66 pages • 2 hours read
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Confinement and imprisonment are prevalent in Fablehaven. Mull explores this motif through the imprisonment of Bahumat, the imprisonment of Muriel, and the confinement of the other magical creatures on the preserve.
Bahumat is an ancient demon that is as close to evil as any of the magical creatures are shown to be. As Grandma Sorenson tells Seth and Kendra, he was imprisoned by European settlers in exchange for the Native-owned land that he terrorized. In this example, Bahumat is imprisoned for the good of others. Without his fearful presence looming over the land, the European settlers were able to colonize it and live there for centuries.
Muriel, the witchwhoSeth meets at the beginning of the novel, is also imprisoned. Grandpa Sorenson tells Kendra and Seth that “the shack is not her home. It is her prison. She personifies the reasons why exploring the woods is unwise” (83). Muriel was once an ordinary mortal woman, but she encountered the evil forces in the woods and was corrupted by them, becoming an agent of the dark creatures that lurk on the preserve. Muriel is imprisoned both for her own good and for the good of others. If free, she would continue to be used by the dark powers that she fell victim to and use those powers to harm others at the same time.
Finally, all the creatures that live in Fablehaven exist in some sort of confinement. They cannot leave the grounds of their own accord, and though the creatures of the light seem unbothered by this, it is a confinement, nonetheless. The confinement of the fairies and other relatively harmless magical creatures is fully for their own good. As human society continues to expand, they will continue to be pushed out of their native habitats and into places where they do not belong. Though they are confined in Fablehaven, it still provides them with a place of belonging.
Mull’s novel is populated with several magical creatures, as to be expected. Most of these creatures adhere to typical ideas and traditions concerning their “species,” most notably in the sense of gender.
The satyrs, half man and half goat, are symbolic of hedonism and mischief (109), much as they are in classical mythology. Both Hugo the golem and Mendigo the limberjack are described as mindless and helpful, made from natural materials and personified as men, as mythical creatures such as these often are. There are several mythical creatures in Fablehaven who are coded as feminine and exhibit stereotypical feminine traits as well. The fairies are defined by their vanity, and Seth even goes so far as to tease Kendra by asking if she’s a fairy as well. The naiads, who all appear to be female, are defined by their frivolity and perceived cruelty. Muriel, the witch, is put forth as an example of human weakness, especially when it comes to the search for knowledge, a trait that has been associated with women since the time of the Bible. Even the giant cow is a female, fulfilling the role of nurturer through the milk that allows mortals to see magical creatures even as she is confined in the barn.
The only character that doesn’t entirely adhere to the classical iterations is the ogress that Kendra and Seth encounter just after Midsummer Eve. The ogre in fairy tales is most often a man, and the hero most often steals his treasure. In Fablehaven, though, the ogress is a woman. As such, the treasure she is protecting is not material wealth, but delicious stew. This reflects the idea that a woman’s worth and power lies with the literal and metaphorical hearth rather than with material or monetary wealth.
Just like many fairy tales, Fablehaven liberally makes use of the symbol of the forest. Again, as in many fairy tales, the forest here symbolizes both the danger of the unknown and the promise of adventure and growth.
From the very beginning, Kendra and Seth are warned not to set foot in the forest (14). Though Grandpa Sorenson initially lies about the reasons why, it becomes clear that the forest is, if anything, more dangerous than he makes it out to be in the beginning. Seth feels this fear and begins to experience the threats that the forest poses the very first time that he enters it. Over the course of the novel, the unfamiliarity of the forest begins to wear off, but the danger remains just as profound.
Paired with the dangers of the forest are the opportunities that it presents. Seth, again, realizes these possibilities from the very start and disobeys his grandfather by exploring the woods as soon as he possibly can. It takes Kendra longer to succumb to the lure of the mysterious forest, but with encouragement from Seth, she ventures in herself to see the park with the lake. Ultimately, the forest, and the things that live there, help to transform Kendra and Seth into the more grown-up characters that they become by the end of the novel.
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