Landscape matters: Britain’s antique countryside, strewn with moldering castles and cozy farms, lends itself to fairy-tale invention. As Tatar puts it, the British are tuned in to the charm of their pastoral fields: “Think about Beatrix Potter talking to bunnies in the hedgerows, or A.A. Milne’s Winnie-the-Pooh wandering the Hundred Acre Wood.” Not for nothing, J.K. Rowling set Harry Potter’s Hogwarts School of Witchcraft and Wizardry in the spooky wilds of the Scottish Highlands. Lewis Carroll drew on the ancient stonewalled gardens, sleepy rivers, and hidden hallways of Oxford University to breathe life into the whimsical prose of Alice in Wonderland.
America’s mighty vistas, by contrast, are less cozy, less human-scaled, and less haunted. The characters that populate its purple mountain majesties and fruited plains are decidedly real: There’s the burro Brighty of the Grand Canyon, the Boston cop who stops traffic in Make Way for Ducklings, and the mail-order bride in Sarah, Plain and Tall who brings love to lonely children on a Midwestern farm. No dragons, wands, or Mary Poppins umbrellas here.
Colleen Gillard, “Why the British Tell Better Children’s Stories”, The Atlantic (6 January 2016) [http://www.theatlantic.com/entertainment/archive/2016/01/why-the-british-tell-better-childrens-stories/422859/]