Read these four short essays: Segel’s “Realism and Children’s Literature: Notes from a Historical Perspective” (417-419), Sullivan’s “Fantasy” (420-427), LeGuin’s “Why Are Americans Afraid of Dragons?” (428-431), and Nodelman’s “Liking and Not Liking Fantasy” (432-433).Post on Discussion Forum #7 (deadline for Initial Post on Friday, Oct. 15, 11:59 p.mWriting Prompt:The theme of this week’s Learning Module is “Realism and Fantasy.” Four short essays (by Segel, Sullivan, LeGuin and Nodelman) were assigned, as well as one work of prose fiction: the children’s book The Thirteen Clocks by James Thurber. Thurber’s romance is a fantasy, like most of the ‘most memorable’ books of my childhood (among my other favorites are: Dulieu’s The Adventures of Beetlekin the Brave, Jarrell’s The Bat-Poet, and Carroll’s Alice’s Adventures in Wonderland). I hope that you—like me—found yourself charmed by the hidden rhymes and wordplay, the Golux’ indescribable hat, Xingu’s daring songs, and the suspense surrounding Zorn of Zorna and the completion of his ‘impossible’ quest.For this week’s Discussion Forum post, you should make connections between Thurber’s imaginative masterwork and the following ideas taken from the essays of two of our four ‘fantasy’ theorists: C.W. Sullivan and Perry Nodelman:C.W. Sullivan quotes J.R.R. Tolkien, who says that the fantasist “makes a Secondary World which [the reader’s] mind can enter. Inside it, what he relates is ‘true’: it accords with the laws of that world. You therefore believe it, while you are, as it were, inside.” Does Thurber accomplish this? How? Be specific.In discussing George MacDonald’s The Princess and the Goblin, Sullivan describes the pattern of the märchen, or magic tale. Does Thurber’s novel fit that pattern? Why or why not? Be specific.According to Sullivan, High Fantasy “implies a number of concepts which make it a particular type of fantasy.” Go back to Sullivan to refresh your knowledge of these concepts. Which are at work in Thurber’s story? Give specific examples from the story.Perry Nodelman claims that fantasy asks readers “to acknowledge aspects of our actual reality… that we don’t particularly want to recognize or accept as being real.” “Good fantasies, he says, “can and often do manage to move past the conventional, and do tend to be dangerous.” Apply this idea of Nodelman’s to Thurber’s story. Find specific examples. Consider, for instance, the strange metaphor in paragraph 2 on page 79. In your post, please, avoid generalizations. All of your remarks should be text-based. That is, refer to specifics in Thurber’s novel. That work is long, so use quotations and cite the page so that anyone interested could easily find the example you’re referring to. Don’t make long quotations; a choice word or phrase should be good enough, where Thurber is concerned.