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I wonder, however, if perhaps 2015 will be the Year of the Lemur…
Lemur Dreamer by Courtney Dicmas (@CourtneyDicmas) stopped me in my tracks when I first saw it; the bold beauty and energy of its cover, with a silver foil moon is genius. I immediately wanted to know where the lemur is off to, and then I noticed that actually he was in a rather perilous situation (can you see the board he’s stepping off?)…
We all know the power a good opening line to reel us into a story, but with picture books, front covers can have the same task; a single snapshot to seduce us, to pique our curiosity and get us to turn inside. And Lemur Dreamer manages to do that perfectly, drawing us into a tale of an innocent lemur whose habit of sleepwalking takes him on all sorts of adventures but also puts him in danger. He’s got some great friends, however, who keep an eye out for him and come up with an ingenious solution to the trouble he finds himself in.
Dicmas believes her superpower is “drawing crocodile eyebrows“. She certainly has a real knack for fluid, expressive and joyous animal illustrations, drawn with simple outlines and filled with washes of colour, reminding me at times of the brilliant Polly Dunbar. Dicmas also has a self-confessed addiction to the the colour blue, and this gives the book a perfect soothing tone, ideal for a giggly yet calming and reassuring bedtime read.
Harold Finds A Voice, Dicmas’ début picture book, was shortlisted in the UK for the 2014 Waterstones Book Prize and I suspect more official recognition of her work will follow swiftly. I certainly will be on the look out for future books by this talented artist.
Inspired in particular by the shiny cover and one of the interior spreads we turned our hands to creating a Dicmas inspired picture.
First the girls gave their paper a watercolour wash and once dry, they stuck tissue paper on in the shape of simple buildings. On a separate piece of baking paper (tracing paper would have worked too), they drew another row of buildings, in outline with a few windows and other details.
M and J stuck the baking paper over the watercolour-washed paper, and then cut out a moon from silver foil, a length of string for a washing line, and copied the lemur’s legs and a pigeon to stick onto the top layer of their image.
Other activities which could work well alongside reading Lemur Dreamer include:
Drawing on silver foil. The front cover of this book is so alluring with its big silver moon, and that reminded me there’s something quite magical about drawing on silver foil. You’ll need permanent markers (eg Sharpies), and could use foil baking cases instead of sheet foil paper. Here’s some lovely silver foil bunting from Along Came Cherry to give you some ideas to get started.
Playing ‘Follow the leader’. Choose a leader and then get the family/group of children to all line up behind the leader. As the leader moves around everyone behind the leader has to mimic the leader’s actions. Anyone who fails to copy the movement is “out”, continuing until just one person is left behind the leader. This person then becomes the new leader. This could merge into one of my favourite games, doing The Ministry of Silly Walks.
Making your own lemur with a fluffy, stripy tale, using black and white pompoms and a pipecleaner, just like we did here.
What book cover has recently made you stop in your tracks?
Disclosure: I was sent a free review copy of Lemur Dreamer by its publisher.
My post on laughing attracted two comments: an alleged counterexample from an Icelandic saga and a veritable flood of vituperation. The second writer was so disgusted that he could not even make himself finish reading the essay. In principle, abuse does not deserve attention, but I’ll offer an explanation to both of my critics, so that those interested in the subject could come away with a better understanding of the matter. Let me note that I have been studying the history of laughter and the sense of humor for decades, read countless articles and books on this subject, and published a major essay on it. I am not saying this to promote my scholarship but only to point out that I am less ignorant and adventuresome than my opponents might believe.
People have been laughing since the beginning of creation, but they did not do so because something struck them as funny, and when they did do or say something funny from our point of view they did not laugh. In an Old Icelandic poem (from the Edda), to avenge his father, the hero disguises himself as a woman. The person named Blind notices the disguise. Very clever, but, apparently, not funny, and no one laughed. Among other things, sexual laughter played a great role (it may or may not be the reason we still laugh at obscene jokes, however stupid and stale, but Risus Paschalis certainly goes back to a most ancient custom). Laughter as a life-giving force has also been recorded (think of Sarah’s laughter at being told that she has conceived). Laughter of triumph, laughter caused by someone’s stupidity (trusting an enemy, for example) or bad manners (a guest belched in company, and everybody laughed), and laughter as a sign of a woman’s courtly breeding are commonplace. Our ancestors were quick to notice incongruity and produce puns, none of which had anything to do with what we call the sense of humor.
Now the alleged counterexamples. The sagas are full of “famous last words,” usually meant to show the character’s contempt of death (laughter at a funeral is also a very ancient topos, possibly connected with laughter as a life-giving force). A man is sent to reconnoiter whether the person being attacked (Gunnar at Hlidarendi, to use an Anglicized spelling) is still in the house. In his attempt to assess the situation he is pierced with a sword. “Is Gunnar there?” The answer: “I don’t know. But his sword is”; having uttered these words, he falls dead. A warrior removes an arrow from his breast, examines it, notices some fat around the arrowhead, and comments: “The king fed us well” (and dies). Those are among the most anthologized cases known from Old Norse literature, but their number can be multiplied ad libitum. No one laughed; no one found such statements funny, and that’s the whole point. Compare the evidence from Icelandic with (among a host of others) St. Lawrence’s turn meover, I am well done, while he is being tortured on a gridiron, and Ralph Percy’s words (at least such is the tradition) addressed to Henry VI at the battle of Hadgeley Moor (1462): “I have saved the bird in my bosom.” He may have meant that his oath of loyalty and the wound will stay forever in his breast. This is all “literature,” rhetoric based on classical models. We have no idea what people really said in the throes of death. As regards the sagas, let us not forget that they were recorded by educated people versed in Latin. And many skaldic verses were indebted for their content to the tradition of heroic (eddic) poetry.
An even less appropriate counterexample concerns Tristan and Isolde (such are their German names). The two are clandestine lovers and make desperate efforts to conceal their meetings. At one stage only an ordeal can save Isolde, and she thinks of a scheme. Tristan, disguised as a pilgrim, carries her ashore; “inadvertently” he drops his load and falls on Isolde, whereupon she swears that she has never lain in anyone’s arms except those of her husband King Mark and that pilgrim. Hot iron does not burn her, and she is cleared of guilt. Here we have an example of another topos, an ambiguous oath. We are not told whether King Mark’s retainers laughed at Isolde’s pronouncement (I assume they did not), but they would, most probably, have laughed at a clown in a modern circus. The civilized Greeks laughed at the sight of crippled veterans (someone with only one arm or leg or without both: isn’t it screamingly funny?). From this point of view they were not a bit better, perhaps worse, than the crusaders of the High Middle Ages. The jokes recoded even in Boccaccio, let alone those in old popular culture (for instance, the stories of Til(l) Eulenspiegel) are either grossly obscene (sexual humor) or scatological.
To repeat the conclusion of my post: The modern sense of humor does not antedate the Renaissance. This momentous breakthrough coincided with many others. People became the masters of perspective in painting and in narrative technique, began (however slowly) to show interest in what we would call psychology, developed a new view of authorship, introduced a mass of often awkward subordinating conjunctions (and in doing so, caught up with the Romans), and so forth. By roughly the middle of the fourteenth century and certainly by the fifteen hundreds they had learned to react not only to “signs” but also to “icons,” to use semiotic terms. We laugh at verbal jokes unaccompanied by and independent of the situation in which they are produced. Moreover, we don’t need a situational background. Medieval Europeans (if we can trust their literature) never behaved so unless they heard the jokes in Latin; but this was studied, rather than spontaneous, laughter: they knew where to laugh.
There are several ways to understand the problem. First and foremost, it is necessary to study the occurrences of the word laugh and its derivatives in older texts and correlate them with the environment that produced laughter (this task has been performed especially well by French scholars). Second, modern researchers should beware of what anthropologists call the identity hypothesis, that is, the assumption that people don’t change and that our reactions are the same as they were in antiquity and the Middle Ages. The greatest danger lies in the seemingly natural belief that what is “funny” today was funny long ago. Laughter and the sense of humor met relatively late in the history of the post-antiquity Europeans. That is why I wrote that neither Sheridan’s nor Oscar Wilde’s comedies, even if adapted to the circumstances of that time, would have had any success in the Middle Ages. Finally, one is advised to show restraint in polemic. I am sorry to finish my explanations on a didactic note, but offending, disparaging, and professing disdain for an opponent is a bad idea. I hope nobody can object to legitimate self-defense even on December 31, when the whole world is expected to be full of the condensed milk of human kindness, to quote Mark Twain rather than Shakespeare. (Isn’t the joke excellent?)
To remind our readers that this is an etymological blog, I’ll answer one question about word origins. The rest will have to wait until next Wednesday, but possibly I have enough for two Wednesdays. The question was why the Shetland sheepdog is called Sheltie? What caused the metathesis (tl to lt)? Indeed, such a change looks most unusual, but I think the suggestion in the OED is the best one we can think of. There was no metathesis! In the Shetland dialect, the inhabitant of the islands is called Hjalti. It is this word (Hjalti) that seems to have yielded Sheltie (the change of initial hj- to sh- is no problem). The result is almost a pun, and it is a most efficient pun! Funny, isn’t it?
The Oxford Etymologist, full of verve (on which see a special post) but meek in spirit, wishes everybody a happy, healthy, and productive New Year and hopes to receive many questions and comments in 2015 and beyond.
Woozy is a terribly well-meaning wizard who’s keen to help his friends, but more often than not he gets somewhat mixed up and his spells don’t quite do what they’re meant to. With the help of his pet pig Woozy flies around trying to sort things out, and in the process it becomes clear that whilst it may not be magic, it is certainly something quite magical that helps put the world to rights.
Lots of humour, great rhythm and rhyme (enormous aids when practising reading because they help with scanning a line, and predicting how words should be pronounced), and clear, bright and colourful illustrations all add up to a lovely book perfect to give to your emerging reader.
To celebrate the publication of I interviewed the author of Woozy the Wizard: A Spell to Get Well, Elli Woollard, about her work. Given Elli is a poet, I challenged her to answer me in rhyme….
Zoe:Rhyming seems to be in your blood. Where did this passion come from?
Elli Woollard: The thing about me is I sing quite a lot
(I rather enjoy it; the neighbours might not),
And I guess if you’re singing for much of the time
Your mind sort of slips into thinking in rhyme.
Zoe:How does your blog, where you regularly publish poems/works in progress, help you with your writing?
Elli Woollard: My blog’s like a sketchbook for scribbles and scrawls
And all of my mind’s muddly mess.
I write them all down, and sometimes I frown,
But some make me want to go ‘YES!’
Elli on the Dr Seuss book bench that was recently on view in London.
Zoe:What would your ideal writing location/environment be like and why?
Elli Woollard: A hot cup of coffee, a warm purring cat;
There’s not much more that I need than that.
Working at home is really quite nice
(Except when the cat thinks my fingers are mice).
Zoe:What was the most magical part for you in the process of seeing Woozy the Wizard come to life as a printed book?
Elli Woollard: Writing, writing, is ever so exciting,
Especially when you’ve finished and say ‘Look!
All of my creations now come with illustrations!
Bloomin’ heck, I think I wrote a book!’
Zoe:What tips do you have for kids who love to write poetry?
Elli Woollard: Use your ears, use your eyes, use your heads, use your feet,
Stand up proud, read aloud, and just listen to that beat.
Feel the rhythm, feel the vibes of the poetry you’ve heard,
And think about the magic that’s in every single word.
Zoe:Which poets for children do you like to read?
Elli Woollard: Donaldson (Julia), Rosen (Mike),
Lear (Edward) and Milligan (Spike),
I could go on, and write a long list,
But so many good ones I know would get missed.
Zoe:Thanks Elli! I’m already looking forward to the next outing for Woozy, in spring 2015!
Sam & Dave Dig a Hole by Mac Barnett, illustrated by Jon Klassen is full of near misses but ends up being one big hit. Forget the treasure that may or may not be buried under your feet, pick this book up and you’ll have a real gem in your hands.
It starts like this:
Apropos of seemingly nothing, Sam and Dave decide to dig a hole.
They’re only going to stop when they find “something spectacular”.
They don’t have much luck, but… in a brilliantly crafted piece of drama they come oh so painfully, excruciatingly close.
Many picture book creators have talked about how they see their books as mini pieces of theatre, and this book delivers a very special theatrical experience; like in a pantomime when you might call out “He’s behind you!”, only for the innocent character on stage to turn and see nothing, the reader/listener has special knowledge that poor Sam and Dave do not. With beautifully textured, muted illustrations revealing something quite different to what is known from the text, children treated to this story get a special thrill from “being in the know”, from seeing the truly spectacular buried treasure that the poor protagonists keep missing.
This empowering experience is doubled up through association with Sam and Dave’s little dog. Despite being small and just a side kick (like many children sometimes feel), the dog seems to have all the brains. He is the one who keeps sensing just how close the diamonds are. He is the one who makes the breakthrough, resulting in Sam and Dave appearing to have dug all the way through to …
…well, to what? To where? Although this book was authored by Barnett, the ending feels like classic Klassen: It’s full of ambiguity and multiple possible readings. Have Sam and Dave dug all the way through from one side of the earth to the other? Have they managed through some Möbius-strip-like convolution to dig all the way through to end up back where they started? Or have they discovered something genuinely spectacular – some new dimension where slightly different rules are at play?
Finely honed, pared-back text and seemingly quiet illustrations which actually pack a very funny punch combine to make this a winner. Do look out for Sam & Dave Dig a Hole!
Inspired by Sam and Dave’s digging we decided to do a little bit of digging ourselves. Using these guidelines from Suffolk County Council, we dug what is known by archaeologists as a “test pit” in the middle of the lawn in our back garden.
We marked out a square and I took off the top layer of turf before the girls started digging down, retrieving any “treasure” they found on the way.
They used a large garden sieve to go through the soil they removed, and a toothbrush to wash what they found.
As you can see we found quite a lot of “treasure” including something metal but unidentifiable (top left of the photo below), a section of Victorian clay pipe stem, several pieces of pottery and a surprising number of large bones! (oh, and a hippo…..)
At some point when my back was turned the game developed into something a little different – M made a “time capsule” in an old icecream tub and insisted that it got buried when the time came to fill in our hole.
So I guess this means we’ll be digging another hole at some point in the future. Given how much fun we had with this one, I won’t be complaining.
We weren’t listening to music whilst we dug our hole, but were we to choose some music to match Sam & Dave Dig a Hole we might include these in our playlist:
The Hole in the Ground sung by Bernard Cribbins – I have to admit, a favourite from my own childhood
Indoor hole digging. One of my kids’ favourite activities when they were younger, and one which saved my life several times by providing me with a good few minutes to get on with making supper or tidying up, was digging in an indoor sand tray. I had an old roasting tray filled with sand and a few spoons and yoghurt pots which I kept in the cupboard and would bring out for the girls to play with at the table. Yes sand would get spilt as they dug the sand, but all it took was a quick hoover to tidy up.
Imagine packing up your home, leaving Earth and setting out to travel across space to colonise a new planet.
The journey will take so long you’ll be put into a cryptobiotic state. But there is absolutely nothing to fear: You’re on sleek new spaceship, looked after by a team of well-programmed robots, and everything has been carefully thought through. When you finally arrive at Nova Mundi (it only takes 199 years to get there), you’ll be woken up to a delicious breakfast and the start of a whole new and wonderful life.
It sounds great, doesn’t it?
And so it is in Cakes in Space by Philip Reeve and Sarah McIntyre. Astra and her family are on their way to their new home but – you’ve guessed it – something goes wrong. Astra wakes from her suspended sleep, and feeling peckish goes off in search of a chocolate biscuit.
The Nom-O-Tron (a highly developed version of Star Trek’s Replicator) satisfies Astra’s request, but when she’s tempted to ask for something a little more outlandish (how many times have you seen the word “Ultimate” used to describe a dish?) something goes awry. Soon Astra is hurtling through space surrounded by cakes which have learned to evolve. Cakes which are fed up of being eaten themselves. Cakes which have developed a killer instinct.
Will Astra be able to save her family from the Ravenous Crispy Slices and Ferocious Fruit Cakes stalking the spaceship’s corridors? How much more complicated will things get when a second front opens up and her spaceship is raided by alien life forms known as Poglites, desperately searching for their holy grail, that technology which they haven’t been able to master: SPOONS.
Yes, this is a totally surreal and deliciously outrageous story of friendship, ingenuity and hundreds and thousands.
It’s fast-moving, exciting, just ever so slightly scary in that enjoyably adrenalin pumping way and above all it’s FUNNY! Add into the mix some genuinely beautiful writing (sometimes young fiction is all about the plot and the language – especially for an adult reading it aloud – can be somewhat unremarkable, but Reeve at times writes sentences which I found myself wanting to copy out), a plot which will enthral both boys and girls of a wide age range, and the subtle inclusion of some philosophically meatier issues (the consequences of greedy desire, the demonisation of that which we don’t know and can’t name) and you’ve got yourself a remarkable book.
Image: Sarah McIntyre. Please click on the image to be taken to the original blog post – well worth reading!
McIntyre’s illustrations are a crazy but perfect mix of 1950s brave new world sleekness and outrageous sponge-and-icing based fantasy. I’m delighted that Astra’s family are mixed race (this isn’t mentioned in the text at all, but how great to see some diversity just as-is, without it being an issue in the book).
The top-notch content of Cakes in Space is matched by a stunningly produced physical book. Like last year’s Reeve and McIntyre production, Oliver and the Seawigs, this is first being published as a small hardback in pleasingly chunky, strokingly hand-holdable format. Everything about the book is appealing.
After indulging in a solo read, I read this book aloud to both girls over a couple of days last week. Before we’d even finished the books my girls were off to raid the cutlery draw in the kitchen for highly prized spoons to create a collection of which any Poglite would be proud.
Carefully curated, they labelled every spoon with where it had been found in the galaxy, its rarity and its monetary value (I can see how this could develop into a Top Trumps game…)
Spoons are one thing, but cake is another, and I couldn’t resist the opportunity to host our own mini Cakes in Space party. We baked a host of fairy cakes and then turned them into KILLER CAKES…
Lollies made great eyes on stalks…
… as did Maltesers and Aero balls.
We had fun making teeth out of snapped white chocolate buttons, tictacs and rice paper snipped to look like rows of sharp teeth.
We also had some Ferocious Florentines and Sinister Swiss Rolls (helped along with edible eyes).
Other characters from the book were also present: The Nameless Horror was a big bowl of wobbly jelly dyed black with food colouring and with licorice shoelaces reaching out across the table, and jars of purple gloop (thinned down Angel Delight, again dyed to give a good purple colour) with gummy snakes in them made perfect Poglite snacks. Alas these were guzzled before I got to take a photo!
Preparing for the party was at least as much fun as the party itself…
SLEEPING PODS! For the grown ups at the party if no-one else… You could use large cardboard boxes painted silver lined with duvets, and with the lids cut out and replaced with something see-through, with bottle tops/lids stuck on for the various buttons… you get the idea!
We’ve all heard of Death by Chocolate, but what’s the nearest you’ve come to being killed by a cake?
Disclosure: I received a free review copy of Cakes in Space from the publishers.
There was one of those flurries in the Children’s Book world recently – this time, over the award of the Carnegie, the UK’s most prestigious children’s book award, to the hard-hitting The Bunker Diary by Kevin Brooks. I’m not planning to write much about the controversy (I’ve included some links below) which I’d sum up by saying that some people feel that the Carnegie is forgetting its roots as a children’s book prize by so frequently rewarding the bleaker, and older, end of Young Adult fiction. But the debates that followed did make me think about what exactly we mean when we talk about realism in children’s books.
Because the number one point made by Brooks’ supporters, as it usually is when people complain about bleak children’s books, was the “real life is tough” argument.
“[Children] want to be immersed in all aspects of life, not just the easy stuff. They’re not babies, they don’t need to be told not to worry, that everything will be all right in the end, because they’re perfectly aware that in real life things aren’t always all right in the end.” Kevin Brooks
“the real world is so complex that unambiguously happy endings hardly exist” – author Robert Muchamore
“Children and teenagers live in the real world; a world where militia can kidnap an entire school full of girls, and where bullying has reached endemic proportions on social media” Carnegie Chair of Judges, Helen Thompson
We certainly do live in a grim world. Reading the newspaper can be more heart-breaking than any children’s book. But I’d question whether this explains the preponderance of bleak fiction (and am I being cynical to feel, that if teenagers were truly deeply interested in the worlds’ troubles, there might be more translated foreign fiction available for UK children, instead of, as is actually the case, virtually none?)
For most British children, for all the challenges they face, being imprisoned by a psychopath probably isn’t one of them. (Amazingly the 2014 short list featured two books on the “imprisoned by psychopath” theme – the other by Anne Fine.) Terrorist attack, extreme violence, heroin addiction...these are also very small (though terrifying) risks to most under eighteens, living in a Western world where (though it’s sometimes hard to remember) violence is actually in long-term decline.
Or take childhood cancer. John Green’s The Fault In My Stars is just one the latest of many books where children or teenagers die of terminal cancer. By contrast, I CAN’T THINK OF A SINGLE BOOK WHERE THE CHILD HAS CANCER AND GETS BETTER. And yet, the reality is that about 75% of children do get better. Wouldn't it be great – not least for those children with the disease – if some of the award-winning fiction out there also reflected that reality?
In short, you don’t need to think that children’s books should be all fluffy bunny rabbits and happy ever after to wonder if some so-called “realistic” children’s fiction is...well, actually not that realistic.
Myself, I’ve always thought of “realism” not in association with YA grit but with certain twentieth century American authors: from Laura Ingalls Wilder’s Little House books, through Louise Fitzhugh’s Harriet the Spy, to Judy Blume’s Tales of a Fourth Grade Nothing or Katherine Patterson’s Gilly Hopkins the Great.
Perhaps the supreme example would be Beverley Cleary’s Ramona books. Following the adventures of Ramona Quimby and her family and friends over a number of years, and set in Portland Oregon, these books are breathtaking in their ability to distil the ordinary and humdrum into entertaining fiction. Beverley Cleary never relies on dramatic events. (She even avoids dramatic titles, with such understated gems as “Ramona and her Mother” and “Ramona Quimby , age 8”.) There are problems for sure – Ramona’s dad loses his job, for example – but as we see things always through Ramona’s eyes, this is on a par with such problems as her class teacher not liking her very much. There is humour (the teacher told me to sit there “for the present” – but I didn’t get any present, Ramona complains). But it’s a gentle, observational humour. There is death (Picky Picky the cat) but no truck with sentimentality (Ramona and Beezus set to work to bury Picky Picky before their parents find out). There are fears to be overcome – confronting a mean dog – and temptations – how can Ramona resist pulling the blonde curls of Susan who sits in front of her in class, however many times she is told off by her teacher? But it is all grounded in a child’s everyday experience.
Beverley Cleary recalled in her memoir,“I longed for funny stories about the sort of children who lived in my neighbourhood.” And she could see that the children she met while working as a librarian felt the same.
Then, as now, this kind of “realism” was often ignored by critics and award-givers. Cleary has been showered with honours and prizes – but that was after her books had proved themselves enduringly popular with young readers. And they still are. I know British children today who ADORE them – because that small town, domestic American life, however distant it is in time and place, still feels absolutely real.
It’s easy to overlook the skill and imagination involved in creating something small scale. As the great mistress of domestic realism, Jane Austen, long ago said of her work, it is “ the little bit (two Inches wide) of Ivory on which I work with so fine a Brush, as produces little effect after much labour". It look easy – but it isn’t.
Take out the big emotional tear-jerking scenes, the drama of life and death, good vs evil, and what do you have left? The common-place. The everyday. The mundane. And creating something entertaining and captivating out of the mundane is challenging – maybe more challenging than “the big stuff”.
Yet it’s always been an important aim of fiction. Cleary said that she always remembered her college lecturer's advice that a novel should seek to explore universal themes through the minutiae of everyday life. I also like this quote from another writer, Susan Patron, about Cleary. “She showed me that the inner life of any child, the dynamics of family and pets, can be captured as rich, comic, fascinating, poignant, and meaningful."
I’m not sure this type of “realism” has ever been as celebrated in British children’s books, although it is an important part of the appeal of writers such as Jacqueline Wilson and Anne Fine (although their prize-winning books are more “issues” led) or Hilary McKay. With the humour ratcheted up, it’s also the bedrock of Sue Townsend’s Adrian Mole or Louise Rennison’s Georgia Nicolson (I confess the near-death of Georgia’s cat Angus moved me more than any gritty YA novel) and much other comic fiction. It’s even been recognised by the Carnegie in the past, in such books as the groundbreaking The Family From One End Street (one of the first children’s books to feature the everyday life of a working-class family) and The Turbulent Term of Tyke Tyler.
There are lots of joys to be had from fiction, and realism is only one of them. I love fantasy and adventure as much as I love the fiction of the everyday. But I’ve also found that it is often the grounded, “real life” books that are the ones that, as child and adult, I have returned to again and again. There is a particular and lasting joy in reading something “real” and recognising the settings and characters.
Mr Tibbles – a shy reporter on the local newspaper – has been threatened with the sack. It’s perhaps no surprise: Mr Tibbles is mad about cats, and all his stories end up revolving around felines one way or another. What his editor wants, however, is news!
An act of kindness brings Mr Tibbles into contact with Minoe, a rather strange young woman who appears to be able to talk to cats. Through the town’s network of feline pets and strays Minoe starts starts to deliver interesting titbits of exclusive news to Mr Tibbles; cats across the city overhear all sorts of conversations often revealing juicy gossip and insider information, and when Minoe learns of these pieces of news from kitty comrades, she passes them on to her friend the reporter.
Mr Tibble’s job is looking up until he uncovers information which could lead to the downfall of a local powerful businessman. Will the reporter be brave enough to expose the evil goings on? Will he be believed, when his only witnesses are pussy cats?
A funny and yet quietly profound tale of courage, friendship and what it really means to be human, The Cat Who Came in off the Roof, by Annie M. G. Schmidt, translated by David Colmer is a gem of a story. Ideal for fans of The Hundred and One Dalmatians, or cross-species tales of identity such as Stellaluna or Croc and Bird, this book would make an especially good class read-aloud, with lots of opportunities to discuss what life looks like from different perspectives, helping readers and listeners walk in another’s shoes, as well as perhaps learning a thing or to about overcoming shyness, and how to stand up for what you believe in.
From the mangy, feisty stray cat who you end up rooting for, to the hilarious school cat with a penchant for history lessons and a slight;y different (some might say out-dated) understanding of the term ‘news’, Schmidt has populated her story with a super array of characters. The narrative beautifully unfolds with unseen and fine tuning, climaxing with an exciting and rich ending which is deeply satisfying even though not everything is tied up neatly and not all strands end happily. Despite plenty of kittens and purring, this book never patronises its readership.
Knowing the original Dutch language version as we do as a family, I can also comment on the gorgeous translation. Colmer has wittily and cleverly translated linguistic and cultural jokes. His phrase ‘miaow-wow’ for when the cats meet up for a big parley is genius and has now entered our family parlance. If I nitpick I might personally have chosen -thorpe rather than -thorn for the Dutch -doorn, when translating the town’s name but I feel mean mentioning this as Colmer’s voice is pitch-perfect; at no point will you notice the text as a translation for it reads authentically and smoothly.
This must-read book will make you laugh out loud (whether you are a dog person or a cat fan). It will make you feel like for a brief moment you’ve witnessed and understood the best of humanity. It may also make you rather nervous next time you find a cat sitting ever so quietly next to you whilst you are having a private conversation!
I do so hope Pushkin Press are now thinking about translating Schmidt’s earlier work, Ibbeltje, which shares many characteristics with The Cat Who Came in off the Roof and has the added advantage of brilliant illustrations by another glittering star in the Dutch children’s literature firmament: Fiep Westendorp.
For reasons which will become clear upon reading this charming and magical book Minoe not only can speak the language of cats, she is also known to climb trees when dogs approach. It took about a nanosecond for M to decide she wanted to play-by-this-particular-book by climbing as many different trees as she could one afternoon at the weekend. So, armed with a local map (printed from http://www.openstreetmap.org/) we set off to map all the local trees good for climbing in.
Each tree we climbed we identified (it seems that around us oaks, ash and willow are the best climbing trees).
And briefly…. thank you with all my heart to all of you who commented on my last post, or got in touch via email, phone, snail mail and more. Life goes on and plots are being hatched and plans being laid. As and when I can reveal more I’ll be sure to let you know the latest.
But even though every reader who picks up this book will definitely find Max adorable and charming, Max himself definitely does not want to be called cute. He wants to be big, grown up and brave. And to prove his mettle he’s going to hunt down his nemesis… a mouse.
But therein lies a problem. Max does not know what a mouse looks like.
The kitten’s not-knowing-any-better does indeed result in displays of exuberant courage and kids every where will identify with Max’s desire to be be hailed a hero, his refusal to lose face and the simple joy and playfulness of the chase to say nothing of the everyday challenges which arise from simply having to learn how the world works and what it made up of.
This book is an example of storytelling – in both words and pictures – whittled down to the very purest. With only a word or two on many pages, plain typesetting, apparently simple, unadorned illustrations (where much of the impact comes from the page colour and large empty spaces rather than highly detailed or vast drawings). In its bareness there is a direct line to the story, the humour, the characters. There’s nowhere for this story to hide, no embellishments, no fancy details, and this clarity gives the storytelling a freshness that is bold and very exciting.
Restraint may be present in Vere’s brushstrokes (he captures moments of determination, puzzlement, fear poetically and precisely – just take a close look at Max’s eyes on each page to get a sense of what I mean), but this is vividly contrasted with an exuberant use of colour to fill the pages. From Meg and Mog to several fabulous books by Tim Hopgood and one of my most recent reviews, The Cake, there’s a great tradition in picture books of banishing white pages and using glorious swathes of intense colour to the very edge of the pages. One could do some fascinating research into background page colour and emotions at any given point in the story; here, for example, the pages are red when Max is annoyed, and blue with things are quieting down and Max is feeling soothed.
Readers and listeners to Max the Brave may hear echoes of the Gruffalo’s Child with its themes of bravery and danger as a result of not knowing what something looks like, but perhaps more satisfying will be the recognition of characters (or at least their close relatives) from other books by Vere. Is that Fingers McGraw being sneaky once again? Could that be the monster from Bedtime for Monsters making a guest appearance? And indeed, is Max related somehow to the Bungles in Too Noisy? How lovely to be able to imagine these characters having such an real, independent life that they can walk out of one book and into another.
Packed with so much laughter and sweet appeal this book will prove a hit with many, many families. It’s certainly one we’ve taken to our heart – so much so that the kids wanted to make their own Max and retell his story in their own inimitable style.
First J sewed a black kitty out of felt, with pipe cleaners for arms, legs (and one stuffed in Max’s tale so it could be posed.
M (pen name: Quenelda the Brave) then used our new Max to create montages for each page in Ed Vere’s gorgeous book. She modelled her scenes quite precisely, took a photo, and then (as a veteran of adding moustaches and more to photos in the newspaper) edited her photos in a graphics editor to add her own sprinkling of magic.
Here are a couple of pages showing Ed’s original work (reproduced with permission) and the corresponding scene M created:
“This is Max. Doesn’t he look sweet!”
“Max looks so sweet that sometimes people dress him up in ribbons.”
“Max does not like being dressed up in ribbons.
Because Max is a fearless kitten.
Max is a brave kitten.
Miax is a kitten who chases mice.”
Here are a couple more spreads created by M (with guest appearances by Elmer as the elephant in Vere’s book, and a Wild Thing who is mistaken for a mouse.)
M had enormous fun (and showed a lot of dedication!) with this – she’s recreated the entire book out of her love for Max. I wonder what Max will get you and your kids doing…
Here’s some of the music we listened to whilst making Max and our fan-fiction:
Kitty Fight Song by Joe McDermott. WARNING: this video contains lots of very cute kittens….
Monsters, Inc. by Randy Newman
Another theme tune – this time to the 1958 film Mighty Mouse
Other activities which would go well alongside reading Max the Brave include:
Dressing each other up in ribbons and super hero capes. Make Mum look silly by tying bows all over here! Make the kids look invincible by making capes for them (here’s a selection of tutorials)
Reading Max the Brave to a cat. Several ‘Kids Read to Animal’ programmes now exist around the word; these reading programmes are believed to help kids learn to read presumably by making the whole experience enjoyable and building the kids’ confidence. Here’s a newspaper article from earlier this year if you want to find out more.
Book signing event at Waterstones, Tower Shopping Centre, Bank Hey St, Blackpool on Saturday 21st June from 1 to 3pm! Come along for a chat with me and maybe buy a signed copy of my children’s humorous fantasy book, ‘Caution: Witch in Progress’. You can also meet the witch ‘Granny Grimthorpe’ and have your photograph taken with her if you like! ‘Granny’ is one of the characters from my book, and she will be offering the kids free novelties from her cauldron. It will be a fun day out. Don’t miss it!
So, what would you like FREE from Granny Grimthorpe’s cauldron? Come along to the book signing for ‘Caution: Witch in Progress’ at Waterstones, Wigan on Saturday 22nd March from 12 to 3pm and take your pick!
Do you think there is an age at which you’ll stop reading aloud to your children?
Have you already reached that stage?
Why might you keep reading to an older child who can already read themselves?
These are some of the questions I’ve been contemplating as part of a discussion, initiated by Clara Vulliamy, about reading to big kids. I’ve also been thinking about books which I think work especially well as read-alouds to big kids, kids who can read perfectly well themselves.
Adults in these fairy tales are often foolish and fooled, children save the day, taking everything in their stride, there is great humour, wit and cheekiness, as well as the occasional tinge of gruesomeness. Plot twists and turns which might leave my grown-up sensibilities unsatisfied perfectly resemble stories children will tell themselves, with little psychology, minimal internal reason, but plenty of pace. Talking potatoes, giants and shoes in love, witches hiding in cupboards – this book is full of off-beat, silly and enjoyable stories.
But one of the reasons why I think this book works particularly well as a read-aloud, as a shared experience with an adult, is that the book – translated from the French – is full of richness and new horizons that are easier to explore with someone else along for the ride. The book is set in Paris, and has a distinctly Gallic flavour (from the illustration featuring a naked female chest, to a helter skelter ride through French history, via a strong, albeit often tongue-in-cheek Roman Catholic presence), and whilst the wackiness of the tales will be enjoyed by older children reading alone, I think lots that could be missed on a solo reading might be fruitfully explored and doubly enjoyed with a grown-up around.
Each story in this collection has one or two drawings by the Spanish illustrator Puig Rosado
Perhaps this all sounds a bit worthy and educational, and that’s not at all what I’m aiming at. Rather, I’m thinking about to what extent books are enjoyed with or without (some) background knowledge. The language and style of writing in this book is perfect for say 9 year olds to read themselves, (and it clearly is enjoyed by lots of children, having been translated into 17 languages, with more than 1.5 million copies sold around the world) but my experience of it was that it was a book which became considerably enriched by sharing it.
A view down rue Broca. No. 69 is on the left, just after Les Delices de Broca. Image taken from Google street view.
One aspect that my kids and I particularly enjoyed about The Good Little Devil and Other Tales was the discovery Gripari wrote these stories with children: Gripari created them along with kids who would sit with him outside his favourite cafe in Rue Broca, Paris in the 1960s. As Gripari writes in his afterword:
The stories in the collection were. thus, not written by Monsieur Pierre alone. They were improvised by him in collaboration with his listeners – and whoever has not worked in this way may struggle to imagine all that the children could contribute, from solid ideas to poetic discoveries and even dramatic situations, often surprisingly bold ones.
My kids were so excited by the idea that kids just liked them had helped a “real author” write a “real book”. It was an inspirational moment for them, and with a glint in their eyes they were soon asking how they could turn their stories into books.
And so it was I started to investigate ways to turn M and J’s own words and pictures, stories and illustrations into books of their own. I soon realised that I was not only finding ways to support my kids desire to write, I was also discovering ways to store all those creations of theirs I can’t bear to part with, as well as objects that could be turned into unique Christmas or birthday presents for family members.
Here are 7 ways to turn your child’s words and pictures into a book. Some of these approaches could also be used by classes or creative writing/art groups, to create publications that could be used for fundraising projects.
1. The slip-in book
Stationers and chemists sell a variety of display books that can be adapted for self publication. Choose the size you want and simply slip in your pictures and text! Photo albums often offer greater variety of binding, and come in many more sizes, so these are useful if you want to include documents which aren’t a standard size. Display books typically have either 20 or 40 pockets, giving you 40 or 80 pages in total. Depending on whether there is a separate pocket for a title page, you can use stickers to give your book a title.
Advantages: Very easy to produce, and cheap. Minimal printing required, and no typesetting needed! Older children can make these books themselves as all it requires is for them to slip the original into the binding. Disadvantages: Only one copy of each book can be made this way (unless you photocopy the originals). Cost: £ (Display books in my local stationers started at £2.50, and photo albums at £5 for larger ones) Ideal for: Storage solutions, one-off books.
2. Comb bound
Many local stationers offer a cheap and quick option using comb binding. For this option you’ll need to prepare your images and texts so that they can be printed (normally at A4/letter size, not at smaller or nonstandard sizes), and this may involved scanning images and a certain amount of typesetting. Once you’ve prepared your document, binding can be very quick (a matter of minutes), and because you’ve prepared an electronic copy you can bind as many copies as you’d like. It’s possible to buy coil binders (£100-£300) and this might be an effective option for schools.
Advantages: Cheap and quick, good for multiple copies. Disadvantages: Can look a bit “cheap” (I think slip in books look more appealing; they can look like real hard back books), can be a little flimsy. Cost: £ (comb binding at my local stationers – Rymans, for UK folk – started at £3.49 for 25 sheets, going up to £7.49 for 450 sheets). Don’t forget you’ll have to include printing costs too. Ideal for: short runs of books at a low price
3. Glue bound
Image Source: University of Birmingham Bindery
Is there a university near you? If so, they will often have a binding service, aimed at students with dissertations, but open to the public too. If you’re looking for something which looks a little more like a paperback than a comb bound book, a glue bound book might be for you. Again, you’ll need to prepare your text and images so they can be printed, but once you’ve done that, you can print and bind as many copies as you like.
Glue binding (sometimes known as Thermo binding) is quick (often a while-you-wait) service, and you can often get your pages printed and bound at A5 size rather than A4 (making the finished product look more like a “real” book).
Advantages: Finished book can look quite a lot like a “real” book, which is very satisfying! Disadvantages: Glue binding is considered “temporary” and so isn’t ideal for books which are going to be read very many times. Glue binding won’t work if you’ve very few pages in your book; most binders I’ve spoken to recommend an absolute minimum of 24 sides (12 pages). Cost: ££ (glue binding at my local university was £7.50 per book). Don’t forget you’ll have to include printing costs too. Ideal for: When you want a cheapish option which looks like a real book. University binderies are also often able to give some advice on typesetting and layout, so if you’re not confident about your skills in those areas.
CreateSpace is a fairly easy tool to use to create paperback books. It has an extremely clear step by step process you can follow. There’s quite a variety of formats, both in terms of size, black and white printing or full colour, or cream paper instead of white (the former being better if you want to be dyslexia friendly, though this option is only available for black and white printing). To make your life much easier, you can download templates with much of the formatting done for you (for example margins set up correctly) – I’d definitely recommend doing this, though it isn’t a requirement. Once you’ve downloaded the template you’ll fill it in with your child’s writing and images, just like you would in a word processing document.
Both my kids have used the template and typed straight into it (rather than writing by hand and then me typing up their words). Adding images works just like it does in a word document, the only thing I’ve found you need to be careful of is making sure your images are of a high enough resolution. When you/your child has finished their document (perhaps with multiple stories and images) you need to upload your work as a print-ready .pdf, .doc, .docx, or .rt. CreateSpace then checks everything is ok before you go on to design your book cover.
You can order M’s first book by clicking on this photo!
Advantages: The CreateSpace step-by-step guide is thorough and pretty easy to use. The resulting books have definitely had the “wow” factor with my kids. Disadvantages: For a whole variety of ethical reasons you might not want to deal with Amazon. Everything is done online so you may want to think about personal details. M has used a pen name, so her real name doesn’t appear online, and if you were publishing work by children in a school you might want to consider only using children’s first names, especially if the name of the school also appears on the book you create (this is less of a concern if you don’t make the book available for the public to buy). Cost: ££ The cost to create the book is nil. The final purchase price depends partly on page number and the use of colour (the more pages, and the use of colour make books more expensive), and whether you want to sell book at cost or to make a profit. M’s book (64 pages, 6″x9″, full colour) has a public cost price of £6.24 (although price is actually set in $). although as the author M can order copies at about half that price (though there are then postage costs to pay). Ideal for: Producing books which really look like paperback books. Great if you want family and friends to be able to buy their own copy. You can also choose to publish your book in Kindle format.
The Scholastic We Are Writers scheme is specifically designed with schools in mind. It costs nothing for the school to set up and publish, thought each final book costs £5.99 (though you can sell it for more if you wish to make a profit) subject to a minimum order quantity of 50 books. A nice feature is that the books come with an introduction written by a leading children’s author (although this isn’t personalised to your school)
Advantages: You can run We Are Writers as part of your Scholastic Book Fair to earn Scholastic Rewards for your school. Disadvantages: Not ideal if you just want a few copies of the book you create. Although the cover is full colour, the interior of the book is black and white only, so not ideal if you wish to include artwork. Books must contain a minimum of 50 pages. Cost: ££ Ideal for: Schools wanting to create books which are text based.
Both giggle inducing and surreptitiously brain expanding, Little Answer by Tim Hopgood is about BIG questions (“What is the meaning of life?”, “What is the secret to happiness?”).
Yes, really. It’s about sausages.
And I say that even though you could in fact argue Little Answer is ultimately about the biggest existential questions any of us face; it’s about trying to find out who we are, about trying to understand how we fit into the big wide world.
Profound AND full of laugh out loud moments, kindness and good old fashioned silliness, this is a fabulous book for all ages.
In this philosophical and joyously absurd book Little Answer actually knows his name (‘Sausages‘), but the worrying problem is that he can’t find his question. Something’s missing in his life, and until he can find the Q to his A, things just don’t feel right.
With help from a friend, Little Answer asks around. Could he be the answer to “What makes the wind blow?” or “Where did everything come from?”. There must be a question out there just right for him to answer…
Children will recognise themselves in the gloriously satisfying end to this book, and they and their parents will enjoy the inclusion of brief answers to all the more challenging questions posed in the story. Indeed this is the perfect book for children always asking “Why?”
Tim’s richly textured illustrations are bright and beautiful. His scribbles and prints, full of energy, have an appealing child-like quality to them. Thick crayon strokes look like they’ve just been drawn on the page. And Little Answer’s characterization is brilliant; he’s utterly personable and endearing!
Tim’s told me that the idea for this book came to him during a question and answer session at the end of one his school visits.
One boy put his hand up and said “I’ve got a guinea-pig” and the teacher then explained to the boy that that wasn’t a question.
She then asked the class “What does a question need?” to which they all replied “An answer!”.
And at that point Tim immediately thought, “But what if the answer can’t find its question…”
I do hope that little boy and his guinea pig one day find out they’ve inspired a wonderful, witty, and warm book perfect for feeding (and satisfying) curiosity.
You know a book’s hit home when within just a couple of hours of it arriving, the kids are already at play, inspired by the book. And so it was with Little Answer. Balloons were filled with rice (making them lovely to hold), and then eyes, smiles and legs were added to make our own Little Answers.
M couldn’t resist making a BIG Answer too! And the answers didn’t go nameless for long.
They were called:
and… 55 (she was the BIG Answer)
The girls told me that these were all answers to questions they had come up with, and it was now my job to find out what those questions were.
Well I like a challenge, and I was certain that one of the questions must involve cake, so off we set for a cafe.
To the huge delight of the girls, I was WRONG! None of their answers involved anything to do with a cafe (though they were more than happy to try some cake, just to be sure).
I thought I better up my game, so I then decided that the local library would be a good place to look for questions. M was very obliging and looked up the dewey numbers for the books which might help me find the right questions to the answers she and her sister had prepared.
So at least I was in the right section for some of my questions…. and I started knuckled down to work, with the Little Answers looking along side me.
The Big Answer preferred to lounge about!
I have to admit, it was quite a struggle to find the right questions. But in case you’re wondering what they were here they are:
What has antennae, wings and is beautiful?
Who do you find in Ancient Egyptian tombs?
What does Cadburys make?
Name a nematode that might live in your gut
Name a part of a flower
What’s my (M’s) favourite herb?
And are you ready for the really really BIG question?
What is 165 divided by 3?
I especially liked the big question. It really reminds you how different the world can see when you’re a kid!
Even if I struggled to find all the questions in the library, we had so much fun with this activity. Any game where the kids are in the know and the adults are clueless is always popular in this home! Plus, along the way we got to practise research skills and giggle a great deal. What could be better?
Music we listened to whilst making our little answers included:
There Are More Questions Than Answers by Johnny Nash
The Dewey Decimal Rap
What’s The Answer? by Gene Harris & The Three Sounds
Other fun activities to try out alongside reading Little Answer include:
I didn’t meant to. I didn’t consciously set out to write a book featuring bottoms. It was only when Penny Dolan wrote that Wild Thing was “much more than a book that gets 8 year-old children laughing because they enjoy reading about rude words” that I realized what I’d done. I, too, had written a book featuring children's fascination with their nether regions.
It’s not exactly an untapped theme in children’s literature. (In modern times, anyway – you won’t find Jo March, Anne of Green Gables or even Just William having much to say about posteriors.) But whether it’s Nicholas Allen’s delightful Cinderella’s Bum or the famously scatological The Little Mole Who Thought It Was None Of His Business, there’s a whole branch of kids’ books about rear ends and what comes out of them. In fact when I (rather bravely) did some googling, I was stunned to find out just how many titles there were.
I suppose the whole bottom thing can be seen as a cynical ploy. If you want to get children laughing, then “rude words” as Penny implies, are a good way to do it. This wasn’t really on my mind, though. The truth is, having spent the last several years in close contact with young children, I’ve been forcibly reminded how fascinating all things bum and poo –related are to them. I’ve walked behind four year olds whose only obsession is with spotting possible dog poo – and not to avoid standing in it, but out of pure fascination with the subject. “No, that’s only a dead leaf,” I’ve said wearily, more times than I can remember.
So it’s not surprising the theme cropped up in Wild Thing, which is at heart a realistic, family story. The subject first arises when an inadvertent slip of the tongue by Gran allows five year old Wild Thing to get going on a favourite subject.
“Gran said bottom!” “No, she didn’t.” “Yes, she did.” Wild Thing grinned. “A butt is a bottom.You’ve got a big butt!” She pointed at me. “And Gran’s got a wrinkly one!” Then she danced off across the garden, shouting, “BUTT! BEHIND! BOTTOM! BUM!” at the top of her voice. She almost crashed into a tree.
Wild Thing waggles her bum (Jamie Littler illustrator)
The incident leads to a wild chase and the invention of the Bite the Bottom game – yet another source of daily embarrassment for poor older sister Kate! When I’ve read the passage aloud in schools, the effect has been electrifying. On the occasion where I had a staff member “signing” the bottom-biting scene (and giving a fine theatrical performance of the bottom-chomping incident) I thought everyone was going to be reduced to a dangerous level of hysteria.
It’s true, folks. Rude bits really do make them laugh.
In school...the arrow fittingly pointing at a certain place!
Grown-ups can be a bit sniffy, I suppose, and feel that the whole bottom thing is crude, overdone, and playing to the crowd. But then children feel much the same about adult interests. Remember The Princess Bride and the little boy recoiling from the sloppy bits – “Yuk kissing!” Anyone who has watched TV with a child will recognize that response. (It’s also beautifully captured in Judith Viorst’s classic picture book, Alexander’s Terrible Horrible No Good Very Bad Day – where the kissing on TV is almost as bad as the lima beans for dinner.)
So let’s allow children their interests, just as adults are allowed theirs. After all, for the average five year old, toilet training and bed wetting are still very immediate issues, and getting oneself to the toilet on time can be a source of pride (or sometimes an embarrassing failure). Adults take all this for granted – although actually, of course, many adults, especially in later life, don’t. Sadly, it often becomes a source of shame and embarrassment again, with many incontinent adults suffering in silence. So if children can openly laugh and celebrate all things rear-end, then let’s embrace that! Humour, as a recent ABBA poster pointed out, is also a way of dealing with things that trouble us.
So Bottoms Up, folks! And why not nominate your own favourite rude title? ---------------------------------------------------------------------------------
Emma's new book, Wild Thing, about the naughtiest little sister ever (and her bottom-biting ways), is out now from Scholastic. It is the first of a series for readers 8+. "Hilarious and heart-warming" The Scotsman "Charming modern version of My Naughty Little Sister" Armadillo Mag
Wolfie is published by Strident. Sometimes a Girl’s Best Friend is…a Wolf. "A real cracker of a book" Armadillo "Funny, clever and satisfying...thoroughly recommended" Books for Keeps "This delightful story is an ideal mix of love and loyalty, stirred together with a little magic and fantasy" Carousel
Pettson, a crochety but ultimately kind and charming old man lives on a small homestead in the countryside, with a mischievous cat, Findus, as his only real family. Spring has arrived and it’s time to plant their vegetable patch.
But try as they might, the odds are not in their favour. First the chickens dig up the newly planted seeds. Then a neighbour’s pig escapes and runs riot. Should Findus and Pettson just give up on vegetables altogether? (Many a child reader/listener might well cheer at this point!)
Slapstick humour abounds in this seasonal tale full of optimism and utter chaos. It’s is also great for starting discussions about where food comes from (tying in with the primary school ‘field-to-fork’ topic rather nicely).
Fans already familiar with Pettson and Findus (this is the seventh Findus and Pettson book now translated into English and published by Hawthorne Press) will delight in familiar tropes; the threat of the fox, the problematic fellow farmer Gustavsson, the crazy DIY projects and the mysterious mini magical folk. If you’re new to this utterly delightful Swedish import the ramshackle illustrations teeming with life and laughter will quickly win you over.
You’ll be infinitely richly rewarded for spending time pouring of the illustrations; even in choosing just a few cameos to share with you today, we’ve discovered many more visual jokes, even though this must be the 20th time we’ve read the book.
Charismatic characters, high jinks, and heart-warming friendship combined with witty, surprising and satisfying illustrations all add up to another winner from Sven Nordqvist.
We’ve been reading this funny book down on our allotment in between planting our vegetables and flowers for this year.
And just like Findus, the girls said they wanted to see what would happen if they planted meatballs. So I called their bluff, and said that of course they could plant meatballs (along with carrots, onions and beans)…
And thus a new family dinner was created! A field of mashed potato made the most fertile ground for planting sauted onions, carrots, steamed beans, and – of course – some extra special meatballs.
Whilst planting our meatballs we listened to:
On top of spaghetti (all covered in cheese, I lost my poor meatball when somebody sneezed), here sung by Tom Glazer
One Meatball by Fred Mollin (from the film Ratatouille) – here’s an older version (lovely, but not quite a jazzy as the Disney version):
Making some bird houses to put up in your garden. Pettson and Findus’s world is full of little cottages up in the trees and you might find inspiration to add one or two to your outdoor space on this Pinterest board.
There are lots of recipes for great picture books but Rebecca Patterson has certainly worked out one of the best set of ingredients. She takes a good dose of humour, a non-patronising, reassuring, sincere child’s-eye view of the world and adds in highly observant illustrations and a sprinkling of drama. She did it with the Roald Dahl Funny Prize winning My Big Shouting Day!, the brilliantly perceptive My Busy Being Bella Day, and has pulled it off once more with her latest book, Nightbear.
An old bear has arrived at a new home; the book opens with us following him from the factory where he was made, to his first (and unappreciative) home, to a charity shop where he is eventually bought by a young girl out shopping with her mum. The bear is thrilled to have been chosen, but how will he fit in, when he discovers that the girl already has lots of teddy bears with very important roles in her life?
A heartwarming, delightful story not just about having a great teddy bear to hug, but also about the importance of having someone listen to your stories, and the reassurance that comes from being ‘picked’, about the everyday, real worries a young child can have (from nightmares, to being ill in the night), and most of all about the enormous fun to be had with imaginative play, Nightbear is a perfect picture book.
Starting with the gorgeous, dark sparkly cover, this book is so much fun to look at as well as to listen to. Patterson draws with a delightful, fluid simplicity; lots of smooth curves abound – as if echoing the cuddliness of the bears, and the warmth of the family. Some of the tiny details in the illustrations are like poems; they ring true in an uncluttered, authentic way that makes you see them anew, for example the way the mother holds the hand of the child when they’re browsing in the charity shop, or the manner in which the father holds the hair of the child whilst she is being sick.
A book every nursery and infant school should have, a book every charity shop should use to make a brilliant, eye catching window display, a book every family with young children will enjoy, Nightbear is an ideal book to cuddle up with.
Feeling sad at the thought of all those unloved teddy bears leading lonely lives on charity shop shelves we armed ourselves with 50ps and went off with a mission to each rescue and bring one home.
This one (above) looked pretty comfy.
This one looked rather resigned to its fate.
These two had fallen over and were asleep when we saw them.
This one was too expensive.
But eventually we each found a teddy that we loved, came home, and celebrated by dressing them up (as happens in Nightbear). I’m rather jealous of the bustle and headgear newly named ‘Treacle’ got to wear:
Little ‘Buttercup’ got a pretty nifty hat:
But ‘Candy’ stole the show with her badges and slides…
Other fun activities to get up to alongside reading Nightbear include:
Making a patchwork blanket. Even the youngest kids can have fun making a paper collage out of coloured squares, whilst older kids could paint fabric in blocks of colour (thinned down acrylic paint is great for this if you don’t want to get dedicated fabric paint).
Having a Teddy Bears’ Picnic! A blanket, some bears, some biscuits… oh and a good book or two and you’re all set!
Ready Baggy Brown by Mick Inkpen for another great view of a teddy bear factory line
The phenomenal, ongoing success of Horrid Henry and the recent rebranding of Blyton’s Naughtiest Girl in the School series (with new illustrations by Kate Hindley) show how many young children love to read about kids getting up to no good. Picture books which revel in really bad behaviour are less common but Children are Naughty by Vincent Cuvellier and Aurelie Guillerey and The Cake by Dorothee de Monfreid (@DdeMonfreid) are two new books which are exceptions to the rule. In these books there is no moral finger-wagging telling readers the behaviour is inappropriate or unacceptable; the naughtiness is not redeemed by charming features elsewhere (such as in Pippi Longstocking, for example) but rather they are celebrations of all that is entertaining about unadulterated misbehaving.
Children are Naughty covers just about every bit of bad behaviour you might find kids getting up to, from pulling hair, to not sharing toys, throwing tantrums and refusing to do what is asked of them. There’s a funny nod to an adage all too often wheeled out in parenting: “Do as I say, not as I do” (or in this case did) – acknowledging that adults too were once kids, and of course as kids we were always angelic and never ever broke any rules (ahem). The illustrations have a 1960s feel about them (as does the text at times with some casual sexism I didn’t feel comfortable with) and are beautifully produced to look like vintage prints (a technique the publisher, Flying Eye is very good at, as can also be seen in their reproductions of Dahlov Ipcar books).
In The Cake a bunch of hungry friends agree baking a cake would be a good solution to their predicament. But they can’t agree on what sort of cake to bake and [spoiler alert] their disagreements end up in an enormous food fight. The tone and visual style of The Cake will appeal to fans of Poo Bum by Stephanie Blake (from the same publisher, Gecko Press); full bleed pages of bold, saturated colour, and characters drawn with thick black lines and a certain wobbly naivety.
Both have provoked me to reflect on my own values and where the boundaries lie (if there are indeed any boundaries) when it comes to what content I as an adult (as a book buyer, as a librarian, as a parent) am happy with. It’s not often I’m made uncomfortable by a picture book! I wonder if it is just coincidence that both books are translations from French (Linda Burgess translated The Cake, but sadly no translator is acknowledged in Children are Naughty). Is unrepentant naughtiness one of those themes like sex and death which are more common in continental European picture books than English/US picture books?
I don’t think these are books for everyone. Some will love the cheekiness, the rebelliousness of these books. Others will feel they go a step too far. One of my girls loved both books, whilst the other was actually saddened by them, feeling that the behaviour was a bit mean. I’d encourage you to seek them out and see how not only you, but also your kids react to them. You might be surprised.
Connecting with our inner rebels, these books encouraged us to have a food fight of our own. Instead of pistols it was plates of squirty cream at dawn:
It has to be said we laughed a LOT doing this. There really was something exhilarating about doing something so “naughty”. I won’t be encouraging a repeat performance, but we had 20 minutes of unbridled joy. I’m pretty certain this particular playing-by-the-book will find a place in family lore in years to come.
Music to go with cake and/or a food fight includes:
Rock Melon by Gustafer Yellowgold – a food fight but with melon balls!
Cakenstein also by Gustafer Yellowgold
Chocolate Cake by Musical Playground
Other activities which go well with reading The Cake include: