'Boarderland is different for every individual. Whilst part of the boarderland belongs to the book...part of it is made up and contributed to by and belongs only to the particular reader, to us, to our memories, memories of other books, memories of real places and real people we know, the association's we have with this particular word or that particular style of illustration. Aspects that resonate with our own personal temperament. So while whereas many readers may be reading the same book, no two people will be reading it in exactly the same way. However we can come back from this boarderland and talk about it, tell others about our experiences about it and compare with their experiences.'
He explains that the boarderland is a kind of Liminal space; 'a state characterised by openness and ambiguity, it is period of transition where normal limits to thought, self understanding and behaviour are relaxed, a situation that can lead to new perspectives.'
Here the author looks at 'semiotics' (if we de-romanticise it) and how we all read everything differently because of our own experiences.
"Pictures work differently from words, they function like a window. We look through the window, lean on the windowsill, daydream. We send our imagination out like a bird, to fly out over the landscape that someone else has generously imagined for us, and make our own discoveries."
Pullman explains how pictures contribute to our enjoyment of the book: http://www.youtube.com/watch?v=XxS0JUhacug&feature=relmfu
Here Pullman assesses his own illustrations for his trilogy; His Dark Materials.
Once again we can argue whether these novels come under the umbrella of 'children's fiction' or adults. They are marketed at a young audience and follow the adventures of a young girl Lyra, who a mature audience may find it difficult to relate to. However the themes and event explored within the text are hugely mature (I'm not sure I understood half of what I was reading at the age of 13.) The book explores the links and differences between science and religion, proposing that they are one in the same, which is immensely deep and controversial without the main child characters possibly killing 'god'. The narrative is also very dark (killing god?) looking at a child being used and to some extent abused by her parents and the terrifying soul sucking consequence's of Lyra and Will's actions by the end of the series. It is safe to say that we can firmly position the books not only within children's literature but also in adults.
Pullman Illustrates his chapter heads with a small decorative device that he describes like more of a symbol, each is simple and of a similar style except for the one for the last chapter, Bridge to Stars.
'What is significant here is what is not there - every other chapter header is in a box with a heavy black frame.' Whereas in this illustration the frame is missing and the style completely different. The style I think is more down to the skill of Pullman in his want to convey an accurate image of Lyra's face: "She's looking out at the universe opening up above her, wondering at the extraordinary spectacle while being daunted by what she has to do and being simultaneously absolutely determined to do it."
The lack of frame around her face is because, 'All the boarders, frames have been broken open- the whole universe is wide open, nothing is shutting her in.' (literally!) Here is an example of the illustration being more than just a literal visual representation of the text. It is more symbolic. It changes the way in which the reader responds to the text. A 'barrier' has been broken.
On the final illustration in the final book Pullman couldn't decide what to draw that would represent the heart breaking content of the chapter and so, "Abandoned the idea of simple representation becuase the heart of that chapter isn't about the place it is about the feeling...of love and loss. So I was abstract about it...entirely symbolic."
The illustration is not of the characters of the scene but of two roses bound together representing the characters and their departure from each other. 'Will and Lyra are bound together by love but have to face away from each other forever. It is an Emblem not a picture."
"I owe as much to the great illustrators as I do to the writers whose work they illuminated. More than anything else I remember the look of their work on the paper, the sheer pleasure my young-and old- eyes have found in the shape of a line, the delicacy of hatching, the impression of the weight or texture or movement, or mischief or sorrow, or courage, or joy conjured up by the simple magic of black lines on the white paper. How do they do it? I don't know. Geniuses, all of them. Long live the illustrators! Hoorah for their work!" - Philip Pullman.
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