Abstract
In Thomas King’s A Coyote Solstice Tale , Mordecai Richler’s Jacob Two-Two Meets the Hooded Fang , and Margaret Atwood’s Wandering Wenda and the Widow Wallop’s Wunderground Washery, the mimicry of the transitional characters is a platform for their satire. Mimicry is a neutral practice in and of itself and can be advocated as a model behaviour: the dictum to become the change one wants to see in the world suggests that, by imitating a not-yet-actual ideal, one can make that fiction reality. For Child, The Hooded Fang, and the Wizard/Widow, mimicry also dramatizes the intolerability of worlds that manipulate interpellative processes to reify power. The transitional figures in these three books work as models of the half-playful and half-perverse clinging to a way of life that pertains to a particular fictional world they endorse, reinforcing childhood as a desirable, dynamic, and powerful transitional state.
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