P.L. Travers

P.L. Travers (born August 9, 1899, Maryborough, Queensland, Australia—died April 23, 1996, London, England) was an Australian English writer known for her Mary Poppins books, about a magical nanny. The books insightfully explored the fraught relationship between children and adults through a combination of mythological allusion and biting social critique.

Goff was known to have embroidered upon her life at various points, which complicates any retelling of it. She romanticized her jocular and charismatic father as the Irish-born owner of a sugar plantation. (He himself had claimed to be from Ireland.) In fact, he was an English-born bank manager, eventually demoted to clerk. Following his death in 1907, Goff moved with her mother and two sisters to Bowral, New South Wales, Australia, where they were supported by a maternal great aunt.

Goff and her sisters attended first a nearby girls’ school and then a boarding school in Ashfield. After a brief secretarial stint, she embarked upon a career as an actress. Performing under the name Pamela Travers, she toured as a repertory player. (Travers was her father’s first name.) In 1922 her poetry began appearing in the erotic magazine The Triad, which later published her column “A Woman Hits Back.” While touring in New Zealand, she encountered a reporter from the Christchurch Sun, who put her in contact with the newspaper’s editor. She began submitting regular dispatches from Sydney and became a columnist for the women’s section.

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By then publishing as P.L. Travers in a variety of Australian publications, she decamped to England in 1924. She secured an apartment in Bloomsbury, London, and worked as a correspondent for Australian papers, supported by additional funds from her family. Travers soon became friendly with the Irish poet AE (George William Russell), who published some of her poems in The Irish Statesman. He introduced her to W.B. Yeats, whose verse had been highly influential to her style and personal beliefs. From 1933 to 1949 she wrote drama, film, and literary criticism for the New English Weekly. Her letters from a trip to the U.S.S.R. were collected as Moscow Excursion (1934), her first book.

Travers’s second book, Mary Poppins (1934), about a supernatural nanny who arrives on the wind to take charge of the Banks children, was an immediate international success. The further adventures of Poppins and her charges were related in Mary Poppins Comes Back (1935), Mary Poppins Opens the Door (1943), Mary Poppins in the Park (1952), Mary Poppins in Cherry Tree Lane (1982), and Mary Poppins and the House Next Door (1988). Poppins also appeared in Mary Poppins from A to Z (1962), which was later translated into Latin, and Mary Poppins in the Kitchen: A Cookery Book with a Story (1975).

Poppins, who had first appeared in a 1926 short story, was a brusque, efficient caretaker who brooked little nonsense from her two charges or from their parents. Vain and caustic, she nonetheless enraptured the Banks children by granting them entrée to her magical, often Dionysian, world. She could fly, talk to animals and astrological bodies, and change the seasons. Travers made a point of noting that she did not write specifically for children, dismissing the category of children’s literature as unnecessary. Poppins’s playful warping of reality and anarchic dismissal of unnecessary rules argued for the lifelong significance of myth and fantasy and against the artificial construction of childhood as a finite period. In later years, Travers came to see Poppins as an embodiment of a mother goddess.

The first Poppins book was the basis for the musical film Mary Poppins (1964), which starred Julie Andrews as Poppins and Dick Van Dyke as Bert, her best friend. Travers’s contentious business relationship with Walt Disney, who had purchased the rights in 1960, and her efforts to ensure that her work was faithfully translated to the screen were fictionalized in the film Saving Mr. Banks (2013). Travers frequently expressed her unhappiness with the saccharine depiction of Poppins in the Disney adaptation, though the deal made her quite wealthy. She did, however, sanction the development of a stage musical version written by Julian Fellowes. It debuted in 2004 in Bristol, England, after her death.

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Amid the success of the Poppins series, Travers continued to write prolifically for periodicals and penned several volumes about her early life and about mythology. Aunt Sass (1941) paid tribute to her great aunt, Helen Christina Morehead, who had supported her family and whose indomitable personality had served as the inspiration for Mary Poppins. Friend Monkey (1971) was an adaptation of the Hindu myth of the Hanuman, originally related in the Ramayana. About the Sleeping Beauty (1975) told several versions of the titular fairy tale, including Travers’s own. She later served as a contributing editor (1976–96) to Parabola, a journal on mythology. Some of her essays for that journal were collected as What the Bee Knows: Reflections on Myth, Symbol, and Story (1989).

Travers never married, but she was romantically involved with both men and women. She adopted a son from an impoverished acquaintance of Yeats; he was one of a pair of twins. She told him that she was his birth mother, and he did not discover her fabrication until he was 17 when his twin appeared at the door.

During World War II, Travers worked in the British Ministry of Information. She was later a writer in residence at such colleges as Radcliffe (1965–66), Smith (1966), and Scripps (1969–70) in the United States. In 1977 she was created an Officer of the Order of the British Empire (OBE). Her papers reside at the Mitchell Library at the Australian State Library of New South Wales in Sydney.