One of the cut out bits...

I began to put together a number of examples of literature that had been sanitized, but I cut it because I was focusing on what I didn't want to do, instead of what I did.

The most offensive examples of vandalism of children’s classical literary art come from Disney. I am exemplifying Disney, not because they are bad, but because they are big. When Disney creates a rendition of a golden age children’s (Wiki 2) the audience is no broad, and popular it becomes the prominent form of the work in the mind and heart of the vast majority of the public; replacing the artist’s original creation. A few of my favorite works that have been declawed include; P. A. Travers’ Mary Poppins, A. A. Milne's The House on Pooh Corner, The Little Mermaid by Hans Christian, and Alice in Wonderland by Lewis Carroll.

Mary Poppins

Travers’ Mary Poppins was eerie, cold, and she never showed any empathy. Michael described her impression on page 248 of Mary Poppins Comes Back "you could not look at Mary Poppins and disobey her. There was something strange and extraordinary about her – something that was frightening and at the same time most exciting." There was a fantastically disturbing event in the first Mary Poppins book when she snuck into the children’s room one night, steals the paper stars the children had been collecting, and pastes them into the sky with three surely sisters the children had met earlier while shopping in an odd back alley market. Mary Poppins never says good bye. When she leaves, the only warning is the number of pages in left in the book.

All the magnificently dark characteristics in Tracers’ books are sharply contrasted to the mood of Disney’s movie, in which she arrives to help the Banks family and teach them some songs. It is the family that did not say goodbye in Disney’s Mary Poppins, but only because they were so preoccupied with how happy and functional they had become. P. A. Travers wept through the world Premiere of Mary Poppins, asking “What have they done?” (Singh Web)