![]() ![]() And I suppose she’s cross because I’m so long coming home with those buns. “Perhaps that’s where thinks I am, watching the houses where there are lights in the windows and children are having supper with their mummies and daddies. But it’s not until the final paragraph that we know for certain that the boy has been sitting the whole time on a bench in the park, unwilling to go home to his truly awful life. Except that we don’t actually find out until the last page. This is what Lindgren does in Mio My Son. The other is to tell a story in which the hero has the fantasy. One is to tell a story in which the hero leaves home and finds his real family, or his proper place in the world – a buildungsroman would be a loose example of a family romance especially if, as in Oliver Twist and many other novels, the hero does eventually find a rich relative. Apparently lots of children fantasize along these lines from time to time, but there are two ways to put it into a story. ![]() It involves what Freudians call a “family romance,” which means a child’s fantasy that his parents are imposters and that he has real (and likely royal) parents elsewhere, who will eventually come for him. Of all the chapter books we read this summer, the strangest two were by Astrid Lindgren. ![]()
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