Lost and Found in Time:Canadian Time-slip Fantasies for Children Barbara Carman Garner (bio) "Fantasy, to my mind, is looking at a world that is slightly skewed, tilted away from us so that we can have a good look at it without getting confused with the complexities of our own world. The inhabitants of fantasy are. . .folks. Simple folks, who may seem very much at home with the large-order items of all people everywhere: truth, honesty, faith, heroism, charity, and Life with a capital L." —Carol Kendall 'Lost' in a complex and intricate network of new family relationships in their real world, and 'found' in the past, which conditions them to cope with the present, becomes the common experience of time travellers in the Canadian time-slip fantasies that have appeared in the past decade. As each time-traveller discovers his new world, he ponders, "Why me?", but in coming to terms with the magical events happening around him, and by analyzing and applying object lessons either seen or participated in in his 'other world,' he reaches a new self-awareness and understanding of that "Life with a capital L" of which Kendall speaks. Time-travellers are drawn into the "other world" because they are needed, if not to change history, at least to give strength to some person in the past so that he may accomplish his quest or mission. Authors utilize one of three patterns to enable their protagonist to affect the past: She is either 1) a new character who moves in and influences decisions made in the past; 2) the inhabitant of the body of a person in the past; or 3) an observer of past events who can bring lost knowledge back to the present, and/or carry messages to the past. Time-travel is purposeful and both past and present are affected in the magic of a co-existent then and now. The young protagonists encounter an "other world" in which reality is only slightly skewed, for it is the real world as it existed in the past. Their experiences are similar to those of fairy-tale heroes and heroines who journey away from home to be tested and found worthy either of the precious object at the end of the journey, or to be reinstated in their rightful place in society as a result of their quest. In this paper I shall consider three representative Canadian time-slips to illustrate each of the patterns and to show the possibilities this sub-genre of fantasy provides for characters to overcome identity crises. At the conclusion of each time-slip, the main character has discovered the true meaning of home and family, a sense of belonging and a more mature self. The protagonists, most of whom are on the threshold of adulthood when the novel commences, have grown spiritually as a result of their time-travel. Rose, in Janet Lunn's The Root Cellar (1981), conforms to the first pattern; Meg, in Cora Taylor's The Doll (1987), becomes Morag in the past, illustrating the second pattern; and Elizabeth, in Who is Frances Rain? (1987), sees scenes that take place in the "other world," but never really enters that world, thereby providing an example of the third pattern. It may be coincidental that Lunn's treatment of Rose's development in The Root Cellar is the most successful of the three, but partially that success is due to the freedom and flexibility which the first pattern allows the main character by making her a free and fairly independent agent in her "other world." The second and third patterns offer different kinds of involvement in the "other world," but the protagonists are hampered by their "restricted selves," the one through becoming another character, and the other by being a mere by-stander or observer of actions rather than an actual participant in the life of the past. Although the passing of time in the secondary world (usually no time passes in the real world while the character is in the "other world") as well as the logic that operates there maybe different from these features in the real world, the journeys themselves conform to...