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On September 6, 1995 La Stampa, Turin's daily newspaper, titled at full page "Is Mary Poppins really Satan?". Many readers were, understandably, surprised but no reader was more astonished than the undersigned. In fact I learned from the article that I had accused Mary Poppins to have "clear links with the esoteric and satanic thought". I was credited for having discovered that "under the gentle mask of the extraordinary nanny a dangerous creature was hidden, with features no less than satanic". The same journalist, appropriately, interviewed an exorcist who complained that "Introvigne normally minimizes the presence of Satan in our life" (a reference to my book on Satanism, where I argue that the number of real Satanists is minimum compared to the number of those who promote Satanism scares). But this, for the exorcist, amounted to still more convincing evidence that Mary Poppins was really satanic: "If someone like Massimo Introvigne has written such a thing, this could only mean that the danger is really there". The problem was, however, that I had never written such a thing.
--
Massimo Introvigne in "Mary Poppins Goes to Hell. Pamela Travers, Gurdjieff, and the Rhetoric of Fundamentalism" (1996)

 

P. L. Travers

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In an interview which appeared in The Paris Review in 1982 the interviewers asked Travers whether "Mary Poppins' teaching — if one can call it that — resemble that of Christ in his parables". Travers replied:
"My Zen master, because I've studied Zen for a long time, told me that every one (and all the stories weren't written then) of the Mary Poppins stories is in essence a Zen story. And someone else, who is a bit of a Don Juan, told me that every one of the stories is a moment of tremendous sexual passion, because it begins with such tension and then it is reconciled and resolved in a way that is gloriously sensual".
The answer is clarified by the following question: "So people can read anything and everything into the stories?" "Indeed."

 

P. L. Travers

 

A great friend of mine at the beginning of our friendship (he was himself a poet) said to me very defiantly, "I have to tell you that I loathe children's books." And I said to him, "Well, won't you just read this just for my sake?" And he said grumpily, "Oh, very well, send it to me." I did, and I got a letter back saying: "Why didn't you tell me? Mary Poppins with her cool green core of sex has me enthralled forever."

 

P. L. Travers

 

"But what can I do?" cried she, spreading out her arms helplessly. "I can not hew down trees, as my father used; and in all this end of the king's domain there is nothing else to be done. For there are so many shepherds that no more are needed, and so many tillers of the soil that no more can find employment. Ah, I have tried; hut no one wants a weak girl like me."
"Why don't you become a witch?" asked the man.
"Me!" gasped Mary-Marie, amazed. "A witch!"
"Why not?” he inquired, as if surprised.
"Well," said the girl, laughing. "I'm not old enough. Witches, you know, are withered dried-up old hags."
"Oh, not at all!" returned the stranger.
"And they sell their souls to Satan, in return for a knowledge of witchcraft," continued Mary-Marie more seriously.
"Stuff and nonsense!" cried the stranger angrily.
“And all the enjoyment they get in life is riding broomsticks through the air on dark nights," declared the girl.
"Well, well, well!" said the old man in an astonished tone. "One might think you knew all about witches, to hear you chatter. But your words prove you to be very ignorant of the subject. You may find good people and bad people in the world; and so, I suppose, you may find good witches and bad witches. But I must confess most of the witches I have known were very respectable, indeed, and famous for their kind actions."
"Oh. I'd like to be that kind of witch!" said Mary-Marie, clasping her hands earnestly.

 

L. Frank Baum

 

Mary Poppins arrives with the wind, and intervenes in the lives of ordinary humans, making magic, but never admitting that it has taken place. She understands the language of animals and birds, and between her visits to mortals returns to some secret source. Although the Poppins books have much in common with other works of children's literature — all the way back to the early 19th century and ETA Hoffmann's inspiration of making toys come alive — Travers was adamant that she didn't write specifically for children, and that there was no such thing as children's books. Poppins, she said, "had come up of the same well of nothingness as the poetry, myths and legends that had absorbed me all my writing life." This was something else that connected Travers to Disney, who maintained that his films were not directed at children, but at the innocence within us all.

 

P. L. Travers

 

I went "0-7..." and he actually went "Slow down!" So I went "0..." and he went "0-7-0..." "No! 0-7..." "0-7-0-0-7..." "No! 0...7..." "0-7-0-0-7-0-7" "Start again!" "How's Susan?" "Not the conversation, the number! That's not my number!" "Giving me a fake number?! Don't you want me to call?!" "No, no...!" Anyway, he hasn't called.

 

Michael McIntyre