The Interplay of Reality and Fantasy in David Almond’s
Skellig
https://doi.org /10.5281/zen od o.14977408
Author(s): P. Jakin Prince & Dr. R. Kumara Sethupathi
DOI: https://doi.org/10.5281/zenodo.14977408
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Volume 16 | Issue 1 | Feb 2025
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The Criterion: An International Journal in English Vol. 16, Issue-I, February 2025 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
The Interplay of Reality and Fantasy in David Almond’s Skellig
P. Jakin Prince
Post Graduate Student in English,
Department of English,
PSG College of Arts & Science,
Coimbatore.
&
Dr. R. Kumara Sethupathi
Assistant Professor,
Department of English,
PSG College of Arts & Science,
Coimbatore.
Article History: Submitted‐05/02/2025, Revised‐10/02/2025, Accepted‐26/02/2025, Published‐28/02/2025.
Abstract:
The novel Skellig by David Almond is a blend of realism and fantasy to learn the nuances
of human struggles, especially those of childhood, trauma, and revolt. This article studies the
oscillation between fact and fantasy in the novel, arguing that the appearance of the fictional
character Skellig revolves as both a supernatural being and a psychological display of hope.
Almond addresses the concept of ailment, domestic pressure, and emotional resilience,
highlighting the ways in which children navigate personal hardships through the journey of
Michael. Skellig is a blend of magical realism and recent issues replicates the space between
certainty and creativity. The portrayal of human suffering and repossession is highlighted in the
novel. The study dwells into how Skellig connects the gap between the tangible and the
mystical. The transformative power of belief and human connection is well projected. The
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https://doi.org/10.5281/zenodo.14977408
The Interplay of Reality and Fantasy in David Almond’s Skellig
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https://doi.org/10.5281/zenodo.10448030
relationship between Michael and Mina changes him into a free-spirited boy, while Mina serves
as a device in the story to elucidate the power of imagination.
Keywords: Realism, Fantasy, Psychological manifestation, Emotional Resilience, Human
Suffering.
Introduction
David Almond, is an eminent British children’s writer, received critical commendation
for his various works. He was born and brought up in Felling and Newcastle in post-industrial
North East England, he graduated from the University of East Anglia. His passion for writing
arose at a young age when his short stories published in a local magazine. At first writing for an
adult audience, he eventually discovered his position in young adult literature.
Almond received the Whitbread Children’s Novel of the Year Award and the Carnegie
Medal for his first children’s novel Skellig. His future works include Kit’s Wilderness (1999),
Heaven Eyes (2000), Secret Heart (2001), The Fire Eaters (2003), and Clay (2005). In the other
works, he experimented by writing plays. Wild Girl, Wild Boy a play for young people exploring
in 2001 before its release in 2002.
Almond’s works reverberate with both children and adults. Philosophical in nature and
habitual themes in his writing explore the interplay of opposites like life and death, reality and
fiction, past and future as well as education, personal growth, and the developing sense of self.
His writing was inspired by the English Romantic poet William Blake.
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David Almond’s style is excitingly free of the prurient and gratuitous. His depiction of
the kids and their world is elevating and fascinating. The writer offers a purpose and a space to
think and revisit the young characters he has created with extraordinary sensitivity.
The theme of Reality in Skellig
Realism and fancy are the crucial factors to human existence. The facts blend with the
mortal world, social concepts, and the day-to-day hardships of life, while non existing ideas fuels
creativity, objectives, and imaginings. A composed relationship between these elements is
important for a sustaining life, as imagination allows individuals to picture solutions to real-
world challenges. In literature and art, reality and imagination serve as the fundamental concepts.
The authors initially debate the ideas in their minds before converting them into works with such
collaboration. They try really hard to give shape and life to their imagination. They present plots
that vibrate with the readers. In Skellig by David Almond, the author skillfully textures reality
and imagination to express his ideas and engage readers, demonstrating the profound impact of
both elements on storytelling.
Skellig is a unique novel, the core character, Skellig, is at no time fully elucidated. He
could be considered as a delicate angel to an ancient bird species. David Almond is particular not
to reveal us exactly “who” or “what” Skellig is, leaving it to the reader’s interpretation.
The most fascinating thing about the work is that it belongs to a new genre, where reality
fuses with fiction and where everyday life collides with a with a mystical element. While we
never get to understand Skellig fully. The readers are hinted that, Skellig is a superpower and a
heart of gold.
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The Role of Imagination in Skellig
Though the novel was classified as a children literature, some elements in the book may
be scary to young children, such as a ghost-like creature eating live insects and children growing
wings and dancing in the air with a supernatural being. The book might be apt for children who
are at their teens, adults or more mature audience.
The concept magical realism originated in Latin American, combines elements of fantasy
fiction with everyday details of reality. The reason what makes it magical realism and not fantasy
fiction is that reality imposes itself on the fantasy, not the other way around. There is an intended
lack of description in magical realism about why the magic exists, has less of a traditional plot
structure, and uses magical elements as more of a sequential metaphor. Nevertheless, more than
that, magical realism does more than simply infuse stories with elements of fantasy much of
magical realism is about folk tales, mythology, and fairy tales.
Practices
classified
as
magic
include prophecy, fortunetelling,
charms, pseudo
science, magic, spirit mediation, and black art. The term magic is used in Western
popular culture to refer to acts of trickery and sleight of hand for entertainment. The purpose of
magic is to acquire knowledge, power, love, or wealth; to heal or ward off illness or danger; to
guarantee efficiency or success in a desired field; to cause harm to an opponent; to reveal data; to
induce spiritual transformation; to trick; or to amuse. The efficiency of a magician often depends
on the state and his performance. He is believed to access the invisible forces and acquire
superior knowledge of the appropriate chants and actions to apply those forces.
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The interconnection between Reality and Imagination
Skellig, the novel details the concept of fact and fantasy to justify the challenges
encountered by the human beings with reference to the children’s atmosphere, ailment, and
belief. Michael, the protagonist undergoes agony due to his baby sister’s health condition and
his frustrations. Michael finds a mysterious, man-like creature in his garage, whom he later
learns is called Skellig. As Michael and his friend Mina in secret care for Skellig, they discover
his supernatural assets that he has wings and seems to be some form of an innocent being or an
ancient, mystical figure. Mina portrayed as a smart child, makes Michael William Blake’s poetry
and to experience the beauty in nature and creative learning. She motivates him to understand a
world beyond conservative knowledge. Almond takes his readers to a world realism and magical
elements with the key elements of resilience, optimism, and belief.
Michael’s family encounters immense emotional chaos due to his baby sister’s perilous
health condition. “They took her away in an ambulance. I watched from the window as they
lifted her inside and my mother went with her” (Almond 4). His parents, confusion with worry,
inadvertently avoids Michael, unfortunately giving space to his sense of isolation. Almond
captures this trauma brilliantly. As Michael’s parents are busy attending his hospitalized sister
and arranging the new house, he experiences isolation. The author details the readers with
emotional and the physical plea underwent by Michael through various incidents in the novel.
The disoriented Michael encounters Skellig and leads him to a confused state. Skellig’s
strange look with wings and human characteristics forces Michael to feel difficult to connect
with the world. Almond highlights this uncertainty.
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I FOUND HIM IN THE GARAGE ON A Sunday afternoon. It was the day after
we moved into Falconer Road. The winter was ending. Mum had said we’d be
moving just in time for the spring. Nobody else was there. Just me. The others
were inside the house with Dr. Death, worrying about the baby. He was lying
there in the darkness behind the tea chests, in the dust (Almond 9)
Skellig, at initial appearing decrepit and lifeless, gradually transforms, paralleling
Michael’s own emotional therapeutic. This fantastical element suggests that faith in the unknown
can provide comfort during hardship.
I shined the flashlight onto one and saw that it came from nearly fifty years ago. I
moved so carefully. I was scared every moment that the whole thing was going to
collapse. There was dust clogging my throat and nose. I knew they’d be yelling
for me soon and I knew I’d better get out. I leaned across a heap of tea chests and
shined the flashlight into the space behind and that’s when I saw him. (Almond
14)
The monsters in fictional novel are often presented with supernatural power to attract the
children and succeeds creating fear in the readers. Michael as a young boy is curious but feels
scary when he encounters Skellig in his basement. He becomes nervous and has nightmares. “I
HARDLY SLEPT THAT NIGHT. EVERY time I did drop off I saw him coming out of the
garage door and coming through the ragged backyard to the house. I saw him in my bedroom. I
saw him come right to the bed. He stood there all dusty and white with the dead bluebottles all
over him” (Almond 16).
Michael’s only hope in the novel seems to be his friend named Mina. She plays a critical
role in briefing Michael on fact and fantasy. She believes in progress, poems, and eccentric
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learning. Mina motivates Michael to understand miracle and possibility. She proclaims, “What
humans don’t understand, they make up. That’s why we have angels and ghosts and all the rest”
(Almond 61). Her perspectives tasks Michael to understand beyond the tangible, reinforcing the
idea that certainty itself can be transformative. Though a small girl, Mina had an inspiring soul in
her and unique idea about the world with the knowledge imparted from her mother. Her
understanding about classrooms makes Michael awestruck. “My mother educates me,” she said.
“We believe that schools inhibit the natural curiosity, creativity, and intelligence of children. The
mind needs to be opened out into the world, not shuttered down inside a gloomy classroom”
(Almond 45). By the novel’s end, Michael’s perception shifts Skellig is no longer just a paradox
but a symbol of hope and retrieval.
Michael experienced hope after encountering Mina in the garden and wanted to be in
touch with her. He describes Mina as “She put the book and the pencil in her mouth. She swung
over the branch and dropped into the garden. She stood looking at me. She was little and she had
hair as black as coal and the kind of eyes you think can see right through you” (Almond 27). The
charm and confidence in Mina seem to be lacking in Michael due to his personal and his face off
with the different creature Skellig. Mina had the courage to encounter the different creature in
the room. She was able to touch and treat him.
Mina came in beside us. She crouched, stared at his face as dry and pale as
plaster, at the dead bluebottles and cobwebs, at the spiders and beetles that
scuttled across him. She took the flashlight from me. She shined it on his
thin body in the dark suit, on the long legs stretched out on the floor, on
the swollen hands that rested at his side. She picked up one of the dark
furry balls from beside him
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“Who are you?” she whispered.
“Nobody.”
She reached out and touched his cheek (Almond 66).
The author brilliantly sketches the innocence in childhood by presenting Michael and
Mina. The kids beyond their capability gels with Skellig without an idea of what he is or the
place he belongs. Michael was scared and could not reach Skellig but with the help of Mina, he
becomes close and connects with the creature. He becomes emotional as he felt with his sister.
The incident gives the readers a hope of purity in young minds and their caring nature.
“What are you?” she whispered.
No answer.
He sat there with his head lowered, his eyes closed.
“We can help you,” she whispered.
No answer.
I felt the tears running from my eyes (Almond 67)
The kids offer their help to retrieve their friend. They try to seek shelter and move him to
a safer place. They have no idea but Michael assisted by Mina does a great job. He finds hope
and confidence. Their innocence is once again proven as they compare the size of Skellig with
their dad. The transformation in Michael is progressive.
His joints creaked as he struggled to rise from the floor. He whimpered in
pain. He leaned against us. He tottered and wobbled as he rose. He was
taller than us, tall as Dad. We felt how thin he was, how extraordinarily
light he was. We had our arms around him. Our fingers touched behind his
back. We explored the growths on his shoulder blades. We felt them
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folded up like arms. We felt their soft coverings. We stared into each
other’s eyes and didn’t dare to tell each other what we thought we felt
(Almond 72).
Michael feels relieved by watching his sister at home. The appearance of Skellig and his
superpower creates the change in Michael and Mina. The kid’s belief in reality and fantasy is
accepted.
“Look how beautiful your sister is,” she said. “Look how strong she is.”
I lifted the baby higher. She arched her back like she was about to
dance or fly. She reached out and scratched with her tiny nails at the skin
on my face. She tugged at my lips and touched my tongue. She tasted of milk
and salt and of something mysterious, sweet and sour all at once (Almond
142)
The family is ready celebrate the baby’s discharge with good health. They get ready to
name the baby and deeply in that discussion, enters Mina but now with a different attitude. She
feels shy and never before like this says Michael. She comes with a gift for the baby, which
excites Michael and his mother.
She unrolled a picture of Skellig, with his wings rising from his back and
a tender smile on his white face.
Mum caught her breath.
She stared at me and she stared at Mina. For a moment, I thought she was
going to ask us something. Then she simply smiled at both of us.
“Just something I made up,” said Mina. “I thought the baby might like
it on her wall.” (Almond 143)
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Conclusion
Almond’s Skellig beautifully reveals how fact and fantasy entwine to reflect human
resilience. One of the dominant human struggles in the novel is the conflict with fear and loss.
Michael’s struggles with his sister’s ill fate, his isolation, and his urge for certainty are rooted in
reality, yet Skellig’s mystical existence serves him ease and strength. Almond balances the story
with faith and imagination, suggests that while hardship is inevitable, the human creativity
provides a shelter one should themselves to navigate suffering with hope and courage.
Works Cited:
Almond, David. Skellig. United States, 1999.
Johnston, Rosemary Ross. David Almond. Palgrave Macmillan, 2014.
Almond, David. Half a Creature from the Sea: A Life in Stories. Candlewick Press, 2014.
Blake, William. Songs of Innocence and of Experience. Oxford University Press, 1970.
Nikolajeva, Maria. From Mythic to Linear: Time in Children’s Literature. Scarecrow Press,
2000.
Hunt, Peter. Understanding Children’s Literature. Routledge, 2005.
McGillis, Roderick. Voices of the Other: Children’s Literature and the Postcolonial Context.
Routledge, 2000.
“David Almond: United Kingdom Author.” Bookbird: A Journal of International Children’s
Literature, vol. 48, no. 2, Apr. 2010, p. 52. https://doi.org/10.1353/bkb.0.0232.
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Bullen, Elizabeth, and Elizabeth Parsons. “Risk and Resilience, Knowledge and Imagination:
The Enlightenment of David Almond’s Skellig.” Children’s Literature, vol. 35, no. 1, 2007, pp.
127–144.
Reality of Imagination: An Inquiry into Human Creativity. 1981.
https://doi.org/10.5040/9781350916432.
Johnston, Rosemary Ross. “Introduction: David Almond and Mystical Realism.” David Almond,
Palgrave Macmillan, 2014, pp. 1–30. https://doi.org/10.1057/978-1-137-30117-8_1.
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