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Powerful Young Heroes
E3 Haroun Alice
by began

Through the Looking Glass and Haroun and the Sea of Stories both feature young, pre-adolescent protagonists who still are capable of incredible actions. Although Lewis Carroll and Salman Rushdie were both, in comparison to children, old, they wrote these novels through the eyes of kids. Salman Rushdie wrote his book for his young son and Lewis Carroll wrote for young Alice Liddell, and so naturally they focus on the lives of children. Although these stories certainly carry levels of deeper meaning than just entertainment for children, readers need to acknowledge that the primary audience was children, and so any major theme is tied directly to young characters. Carroll and Rushdie portray the young heroes, Alice and Haroun, as capable of actions that other people are not, despite their youth and genuine innocence. Between Haroun asking about the origin of stories and Alice demanding a real meaning in everything that she hears, these characters possess traits that no normal child should. Yet, these authors still make sure that these child heroes are still clearly children, who also do things that normal kids do. This contrast allows for Alice and Haroun to appeal to young and old audiences alike. While there certainly are some differences between the characters, such as Alice’s occasional lack of awareness versus Haroun’s steady focus, Lewis Carroll and Salman Rushdie write the same message about children in their novels. Although there are many adult themes in both of their books, the extraordinary children dominate the texts, making them the most powerful characters and showing that children are necessary for true appreciation of both stories.
Firstly, both Carroll and Rushdie make their readers well aware that Alice and Haroun are two very innocent and pure characters. Carroll opens Through the Looking Glass with a representation of Alice’s vivid but harmless imagination, as she talks to and eventually argues with her kittens, calling one a “’wicked wicked little thing’” (Carroll 138) and demanding of another, “’Now don’t interrupt me!’” (139). Carroll shows exactly how much of a child dreamer she is when he writes, “And here I wish I could tell you half the things Alice used to say, beginning with her favourite phrase ‘Let’s pretend’” (142). Carroll’s portrayal of Alice in this light-hearted manner makes her likeable to all readers, young and old. By setting out Alice as an amiable character from the outset of his novel, Carroll sets up his readers to pay attention to everything she says and does throughout his novel.
While Haroun is not nearly as naïve as Alice, Rushdie still portrays him in a childish manner, which serves a similar purpose to Alice’s depiction. Instead of a dreamy seven-year-old girl, Haroun is an incredulous pre-teenager who is still very affable despite his constant interrogations. Haroun innocently believes his father to be “a Juggler, because his stories were really lots of different tales juggled together” (Rushdie 16). Haroun’s simple description hints that he is a normally educated boy, yet still makes him very endearing to the reader. And, after his father tells Haroun that he gets inspiration for his stories when he “’drink[s] the warm Story Waters’” (17), Haroun argues, “’Where do you keep this hot water, then?’” (17). Haroun’s belief that he is arguing “craftily” (17) when he is clearly arguing very simply shows that he thinks he is more clever than he actually is. Although Haroun certainly is not a normal child, Rushdie’s representation of him as doubtful, inquisitive, and in admiration of his father allows Haroun to be a very likeable character as well. Thus, the reader can more easily trust Haroun and he is able to make statements full of wisdom, symbolism, and deep meaning.
After the amiable descriptions of Alice and Haroun garner the attention of young readers and the trust of old readers, these characters garner literary credit by asking complex questions and saying profound things. Most importantly to writers like Rushdie and Carroll, these two children discover sophisticated ideas about the usage and possible meanings of language. In response to Alice’s comment that “‘There’s no use in speaking,’” she hears, “‘Better say nothing at all. Language is worth a thousand pounds a word!’” (Carroll 171). Even though Alice does not make this statement, she draws the focus on language out from other characters. This theme of language play, especially with Carroll’s countless puns, is prevalent throughout Through the Looking Glass. Carroll allows Alice, and not the queens or other elder characters, to be at the forefront of this clever linguistic theme, making her the most powerful person throughout the tale.
Haroun also possesses the ability to play with words. Rushdie clearly likes using language both as literal as possible and as punningly as possible, as his first page explains the names “glumfish” and “Shah of Blah” (Rushdie 15). Thus, Haroun’s contribution to this effort is intentional. When the Water Genie requests that Haroun “’Say please and thank you nicely and I might let you have [some clothes]’” (Rushdie 116), Haroun’s response shows his attention to detail in language. He says, “’Please and thank you nicely’” (116). This is not only a demonstration of his apparent mastery of language, but proof that he is actually arrogant about it. However, Rushdie allows Haroun to get away with this and still be a likable character because of his own constant attention to language mechanisms.
Both Alice and Haroun easily question the elder characters numerous times throughout their tales, and show that they are often more knowledgeable and mature than children of their age should be. When Alice tells the Queen that she cannot believe that she is 101 years old, the queen tells her to try again by “draw[ing] a long breath, and shut[ting] [her] eyes” (Carroll 199) However, Alice explains that “’one ca’n’t believe impossible things’” (199). Instead of simply obeying the queen’s orders or getting flustered, Alice answers her back clearly and correctly. The queen’s older age makes this very impressive. She argues with Humpty Dumpty, “”That’s a great deal to make one word mean’” (213) when he defines the word ‘impenetrability’ long-windedly and with more words than necessary. Despite being younger than any character she encounters, Alice says the things that make the most sense. Carroll makes his reader rely on Alice, despite her youth and inexperience, to be a source of genuine truth to the world of the looking glass.
Haroun, similarly, is younger than anyone that he meets throughout his journey; yet, also similarly, this does not hinder him from expressing what is wise. The question that shapes the central theme of the novel comes when he demands of his father “What’s the point? What’s the use of stories that aren’t even true?” (Rushdie 22). Although this question may seem immature and Haroun may border the line of being a brat, he presents a complex philosophical dilemma. Stories tell something that has happened, and if they are not true, then readers cannot associate them in real life; the only appreciation can come from entertainment value or possible morals that the story may contain. So, although Haroun’s question may seem overly simple and elementary, he presents a multi-faceted question that has no answer. In addition to this intense philosophical problem, Haroun possesses interpersonal characteristics that only mature people can have. Once his journeys to Kahani and the Ocean of the Streams of Story are over, the Walrus asks Haroun what he would like to have as an honor for the service he has done. Haroun, who has wanted his family and his city to be happy from the first page of the book, does not childishly ask for everything to be automatically changed to happy circumstances. Instead, he says, “’It’s no use asking for anything….because what I really want is something nobody here can give me” (200). Although the Walrus still extracts from Haroun that this is what he wants, Haroun does not come out and blatantly ask for it. He realizes asking the Walrus to make everyone happy again is illogical and childish. Thus, despite still being a young boy, Haroun still has the characteristics to make mature decisions and say wise things.
Throughout both Through the Looking Glass and Haroun and the Sea of Stories, Lewis Carroll and Salman Rushdie give their child heroes enough credit to do what is right and necessary for the successful completion of the story. Rushdie allows Haroun to meet with the Walrus to ensure that his mother comes home and makes his home life happy again. Carroll allows Alice to grow into and understand the role of queen by the end of her journey. And, along the way, they show that their children are capable of marvelous things, just like adults. Children are likely to enjoy stories such as these very easily, and so the tales are filled with fairy tale and nursery rhyme like creatures that appeal to young readers. The authors’ mechanism of unveiling adult themes only through children shows that children are more valuable to understanding sophisticated ideals in literature than we may originally expect.

May 12, 2005, 01:56 PM

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