Maybe my eyes had needed all this time to get used to the light. Or maybe it was like one of those ambiguous pictures, where you're staring at it for ages and all you can see is the young woman's body and then your vision adjusts and all you can see is the old woman's face.-John Marsden, The Dead of Night ( 1994), 129WE HAVE ALL SEEN THE FASCINATING SKETCHES BY M. C. EsCHER. In THE QUOTATION above from John Marsden's The Dead of Night, his narrating character refers to a sketch that could be of a young lady but could instead-or, more likely, also-be of a much older woman, depending upon how one looked at the picture. Perhaps the most well-known Escher sketch is the one that is swimming fish at one moment, soaring birds the next. What you see depends on how you look, with the two views-the two readings, if you will-seemingly existing together.In this essay, I wish to suggest that John Marsden's popular, multiple award- winning Tomorrow series of seven books-primarily but certainly not exclusively for young readers-has this very Escher-like quality. They possess a double-voicedness much in the spirit of what Bakhtin suggests in his study of Dostoevsky, offering a- much in John Schilb's or Stanley Fish's terms-resisting reading and then, perhaps, a disconcerting rhetorical flip back upon itself. The texts then are rhetorically interesting, but so is the way in which the texts serve as an example of what Bakhtin implies about double-voicing but perhaps fails to make sufficiently clear because of his tendency to list and offer misleading generalizations. They also exhibit a disconcerting iconicity if the resisting and the flipping together point to a political inconsistency that is at the core of the series, as opposed to an inadvertent characteristic of the seven books.The Marsden books-for those who do not know them-have as their premise that, while a group of teenagers are away on a camping trip in a remote, rather inaccessible piece of bush, Australia is invaded militarily by an unnamed Asian country. Alien-looking military craft zooming overhead have offered them a clue, but it is only upon their return home that they discover that their dwellings are eerily abandoned, their pets are dead, and their families have been herded into holding camps that were formerly fairgrounds. The teenagers then begin a series of increas- ingly more dramatic actions against the Asian invaders. Those actions, as well as the interactions among the young people, comprise the substance of the seven novels. In the course of the seven books, besides their guerrilla activities, there are captures, near-rapes, escapes, and some deaths. There are also many moments when the firstperson narrator, Ellie, reflects on life. Although some may judge the books uneven (and disparage the follow-up three-volume Ellie Chronicles as even more so), the novels offer exciting action, some compelling characterization, and a glance at teenage friendship and romantic relationships under very stressful circumstances. The books also raise political matters.That the books are political is perhaps not an assertion that one can just offer. Extant criticism of the novels curiously does not often attend to their political implications. Rather, perhaps confined by the book's positioning within the category of young-adult literature, that criticism discusses the novel in connection with trends within that category. Thus, in 1998, Rhona Mayers argues that the novels are examples of fantasy literature disguised as formal realism, whereas, several years later, in 2004, Wendy Michaels accepts the realism of Marsden's books as part of a larger trend within Australian young-adult writing without attending to the implications of the texts as both realistic and futuristic. Following the attempts by Mayers and Michaels to categorize the novels, John Noell Moore offers a book-length study of Marsden entitled John Marsden: Darkness, Shadow, and Light (2011). …
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