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67 pages 2 hours read

Kate Albus

A Place to Hang the Moon

Fiction | Novel | Middle Grade | Published in 2021

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Background

Historical Context: Evacuation of City-Based Minors in WWII

As Germany’s Nazi forces grew more aggressive in Europe, English military leaders began to consider how the country would defend itself from Nazi aerial strikes should they target England. Part of this plan included voluntarily evacuating women and children from towns and cities in southern England. Evacuees would take trains north to rural areas. All along the way, volunteers from the WVS, like the novel’s Mrs. Norton, would assist the evacuation and resettlement.

Though this project, “Operation Pied Piper,” had been in development sine 1938, the first official evacuation was ordered on September 2, 1939, the same day Germany invaded Poland. Two days later, both Great Britain and France declared war on Germany. By one day after that, 1.5 million people had evacuated: mostly children, but also mothers of young children, pregnant women, people with disabilities, and various teachers and caregivers. A second evacuation was ordered in June 1940 when Germany invaded France, who at that point was Great Britain’s greatest ally and stood between them and Germany geographically. In A Place to Hang the Moon, the Pearce children are part of this evacuation.

While these evacuations were ordered for the good of the evacuees, the reality of relocation was often unpleasant and traumatic. Children were evacuated with gas masks, sparse belongings, and an identification card. Often, children from poor families were not able to bring the recommended coats and shoes for their evacuation. While children from wealthy families would often lodge with family friends, relatives, or in second homes, children from middle-class and poor families more often lodged with strangers. Citizens in evacuation zones were mandated to serve as “billets,” or host families, to evacuated children.

A child’s billet was not decided based on suitability or the host’s desire to shelter an evacuee: If one had the space, it was considered a mandatory part of the war effort. This resulted in many children being sent to unwelcoming homes. Thus, not only were children traumatized by the ongoing war and the emotional upheaval of leaving the city, their homes, and their families, but they were sometimes also subject to abuse or neglect by host families. Psychological studies in the 21st century have subsequently shown that evacuation had a notable negative effect on the mental health of evacuated children through their adulthood (Rusby, James SM and Fiona Tasker. “Long-term effects of the British evacuation of children during World War 2 on their adult mental health.” Aging Mental Health. National Library of Medicine, 2009). In the book, this is shown through the Pearce children’s negative experiences with the Forresters and, later, Mrs. Griffith. Even Miss Carr does not warm up to the children until the end of the book. The Pearces only find an ally in Mrs. Müller, the librarian who is similarly outcast among the community.

Socio-Historical Context: The English Adoption System in the Early 20th Century

In A Place to Hang the Moon, the Pearce children’s grandmother dies without establishing a guardianship plan for the children. As such, they and their solicitor are left scrambling for avenues of adoption. Both the children’s hope—that their adoption will lead to a new, loving family—and Mr. Engersoll’s worry—that their adoptive family will exploit them for their fortune—are indicative of some of the larger societal issues surrounding adoption in England in the early 20th century.

Between 1918 and 1945, adoption in England underwent massive changes. Prior to the 1920s, adoption was unregulated and unofficial. Children were held as wards: Adoptive parents had no parental rights and children had no protection against abuse. The 19th- and early 20th-century cultural imagination surrounding child abuse in the foster and adoption system is immortalized in novels such as Charles Dickens’s Oliver Twist. Since adoption was associated with illegitimacy, it was often a secretive and shameful process.

World War I (WWI) began to change this perception. There were many war orphans who needed new homes, and the British citizenry wanted a more regulated adoption process. The Adoption Act of 1926 regulated the circumstances by which people could apply for adoption and the necessary consent of all involved parties (“Adoption of Children Act, 1926.” Legislation.gov.uk, 1926). However, throughout the 1920s and 1930s, adoption organizations were still regularly criticized for conducting careless welfare checks, overlooking mistreatment, and not working for the best interest of children.

A second adoption act was intended for 1939 but was delayed by WWII. However, as the amount of war orphans grew, so did the abuses and mistreatments that the 1939 act was intended to remedy. It was reintroduced in 1943. This made the standards adoption agencies had to follow much stricter and more highly enforced. The Pearce children’s adoption would have come before this second act. As such, Mr. Engersoll’s chief worry is that an adoptive family would “tak[e] advantage” of them and their assets (16).

Throughout these decades, the cultural perception of adoption was also changing. By the 1940s, adoption was no longer a shameful and secretive process, but rather “an established way of setting up a family” (Keating, Jenny. A Child for Keeps: The History of Adoption in England, 1918-45. Palgrave Macmillan, 2008, pp. 195). This is what the Pearce children hope for their own adoption: that it will introduce them to a type of familial love and care they have never known before.

Genre Context: War Novels

War novels are one of the oldest genres of fiction writing. A war novel is any book about wartime action that takes place either on or around warfronts, or amid a civilian population who are affected by wartime. A Place to Hang the Moon is a fictional war novel that takes place amid the civilian population of England during WWII.

Some of the most well-known pieces of classic literature are war novels. Homer’s The Iliad—and debatably The Odyssey—as well as Virgil’s Aeneid are war narratives in the form of epic poetry that chronicles the events and aftermath of the Trojan War. Medieval literature such as the European Alexander Romances, the Norse Poetic and Prose Edda, and medieval romances within the Arthurian cycles could all be categorized as war novels.

The modern war novel took shape after WWI. Worldwide society was affected on a scale never before seen. Writing and reading about these experiences provided the people who lived through this war with an outlet to process their experiences. In the 21st century, this flourishing of war literature also serves as an important cultural reminder of the devastation of war. Though the Korean War and the Vietnam War also both saw booms in war novel publication, WWII left the largest amount of literature in its wake. Nonfiction war novels such as If This Is a Man by Primo Levi, Night by Elie Wiesel, and The Diary of a Young Girl by Anne Frank serve as both memorials to these authors’ lives and testaments to their suffering, so modern readers do not forget the circumstances that led to such atrocities.

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