Psychiatrists Delmont Morrison and Shirley Morrison mention paracosms and "paracosmic fantasy" in their book
Memories of Loss and Dreams of Perfection, in the context of people who have suffered the death of a loved one or some other tragedy in childhood. For such people, paracosms function as a way of processing and understanding their early loss.
[5] They cite
James M. Barrie,
Isak Dinesen and
Emily Brontë as examples of people who created paracosms after the deaths of family members.
Marjorie Taylor is another child development psychologist who explores paracosms as part of a study on
imaginary friends.
[6] In
Adam Gopnik's essay, "Bumping Into Mr. Ravioli", he consults his sister, a child psychologist, about his three-year-old daughter's imaginary friend. He is introduced to Taylor's ideas and told that children invent paracosms as a way of orienting themselves in reality.
[7] Similarly, creativity scholar Michele Root-Bernstein discusses her daughter's invention of an imaginary world, one that lasted for over a decade, in the 2014 book,
Inventing Imaginary Worlds: From Childhood Play to Adult Creativity.
[8]
Paracosms are also mentioned in articles about types of childhood creativity and problem-solving. Some scholars believe paracosm play indicates high intelligence. A Michigan State University study undertaken by Root-Bernstein revealed that many
MacArthur Fellows Program recipients had paracosms as children, thus engaging in what she calls worldplay. Sampled MacArthur Fellows were twice as likely to have engaged in childhood worldplay as MSU undergraduates. They were also significantly more likely than MSU students to recognize aspects of worldplay in their adult professional work.
[9] Indeed, paracosm play is recognized as one of the indicators of a high level of creativity, which educators now realize is as important as intelligence.
[10] In an article in the
International Handbook on Giftedness, Root-Bernstein writes about paracosm play in childhood as an indicator of considerable creative potential, which may "supplement objective measures of intellectual giftedness ... as well as subjective measures of superior technical talent."
[11] There is also a chapter on paracosm play in the 2013 textbook
Children, Childhood and Cultural Heritage, written by Christine Alexander. She sees it, along with independent writing, as attempts by children to create
agency for themselves.
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