“Death is more universal than life; everyone dies, but not everyone lives,” quoted by Alan Sachs. Death is a part of everyone and touches everyone’s lives a little differently. It is a topic is that is usually followed by forms of sadness from the people associated with the person who passes away. What death is considered would be the end of someone’s life; they stop breathing and their body stops working. Death can come unexpectedly, it can be anticipated, but it is never easy.
Due to many adults having a difficult time accepting death, they feel that the topic of death is too hard for children to understand; they believe the children should be kept uninformed. In Literature for Children A Short Introduction, Author David Russell explains that death could be considered as life’s greatest sorrow and it is not smart or possible to shelter children from it (Russell 29). Russell argues that keeping death from children is not the way nor does it help the children.
Death is a topic that can be introduced to children through words of parents, advertisements, school, and even literature. “Children’s literature often mirrors our society, reflecting its complexities, its joys, and its sorrows. Books that present death in a manner understandable to children introduce them to the world, as it is perceived at a particular time and in a particular place” (Gibson). Can Children’s literature truly alter one’s conception of death? Circus Mirandus by Cassie Beasley exposes aspects of death to young readers that help children understand death in their own lives.
Circus Mirandus may be considered a fantasy book, but death is something that weaves in and out at every turn. Beasley incorporated a topic that was not usually expressed in children’s literature back in history. Allowing death to be interwoven throughout Circus Mirandus, Beasley is supporting the idea that it should not be avoided in children’s literature or avoided from children’s knowledge of it. What better way to do this than to start exposing children to the idea of death in the very first pages of Circus Mirandus. How much better to help children get to know the shadows and learn ways of living with them, rather than trying to ignore them or hiding from them, especially since, paradoxically, the harder we try to eliminate or avoid shadows, the larger and darker they become” (Corr 204, 218). Charles Corr argues this statement in an article in the Journal of Death and Dying to help support the idea that death should be avoided because it would create bigger problems for children in the long run. It is important to expose children to the aspects of death rather than hide them from the truth.
Deaths that show up throughout Circus Mirandus are that Ephraim, Micah’s grandpa, loses his mother when he was a young adult, Micah’s lost his parents to a boating accident, Victoria lost her parents to a plane accident, and Micah’s lost his grandfather to old age and sickness. All of these deaths were not beautified or unrealistic. Death consumes plenty of Circus Mirandus, but not in a way to scare children rather just to open their eyes to the idea. “Young people are particularly vulnerable: “little systematic preparation is provided, or expected, to meet the challenges of later life and of death [… the young adult may have a sense that both old age and death are conditions that do not really apply to him (Moore 126-127). This quote was taken from the article, Who Does and Who Cries: Death and Bereavement in Children’s Literature, whom was written by E. T Moore. Moore found that children who are not exposed to death in anyway might lead to misconceptions about death and how it relates to children’s own lives. Some people may argue that children are not mentally prepared for a conversation about death, but there are studies to show other wise.
One of the largest studies done by S. Anthony in, Child’s Discovery of Death, about children’s ideas about death documented that, “children begin to have a rational understanding of death when they are 9 or 10” (Foster). Circus Mirandus is directed for children of these age ranges, which means they do have the ability to understand the aspects of death that Beasley writes in the book. Another study that supports that children can understand the concept of death would be Children’s Conceptions of Death by Edward White.
White found that sixty percent of 170 children demonstrated understa nding of death at the level grade of three; the percentage increased as the grades increased. This study supports the idea that children can be exposed to death. Circus Mirandus representations of death support young minds in believing in real death situations rather than misconceptions. Not only did Beasley make death realistic, she also made death visually realistic to help readers see what death looks like. There are words throughout Circus Mirandus that help young readers visualize what an old person who is dying looks like.
On the first page, it says, “They came from the pen of an old man who coughed and wheezed with every breath” (Beasley 1). Someone can imagine an older man struggling and being sick. Later on in the book, it says, “And he looked worse than ever. His skim was like paper and he seemed to be fighting for every breath even in his sleep. The sound was terrifying. Blub, glub, wheeeeze. ” (211) This line appeals reader’s sense of hearing. It emphasizes the sounds of an unhealthy man. These lines of the book are not meant to scare children, but to allow them to imagine what they might see and hear when someone they know is dying.
These visuals are not universal for all deaths, but it does make the idea that a body is dying on the inside and it not longer healthy. If children can have a realistic understanding of death by the age of 9 or 10, they can most likely visualize what that means as well. Coping with death is another aspect Beasley offers to young readers in Circus Mirandus. Micah uses the circus as a way to help himself heal when his world was being turned upside down. It the final pages of the book, Micah calls Circus Mirandus is home and has the Lightbender there to be his guardian.
He is sad about the passing of his grandfather, but he does not dwell on the idea. He works around it, which leads him to Circus Mirandus again. In the article, “Literature to Help Children Cope with Family Stressors, by Sherron Killingsworth Roberts, she quotes Denise Johnson: First, literature serves as a point of reference so children can better understand their life experiences. Second, literature offers insights into universal human behaviors, emotions, and moral dilemmas. Finally, literature stimulates children’s curiosity and encourages them to develop problem-solving skills to address challenging situations (Roberts).
Roberts believes that children’s books can help children make sense of situations. Circus Mirandus offers young readers an insight on how to cope with hard situations like death. It can serve as an outlet for children to understand death in their own lives. Death is final. Circus Mirandus has a storyline that involves a magical circus and there are aspects of the book that could never really happen. This part of the book makes it fun, but when it comes to the topic of death, Beasley decides to make it more realistic for young readers. She makes death final.
Throughout the book, Micah hopes that the Lightbender’s powers are powerful enough to make Ephraim’s miracle come true, which he thought was to keep Ephraim alive. In reality, Beasley makes the characters understand death in a way that people in every day life would. “Dying? What if he wants something impossible? ” (Beasley 26). During the first part of the book, it relays the message that keeping someone alive who was dying would be impossible. This sets of the stage in the readers to identify that death is going to happen if it is meant to happen.
Later on in the book, the Lightbender finalizes this idea. He said you could help us, though. Micah’s voice was hollow. “Grandpa Ephraim said you could help. “Not in the way you want me to, Micah. I cannot trick death. ” (Beasley 200). Readers read that even with all the magic interpreted into this story, there is nothing that can reverse death. This realistic situation goes along with the idea that death is inevitable. Earl A. Grollman wrote the book, Explaining Death to Children, and he states that death is inevitable. He argues that explaining death to children may help them shrink the process of their own distress and misunderstanding.
He also argues that, “One cannot precisely determine what concepts of death can be understood at a given age. Some are responsible and stable. others are more immature and younger” (Grollman 6). Beasley might have argued the same thing when deciding to incorporate the finality of death in Circus Mirandus. She allowed the story to expose death was what it is and believed that young were mature enough to understand. Circus Mirandus can help readers come up with questions they have about death and sometimes answer their own questions. The Lightbender and Micah hold him in his last breaths.
Micah realizes that his grandpa is not going to wake up, but he did get to say good bye” (Beasley 263). Ephraim is finally dead and Micah does realize that his grandpa is not coming back. This is a very big moment in Circus Mirandus; it is deep and hard to wrap one’s head around. Although this moment still included in the book because it is important for young readers to imagine the final stages of life. The article, Grief and Trauma in Children and Adolesenct Bereavement Care, written by Robert S.
Pynoos states, “Children who have been educated about death are more likely to respond in an adaptive manner than children for whom death has remained a mystery and a taboo subject. [… ] Planning and transition of care to other responsible adults maintain a child’s essential sense of safety and security (Pynoos). It is necessary to provide children will outlets that help children understand death when adults do not expose children. Circus Mirandus offers the concept of death as concrete and final. Young readers can read Circus Mirandus and see how people can die, how others can mourn death, and how it is final.
Ephraim’s memory lives on through Micah and Circus Mirandus. Memories of loved ones and the people who one has lost to death can help children cope with the concept of death. Understanding death and being exposed to help not only helps children in a concrete sense, it also helps them mentally. Beasley introduces children to death in a way that some adults may never be able to fully explain to their children. Children can understand and handle more than adults think. Can Circus Mirandus help everyone open their eyes to the realism of death?
