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Barrie himself, as is well known, had insinuated himself into the Llewellyn-Davies family, whose pleasures and park visits and fantasy life he autocratically stage-managed. The Dulwich Picture Gallery is opening a sumptuous exhibition, The Age of Enchantment, including works made between and , the golden age of the illustrated book. A reviewer remarked that the great books of the time were arguably those written for children - by writers such as E Nesbit, Rudyard Kipling, JM Barrie and Kenneth Grahame. I was afraid that God would drop the cosmos with a crash. The Little White Bird was given as a present by WH Hudson, a great writer of the English earth, to the small David Garnett, son of the translator of Tolstoy, who was a real wood-child, running wild in Kent, building tree-houses, with the uncontrolled Olivier sisters.

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The Best Books About And Featuring Fairy

It is not true of the great Edmund Dulac, who used colour - newly available to book illustrators - to make things intensely unreal, even surreal, and mysterious. I think this is queerer and odder than simply pederasty, acknowledged or unrecognised. They trick, torment, mislead and sometimes torture. If their faces are doll-like, it is because their feelings are alien. Faces are another thing Dulac does wonderfully - his Scheherazade, his Circe, his Fairy Godmother, are both remotely lovely and full of strangeness. The British, at the beginning of the 20th century, might be said to have been obsessed by childhood. They also have no souls - some early thinkers relate them to the fallen spirits, not good enough for heaven, not bad enough for hell, who haunt the middle air.

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As byatt on fairies in literature

It is not a strong alien malice like that of the Victorians. He writes of the recurrent presence of glass in fairy tales. Hewlett observed that the fairy's "cruel fingers, as if by habit, continued the torture, and that in some way he derived pleasure from the performance". Grahame liked to believe that humans should return to being centaurs - half-untrammelled wild things. Another creator of inhuman things and powers was Algernon Blackwood, a maker of centaurs and of malevolent moving trees and forests, a recorder of the desire for extreme discomfort outside the warm hearth and the tea table. John Anster Fitzgerald painted a series of sleeping figures - an artist, some young girls - dreaming drugged visions of wraiths, demons and insect-like tormentors.

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Description: It is odd, in retrospect, that when I first saw the play as a small child, I identified only with the mourning mother in the empty nursery and not at all with the fantastic flying children. Of David's dripping little form in the bath, and how when I essayed to catch him, he had slipped from my arms like a trout. I worried about her for weeks. The Victorian fairy painters knew all about the inhumanity of fairies. The illustrations in the Dulwich exhibition are beautiful, varied, imaginative and, on the whole, elegant and witty, rather than carrying the surreptitious note of danger the high Victorians put into their depictions of the inhuman. Another creator of inhuman things and powers was Algernon Blackwood, a maker of centaurs and of malevolent moving trees and forests, a recorder of the desire for extreme discomfort outside the warm hearth and the tea table. They were too finished. Their bodies, he said, were of "congealed air", and they believed that every thing in the creation was alive in some way - "nothing moves but has another animal moving on it, and so on, to the utmost minutest corpuscle that's capable to be a receptacle of life".
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