Ruby Holler

Orphaned children have been a prevalent trope in numerous literary cultures throughout history. It has been argued that part of the prevalence of this trope stems from its historical plausibility—women were once more apt to die in childbirth and via injury and disease, and a lack of modern health care made the death of parents more of a threat than in contemporary times. Author Steve Nallon argues that orphans are “ready made outsiders,” adding to their appeal: Their “otherness” makes them intriguing for young readers, and orphans bring a type of built-in conflict. Their “underdog” position makes them credible protagonists, as they are generally disadvantaged, beginning with few or no material possessions and lacking a built-in support system (Nallon, Steve. “Orphans and Their Mentors.” Swidgers, 2023).

Early examples of orphan literature include The History of Little Goody Two Shoes by John Newberry (1765) in which a young girl possess only one shoe. She grows up to marry a rich widower and finally owns two shoes (Nallon). The “rags to riches” reversal is a common trope of the orphan story, as the orphan is rewarded for his or her patient endurance of a difficult life. Historically, the orphan trope was not limited to children’s literature, as Charles Dickens chose orphaned protagonists in classics such as Bleak House (1852) and Oliver Twist (1838). Finally, the “Little Orphan Annie” comic strip built on this subject with its debut in 1924 (Blakemore, Erin. “Our Obsession with Orphans: A Short History from Jane Eyre to Annie.” JSTOR Daily, 2014).

Several tropes feature prominently in orphan literature. The parentage of the orphan may be unknown. The orphan may grow up imagining possible scenarios by which they were orphaned or inventing identities for their unknown parents. Commonly, the orphan is raised by uncaring, disconnected relatives or with foster families that are similarly unemotional or unkind. Orphans without any familial ties find themselves conscripted to life in an orphanage. The traditional orphanage possesses a dark and depressing atmosphere, often filled with other orphans who are cruel or bully the protagonist.

The adults managing the orphanage are equally cruel and uncaring. They frequently blame the protagonist’s orphaned status or “un-adoptability” on the orphan’s lack of morals or good character. Readers are positioned to regard this treatment of the orphan as unjust. In many orphan tales, the orphan undertakes a journey or quest—having no ties to parents, the orphan protagonist is well-positioned for adventure stories. Finally, orphan tales often end with a reversal of fortune, whereby the orphan’s status improves, either via adoption by a loving (and sometimes wealthy) family or by discovering their true identity as one with high social status.

A more contemporary trend involves blending fantasy or otherworldly elements into the orphan tale. J. K. Rowling’s Harry Potter series; Madeline L’Engle’s A Wrinkle in Time (1962); and Neil Gaiman’s The Graveyard Book (2008) are such examples. In many cases, the orphan’s reversal involves the discovery of magical powers or other unexpected potential.