Re-assessing the canons of the past is a constant and natural task, from which children’s fiction should not be immune.
In another fine rebuke to the fatuous “PC gone mad” brigade, Guardian writers welcome challenges to the cast of Thomas the tank engine—hitherto a sacred bastion of white male privilege, but now to feature female and multi-cultural trains, Shock Horror. Stuart Heritage characterizes the series as
the story of several straight white men who solemnly obey the every passing whim of a white, straight, male dictator in a crude reinforcement of the belief that the working class should know its place.
Following up, Jack Bernhardt observes,
the enemy of comedy isn’t political correctness—it’s nostalgia and lazy characterisation.
And in a related article Tracy Van Slyke furthers the cause:
These trains perform tasks dictated by their imperious, little white boss, Sir Topham Hatt (also known as The Fat Controller), whose attire of a top hat, tuxedo and big round belly is just a little too obvious. Basically, he’s the Monopoly dictator of their funky little island. Hatt orders the trains to do everything from hauling freight to carrying passengers to running whatever random errand he wants done, whenever he wants it done—regardless of their pre-existing schedules.
She cites shadow transport secretary Mary Creagh’s plea for the series to include more female engines to encourage girls to become train drivers—which doubtless prompts much harrumphing from Outraged of Tunbridge Wells and his (sic) Brexit chums.
Already in 1982 the Comic Strip produced the splendid Five go mad in Dorset:
I too was brought up on such children’s classics—a legacy from which I recovered quite slowly. Perhaps a worthier credential for my discussing all this would be my status as great-nephew of Edith Miles, author of many fine children’s novels of a similar vintage, in which girls play a major role, YAY!