In 1933, when he was 13, Christopher Robin learned to box. It was a skill he urgently required in order to defend himself from the unending attacks from boys at his boarding school.
Those attacks were generated because his childhood, and in particular his childhood toys, had become public property. He—or rather the fictional Christopher Robin—had become internationally beloved through the stories and poems of his father, Alan Milne.
Even before the success inspired by his son, A.A. Milne was a playwright and author of some standing. Marrying Daphne de Selincourt in 1913, he fought in WWI, and was wounded in the battle of the Somme.
But it was after the War that Milne became far more than another professional writer. Christopher Robin was born in 1920 and, taking his son’s toys as inspiration, Milne wrote two books of children’s poetry, and two books of stories—Winnie the Pooh, and The House at Pooh.
Writing for children was an entirely new departure. But he needn’t have worried —the entire world loved them.
The entire world—except, that is, for Alan Milne, and Christopher Robin. Milne was deeply frustrated that his name as a mature writer was now utterly eclipsed by nursery stories.
As for Christopher Robin, he would eventually cease talking to his parents altogether, resenting what he saw as the exploitation of his childhood by his parents.
Daphne, his mother, did not communicate with Christopher for the last 15 years of her life, and refused outright to see her son on her deathbed. Christopher lived in relative seclusion running a small bookshop with his wife, until his death in 1996, aged 75.
Winnie the Pooh, meanwhile, went onto become the most valuable fictional character of all time, generating in excess of $3 billion each year. The character even has a star on the Hollywood Walk of Fame.
And what of the the original toys — Winnie the Pooh, Pigley, Eeyore, Tigger and Kanga?
They still exist. 750,000 people see them every year, on display in the New York Public Library, behind bulletproof glass.