children’s literture – Feminism and Religion

Grief, Grace, and the Eco-Feminist Legacy of Katherine Paterson’s Bridge to Terabithia, part 2 by Elanur Williams

Part 1 was posted yesterday.

The Fridging Paradox

Jesse and Leslie’s autonomy is structurally threatened by the narrative’s conclusion, and Leslie’s sudden death invites a critique of the “fridging” trope, a term derived from the comic book industry describing the practice of injuring or killing a female character primarily to serve as a plot device for a male character’s emotional development. Named after a 1994 comic book scene in The Green Lantern where a hero discovers his murdered girlfriend in a refrigerator, the term critiques the tendency in fiction to treat female characters as disposable tools for male growth rather than as autonomous individuals with their own arcs.

In Bridge to Terabithia, this sacrifice unfolds in three critical movements:

The Intersection of the Boundary: When the narrative notes, “The rain had been falling all night… the creek would be angry,” it signals the reassertion of the physical world. The creek acts as the boundary between the wild sanctuary and the dangerous, restrictive reality. By having the creek kill her, the text suggests that the “wild” or “feminine” space is inherently dangerous and incompatible with long-term survival.

The Reduction to Catalyst: In the aftermath, the text frames Leslie’s existence through her utility to Jesse. He realizes “it was up to him to pay back to the world in beauty and caring what Leslie had loaned him in vision and strength.” This is the core of the “fridging” critique; Leslie is explicitly framed as a “loaned” object, and as a resource for Jesse, rather than a person with her own trajectory.
The Post-Death Domesticization: Finally, Jesse assumes control: “He had to teach May Belle, for he was the king of Terabithia, and it was his duty to pass on the crown.” This shift in language marks the institutionalization of their anarchic space. By bringing May Belle in, Jesse settles the “frontier,” turning a radical, feminist space into a legacy for the next generation, effectively cementing Leslie as a relic of the past.

This tension is most visible in how the forest is described. When Leslie is alive, the forest is an active, creative force. Paterson describes how “Leslie had turned into a beautiful wild creature.” Yet, after she is dead, the forest becomes a site of mourning and memory, described as “still, and the creek was clear and cool.”

Would the novel have been more or less feminist if Leslie had lived? Does her death (within the context of a 1970s children’s book) actually provide the only way for a “non-conforming” girl to be fully accepted by the patriarchal structures of Lark Creek?

To view Leslie solely as a plot device is to overlook the novel’s sophisticated, often brutal, exploration of grief as a catalyst for moral maturity. While the “fridging” critique highlights a structural reliance on her death, one might argue Paterson is engaging in a deeper inquiry regarding the necessity of loss in the formation of the self. In this light, Leslie’s death serves not to diminish her agency, but to transition the novel from a fantasy of escapism into a somber, realistic lesson on the burden of growth. She is not merely a tool for Jesse’s development; rather, her death forces the permanent integration of her radical, imaginative spirit into the “real” world. By “loaning” him her vision, Leslie ensures her feminist influence survives her physical body, compelling Jesse to carry that disruptive, egalitarian force into a resistant, patriarchal landscape. She becomes an internalized mentor, suggesting that a true feminist impact is measured by how deeply one’s vision survives in those who remain. Terabithia ceases to be a secret getaway and becomes a foundation for the transformation of others.

It’s also important to keep in mind Paterson writes from a place of deep, personal vulnerability. She began the novel to help her son process the sudden death of his best friend. When we realize this, the “fridging” trope takes on a different hue. While the structural critique holds, it is also an attempt by an author to offer healing for her son.

The Secular Saint: Aesthetic Grace and Mentorship

Some may argue Miss Edmunds serves as the narrative’s secular saint of aesthetic grace. By treating Jesse’s art with profound respect, she acts as a bridge to a wider world, a living testament that one can exist within a rural community without being confined by its rigid gendered expectations. She provides institutional permission for Jesse to value his own sensitivity, effectively acting as the precursor to the creative sanctuary he will later build. While Leslie represents the collaborative, anarchic spirit of childhood, Miss Edmunds offers a glimpse of that same autonomy realized in adulthood. She is the professional, self-actualized woman of the story, and her presence proves to Jesse there is an alternative way to be, an existence defined by the pursuit of beauty and individual purpose.

Looking back, I can see how Leslie’s golden room and her expansive approach to faith taught me one of my first lessons in feminism, religion, and spirituality. It showed me that the borders we build, whether between countries, genders, or theological doctrines, are often artificial. Although the narrative’s reliance on “fridging” reveals a patriarchal constraint, the legacy of Leslie’s vision remains, and continues to inspire.

This piece is part of a series of explorations on children’s literature, spirituality and feminism by Elanur Williams. FAR has posted several of them.
Two pieces on The Chronicles of Narnia which you can read here and here.
Anne of Green Gables which you can read here.

Bibliography and Recommended Reading:

Escaping to Nature: Ecofeminism in the Children’s Book Bridge to Terabithia, by Anandayu Suri Ardini (2023):

https://www.researchgate.net/publication/372862789_Escaping_to_Nature_Ecofeminism_in_the_Children’s_Book_Bridge_to_Terabithia

BIO: Elanur Williams writes from Dublin, Ireland. She holds an MPhil in Children’s Literature and a MS Ed in Literacy Studies. She is a teacher who specializes in reading and writing instruction, as well as a poet whose work has appeared in Eunoia Review, the Ekphrastic Review, Halfway Down the Stairs, and Cosmic Daffodil, among others. Above all, she is inspired daily by her daughter, whose presence imbues her life with joy, magic, and a sense of limitless possibility.

Grief, Grace, and the Eco-Feminist Legacy of Katherine Paterson’s Bridge to Terabithia, part 1 by Elanur Williams

Bridge to Terabithia, First Edition (1977), by Katherine Paterson. Illustrated by Donna Diamond.

There are stories that define our childhoods, and then there are the rare narratives that teach us how to survive the contradictions of adulthood. When my family relocated from Istanbul to a Philadelphia suburb during my elementary school years, I remember feeling suspended between two universes. My efforts to map suburbia onto the vibrant textures of the home I had left behind corresponded with my encounter with Katherine Paterson’s classic novel, Bridge to Terabithia, and its sibling text, Jacob Have I Loved. I remember being completely mesmerized by Leslie Burke’s house, specifically the room she and her parents painted gold. To a child who felt uprooted and out of place, that golden room was a sanctuary of pure possibility. The book was also one of the first I’d encountered that dared to tackle the complexities of grief.

Published in 1977, Bridge to Terabithia reflects the burgeoning spirit of Second-Wave Feminism, a movement that championed the personal as political and sought to dismantle the rigid gender roles of the post-war era. Leslie’s rebellion, however, carries a bittersweet resonance for the modern reader; while her struggle fits the Second-Wave pursuit of liberation, her eventual “fridging” reflects the persistent literary habit of the era to treat female autonomy as a temporary, tragic catalyst for the male hero’s journey.

The Creative Divine: L.M. Montgomery’s Anne of Green Gables and Emily of New Moon by Elanur Williams

Montgomery, L. M. *Anne of Green Gables*. Bantam Books, 1982 edition.

Long before I lived in Montréal, the lands known to the Kanienʼkehá:ka Nation as Tiohtià:ke, Canada lived in my heart. When I moved there as a young adult, the reality beautifully exceeded my imagination; yet in the years before experiencing those landscapes firsthand, they existed for me purely through books. I was an avid reader and an aspiring writer, searching for characters who felt the same strong and sometimes overwhelming pull toward self-expression that I did. I found that mirror in the windswept shores of Prince Edward Island, through L.M. Montgomery’s fiercely imaginative protagonists, Anne Shirley and Emily Byrd Starr. In her Anne of Green Gables and Emily of New Moon books, Montgomery dismantles the rigid, punitive theology of her upbringing and offers a sharp, proto-feminist interrogation of late 19th-century Canadian Presbyterianism. In doing so, she constructs a deeply personal, feminist spirituality that equates creativity and autonomy with the divine.

Children Are The Future by Judith Shaw

If the saying “Children are the future” is true, then it must also hold true that exposing children to a worldview which supports a loving world is important. Authors, illustrators, animators, musicians, and film and tv producers are hard at work creating stories that nurture children’s capacity to follow their dreams, to share, to resolve conflict peacefully, and to love and accept themselves and others.

You Are What You Read by Martha Cecilia Ovadia

When it comes to my family, I’ve always felt different. One of my earliest memories from when I was really young was being told that I felt things too passionately—that I felt too much. What was never said but was implied was that I felt dissent too much, too often, too vocally. It made people uncomfortable. It made my family uncomfortable. When it came to understanding my faith/religious path, my family and I started diverging early on, never really meeting again—at least not for now.

When I was about five, I remember asking why women could not be priests. My mother brushed it aside and said we could be nuns. She was blind to the inherent misogyny behind the same Church that so many of her female family members had built (we come from a long line of nuns and Jesuits). I thought maybe someday I could be a woman priest. I would change it all. I would be Pope Joan.

When I was thirteen, I started noticing the wealth involved in the Roman Catholic Church, the opulence of the lived Catholic life. When I asked my parents why the Church did not lead in example and live in poverty using its wealth to actively live the gospel, I was told, “ This wealth is a gift to humanity. It is there for all of us, a patrimony to those who open their hearts.” I wasn’t talking about art, I was talking about the RCC’s gold assets—valued in the billions —but it didn’t matter. I’ve seen my family donate to Church building funds my entire life—buildings that were then sold off to pay for the Church’s offenses later on. Still, I thought if I became more involved, with the “right kind of Catholics”, I would be able to change the Church from within. Continue reading “You Are What You Read by Martha Cecilia Ovadia”