"True and also lies!" says Gaiman. "If someone says: 'We have investigated – there was no Snow White', I'm not going to go: 'Oh no, my story is now empty and meaningless'. The point about Snow White is that you can keep fighting. The point about Snow White is that even when those who are meant to love you put you in an intolerable situation, you can run away, you can make friends, you can cope. And that message," he says with a smile of satisfaction, " – that even when all is at its darkest, you can think your way out of trouble – is huge."
Along with girls’ books and fantasy, writing about empire has increased over the past decade. In the wake of postcolonial theory by the likes of Edward Said, Homi Bhabha, and Gayatri Spivak and reinterpretations of canonical writers such as Jane Austen and Charles Dickens from a postcolonial perspective, we have seen an interest in children and empire. A number of studies drew attention to children as colonial subjects within the home and school. The next step was to place children in the larger historical context of colonialism and British imperial activity in the 19th century. The works cited here represent the range of studies relevant to children’s literature and imperialism, from writing that studies the major writers such as G. A. Henty, R. M. Ballantyne, Juliana Ewing, and F. H. Burnett ( George 2009 , Green 1979 , Hall 1991 ), to examinations of literary magazines ( Castle 1996 ), to more specifically historical studies ( Richards 1989 , Springhall 1977 ). Although eight works appear in this section, only Kutzer 2000 is a full study of imperialism and Victorian children’s literature.
The representation of the dwarves in The Hobbit was influenced by his own selective reading of medieval texts regarding the Jewish people and their history.  The dwarves' characteristics of being dispossessed of their ancient homeland at the Lonely Mountain, and living among other groups whilst retaining their own culture are all derived from the medieval image of Jews,   whilst their warlike nature stems from accounts in the Hebrew Bible .  The Dwarvish calendar invented for The Hobbit reflects the Jewish calendar in beginning in late autumn.  And although Tolkien denied allegory, the dwarves taking Bilbo out of his complacent existence has been seen as an eloquent metaphor for the "impoverishment of Western society without Jews."