Close reading of fantasy and reality in childhood-adulthood transitions

Mary Poppins

P.L. Travers created one of the most iconic characters in the canon of children's literature with Mary Poppins. The first novel in the series, Mary Poppins, was published in 1934. In Mary Poppins, the divide between the world of adults and the world of children is clearly established using techniques like magical realism. However, Travers does not rely solely on the realm of fantasy to convey the differences between the child and adult worldviews. In the opening scene of the novel, the children clearly establish their point-of-view and perception of adults. Using the third person omniscient narrator allows insight also into how the adult characters of Mary Poppins view children. The opening scene of Mary Poppins introduces the titular character and establishes her relationship with children. The opening scene is particularly meaningful to children and young adult readers, and suggests that childhood and adulthood are not necessarily incompatible stages of life.

In the opening scene of Travers' Mary Poppins establishes the setting and introduces readers to the relationship between children and their adult caregivers. Mr. And Mrs. Banks are established as being loving parents: after all, when faced with the choice of having "either a nice, clean, comfortable house or four children," Mrs. Banks gave the matter "some consideration" and concluded she would rather have Jane, Michael, John, and Barbara (p. 2). Although the Banks family could afford a nanny, wages are of some concern. The former nanny, Katie Nanna, has "disappeared," without any explanation -- perhaps suggesting that the four Banks kids were too much for her to handle on her modest salary (p. 3). Thus, the opening scene establishes the world of adults as being consumed with practical considerations such as finances and home management. The world of the children is more reactive in nature. For example, the children never liked Katie Nanna to begin with: she was "old and fat and smelt of barley-water," (p. 5). The imagery is remarkably devoid of fantasy elements when describing Katie Nanna, which is quite the opposite when the children meet Mary Poppins.

Mary Poppins both enhances and minimizes the generation gap. Poppins is a magical creature: in contrast to the Banks parents and Katie Nanna, all of who assume a practical and mundane role in Chapter 1. Poppins makes a magical, mysterious appearance: suddenly appearing as a "shape, tossed and bent under the wind," (p. 5). Enhancing the "curious" character of Mary Poppins, a wind "seemed to catch her up into the air and fling her at the house," (p. 6). Therefore, Mary Poppins is an adult who is intimately connected with the world of fantasy. She bridges the gap between adulthood and childhood in a deft way, showing that the two stages of life are not necessarily incompatible.

What makes the opening scene of Mary Poppins particularly palatable to children is the fact that the omniscient narrator offers a greater glimpse into the minds of the children than of the adults when Mary Poppins arrives. Michael is the first to speak, saying, "How funny! I've never seen that happen before!" (p 6). The children's curiosity consumes them, and their reaction is not one of fear but of joy. That is, until Poppins reveals herself to be an adult who is stern enough to argue with Mrs. Banks about the need for references. The children are duly impressed with Poppins; especially as she magically alights the stairs by sliding up the bannister.