my contributions to the Twitter readalong #DelightfulXmas. The first part was posted yesterday. All the following items were based on creative prompts set by the readalong conveners.

First up is a prompt to imagine a further animal transformation Kay might have turned to. Can you guess what creature he becomes here after being a stag, a duck, and a fish?

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Boxing Days

An initial attempt at a Yock Valley railway map

As many of you know, over Christmas and the New Year I joined in a Twitter readalong of John Masefield’s 1935 classic The Box of Delights under the hashtag #DelightfulXmas.

You may also know that this involved a chapter-a-day discussion, enlivened by creative tasks such as literary efforts and artistic responses.

Before I post a review you may like to see some of my own contributions to #DelightfulXmas — in two parts, this being the first — and if you haven’t yet had the pleasure of meeting young Kay Harker and his cohorts maybe this may stimulate a desire to make their acquaintance!

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Christmas delights

Above The Dardy, Llangattock, Crickhowell

We never had a Christmas in the country before. It was simply ripping…
— E Nesbit, New Treasure Seekers

Love it or loathe it, Christmas is coming. Even if modern Christmases are increasingly tawdry* (a perpetual cry, I’m sure) at least we have past literary Christmases to fall back on for a quantum of solace when modern commercialised Yuletides get too much to bear, when our childhood memories of more magical midwinters need reviving, when we want the traditional once-upon-a-time seasonal fare to give us reassurance and sustenance.

As you may have noticed, I recently reread and reviewed John Masefield’s The Midnight Folk as preparation for a readalong of his more familiar The Box of Delights for the Twitter readalong #DelightfulXmas.

I then took to wondering how children’s fantasy literature through the years has presented and evolved the seasonal theme; a few thoughts are offered here (links are mostly to my reviews).

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Many a quaint craft

You may have seen many a quaint craft in your day, for aught I know;—square-toed luggers; mountainous Japanese junks; butter-box galliots, and what not; but take my word for it, you never saw such a rare old craft as this same rare old Pequod. She was a ship of the old school…

I’ve been in a typhoon in the South China Sea when returning to Hong Kong in a China Navigation vessel in the 1950s; and crossed the Bay of Biscay in a vomit-inducing gale on a so-called mini-cruise in October — to be sure, a notorious time of year for storms.

Contrast these violent passages with more forgettable ‘calm sea and prosperous’ voyages to Japan, the Philippines and Thailand in my pre-teens, or numerous uneventful cross-channel ferry journeys to France as an adult.

Sailings have featured in recent reads, and though I’ve disembarked from them I’m still aboard another; I’m hoping maybe you’ll be interested in hearing what was jotted down in the captain’s logs for these several sea passages.

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Upright people and witches

Nighttime
WordPress Free Photo Library

John Masefield: The Midnight Folk Mammoth 2000 (1927)

“You must be the master in your own house. Don’t let a witch take the charge of Seekings. This is a house where upright people have lived. Let’s have no Endorings nor Jezebellings in Seekings.” — Grandmamma Harker’s message to Kay.

In 1885 orphan Kay Harker finds himself under the guardianship of the insensitive Sir Theopompous and the stern tutelage of an unnamed governess. His former companions, a collection of stuffed toys, have evidently been removed, their place taken by the declension of Latin adjectives for ‘sharp’, and by exercises in French, Divinity and the like.

When freed from lessons he quietly explores and investigates the surroundings of his ancestral home of Seekings, uncovering a nefarious plot to steal some long-lost treasure. He is therefore following family tradition and living up to the family name: the Harker shield displays three oreilles couped proper (that is, three disembodied flesh-coloured ears). So, true to form, Kay eavesdrops, harkening to conversations and learning from what he overhears.

Young Kay (whom we may imagine as around seven) inhabits a magic realist world midway between dreams, imagination and daily life, one inhabited by a combination of guardians and governesses, servants and smugglers, wild animals and witches, knights and toys, ancestors and archvillains.

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