Blyton's works can and should be questioned for their implicit prejudice.There is a curious irony to the digital age. “Content” and its “Creators” are proliferating at a rate that puts pandemics to shame. At the same time, it sometimes seems like remakes and sequels, often “re-imagined”, are on the rise. The exploitation of one such non-renewable source of creativity — Enid Blyton’s work — is being undertaken once again. The problem with the past, though, is that it is often uncaring of the social mores of the present.
Later this month, a musical adaptation of the Famous Five — one of Blyton’s most popular series — is set to premiere in the UK. It is meant to revive the joys of mystery, adventure and the pastoral beauty of post-War Britain. There’s just one problem. Blyton’s works have been questioned for their sexism (uncle Quentin, in the Famous Five, for example does serious work in his study, while aunt Fanny does the cooking), racism and taking a regressive attitude to identity (the Georgina/George conundrum). In fact, since at least 2010, Blyton’s publishers have allowed the retroactive correction of her works. The upcoming play too will “update” the Famous Five to suit contemporary, politically-correct sensitivities.
Blyton’s works can and should be questioned for their implicit prejudice. By today’s standards, the Famous Five would be infamous for their “problematic” personalities and views. Yet, not all those who grew up on her work have turned out to be raging bigots. And the desire to sanitise her work must be avoided. Remember, “protecting children” from bad influences has been the refrain of almost every prudish censor. There is, of course, an easy solution to this conundrum. If Blyton’s stories are not suitable to read to your children, if plays based on her work need to be upgraded, perhaps it’s time to tell some original stories.