Silverfin
The previous two novels that we have read have been rather clearly didactical or written in a way that suggests an aim to transform readers through the moral example of the protagonists in the story. Ruby Tanya deals with an issue that is very relevant today and as we discussed there is no question about on whose side we as readers should be. Swindells obviously wrote the story because of the debate about racism and terrorism he felt needed to be addressed in terms of young readers. In that sense it could be called a “problem novel”. Although The Coral Island was written as an adventure story, the didactic aspects about the superiority of Christianity and of white people, in particular Britons, are made clear to the readers. In contrast, we could see Silverfin, the story of the young James Bond, as a straightforward heroic quest, full of action and suspense and with a plot ending that leaves the reader satisfied. The world has been saved, at least for the time being. In other words “good old entertainment”. But precisely because of its simple quality as entertainment, Silverfin perhaps demands even more to be analyzed in terms of the ideology it contains.Indeed, while books such as Ruby Tanya are often criticized for being too involved in teaching children some adult moral message, books like Silverfin might be too easily seen in comparison as offering neutral enjoyment. However, as Margery Hourihan points out in reaction to a critic who saw hero narratives as unproblematically providing children “with models of greatness through the ages” (Huck in Hourihan 3), we as readers should instead ask of the text the following questions:
What does this “greatness” they model
consist of? What kind of goodness is rewarded in them? What kind of
behavior do they endorse? What do they suggest about the roles and
relationships between men and women? What attitudes do they encourage
towards people of other cultures? In short, what meanings does the quest
myth impose upon readers? (4)
The adult James Bond in the novels by Ian Fleming was created as a Cold War warrior in the 1950s. His character was associated with snobbery, sexism and sadistic violence. Much of this was transferred into the enormously popular film versions that continue to be made to this day. The elements of action and the technological fetishism of the novels have of course been given a much more powerful visual impact in the films.
In relation to the image of young Bond in Silverfin, the question is begged about the suitability of making the figure of Bond fit for consumption by young readers. Is this a simple recycling of a popular cultural icon for young readers or is it more problematic in any way? What do you think of the efforts to modernize Bond? In what way does Silverfin adapt, challenge or rehearse these old Bond themes and values?
I want you also to think about the implications of teaching a text like Silverfin. Is this for instance a boys’ book? How would young readers react to James Bond today? Would it be counterproductive to discuss the books critically with pupils, if their own response would be one of simple enjoyment at the action-packed storyline?
The first part of Silverfin is set in Eton, the most exclusive private school in Britain. What sort of class, gender and moral values are reproduced in this section of the novel?
What do you make of minor characters (Wilder Lawless, Uncle Max, Aunt Charmian, Red Kelly) in the story? What is their function in the narrative and what is their relationship to young Bond?
How do you interpret the ending of the story? In what way is young Bond different at the end of the narrative? What are the implications of his character development?
All of these questions will I hope help you find topics to analyze and discuss in your own blog entry (see Blog Instructions for help on how to do this).
Remember also to read Margery Hourighan's article which you can find on GUL before writing your entry.
Looking forward to reading what you have to say about Silverfin.
Chloé
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