In conclusion, P.L. Travers frequently maintained the idea that for her, life and creativity could be expressed in one single phrase: “thinking is linking” (Travers qtd. in Haggarty 22), much in unison with E.M. Forster’s famous “Only connect!”19. By this notion, she did not refer to a random association of concepts but to the way in which our awareness must be raised to a certain consciousness that can be compared with the Celtic Cauldron or Aboriginal Dreaming (cf. Haggarty 22).
This idea is prevalent in all her writings and it features to a great extent in the Mary Poppins books, as has been demonstrated above. Here, Travers offers the reader a text that exhibits a variety of links to the traditional fairy tale, to myth, and to the works of Victorian and Edwardian authors who paved the way for literature primarily read by children that can be seen to enrich the child reader’s imagination without talking down to him or her, as exemplified by the works of Lewis Carroll and especially, Edith Nesbit. In that sense, bearing in mind Kristeva’s definition of intertextuality as the compilation of non-literary and literary pre-existent texts, Travers’s work becomes extraordinarily fascinating in terms of its intertextuality. Furthermore, intertextuality can be seen to gain quite an elemental meaning once it is applied to P.L. Travers’s writing, who maintains that her main character came out of the primal matter that has produced the earliest texts of human kind.
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