Death and the fairy
Hidden gardens and the haunting of childhood
in EcoGothic gardens in the long nineteenth century
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In late Victorian and Edwardian children’s literature the bottom of the garden became a space haunted by increasingly infantilised flower fairies and dominated by children’s imaginary play. In Frances Hodgson Burnett’s The Secret Garden, Robert Louis Stevenson’s A Child’s Garden of Verses and Rudyard Kipling’s Puck of Pook’s Hill, children play with fairies in semi-wild garden spaces. The bottom of the garden grows into a liminal space between the domestic manicured garden and the wild landscape beyond. It acts as a heterotopia, a place outside of all places yet anchored in a physical location, in which the complex divisions between nature and the domestic, childhood and adulthood, life and death are projected. Fairy figures haunt this space, acting as uncanny spectres, manifesting a distorted vision of human life. These landscapes of childhood play increasingly transcended into a nostalgic topography, especially after World War I, in which solace from adult worries could be sought. The Cottingley fairy photographs unwittingly evoked all these themes, with Arthur Conan Doyle transforming the picturebook flower fairies into occult Theosophical nature spirits, proof of an afterlife. Fairies allow us to reenchant the natural world, seeing a miniaturised reflection of ourselves within the wildscape.

EcoGothic gardens in the long nineteenth century

Phantoms, fantasy and uncanny flowers

Editor: Sue Edney


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