Maria's time at a Victorian all-girl's boarding school is fraught with painful memories and incidents. When her elderly aunt dies, she is sent there wMaria's time at a Victorian all-girl's boarding school is fraught with painful memories and incidents. When her elderly aunt dies, she is sent there will little support from her extended family and finds herself bullied and ridiculed by students and staff alike. As a last grasp of hope she runs away to Oxford in the hope of some support from her uncle, the warden of Canterbury College (another fictitious creation). There, she finds that both her uncle and his colleague are sympathetic and forward thinking in their approach to mixed-sex education. They think Maria would benefit from being taught at Canterbury alongside three siblings brothers whose rather is a resident Professor. With the current tutor on leave, Maria and the boys are taught by the utterly maverick, Mr. Copplestone, who is both chaotic yet utterly devout in supporting Maria's desire to research. Although there may be many obstacles in her path, Maria's goal to become a professor of Greek and unravel a local mystery in a stately home is supported by a host of boys and academic men and with her own growing self-determination, Maria's story draws to a satisfying conclusion. This is the first Avery I have read and as a story of highlighting progressive movements in ensuring education and access to education for women it's right up there....more
I was worried about reading this latest installment of the, rightly-acclaimed, Hilda series. The four that had come before had set a high benchmark wiI was worried about reading this latest installment of the, rightly-acclaimed, Hilda series. The four that had come before had set a high benchmark with their pacy, multi-layered mythic narrative and easy humour. There was something touching in Hilda's natural connection to the landscape and the fey folk and although I was really sad to see her and her mother leave that liminal space between the wilderness and the city of Trolberg in Hilda and the Bird Parade, I was happy that the connection to the magical remained.
I should affirm then, that nothing is lost in this addition to the Pearson canon and more is gained. Nothing about the Netflix adaptation or novella versions of the book have stopped the creator from losing himself in the steadily-growing world he has created. There is no laurel-resting to be found here: instead we have a plot that focuses on the friction between Hilda and her mother. We are presented then, with a mirrored, liminal space, that desires for the developing youth to become independent of a parent's comfort. A bildungsroman of sorts.
In Hilda and the Stone Forest, mother and daughter find themselves within the belly of a mountain amongst the trolls - a diverse and highly ambiguous race of creatures. Some are violent and angry, others caring and thoughtful and Hilda and her mother must find a way to compromise their differences if they are to escape.
Although some of the emotional resonances here felt a little empty and I was left with more questions that answers as to the plot, this is a jam-packed graphic novel that begs for more to be told. Fortunately the story's second half will be with us soon with Hilda and the Mountain King. This first half doesn't disappoint and closes with the best end to a Hilda story to date. ...more
A modern fairytale by Waddell & Benson in which we meet a strong-willed, self-confident princess. Her parents, the King and Queen are not cut out for A modern fairytale by Waddell & Benson in which we meet a strong-willed, self-confident princess. Her parents, the King and Queen are not cut out for any sort of ruling and their ineptitude has led them to living life in mock-built caravan with clothes hung of broken branches and royal meals cooked upon a measly fire. When blessed with a child who could save their futures, they bemoan the fact that they have been gifted a girl only to find that she is more than capable of overcoming any adversaries *I particularly enjoyed the biffing she gives the bad fairy*.
A parodical exploration of many prince-sent-questing tropes I, for one, enjoyed the ending with both princess and prince having a friendly spar. Some may say, for a true role reversal the prince should take on those duties bound those endless princesses in fairy tales but I prefer the message behind this one. As always, Benson's watercolour and ink drawing are a delight and it cannot be without coincidence that our most excellent princess passes more than a likeness for Pippi Longstocking....more
Whenever a new author debuts on the children's literature scene, I always approach their work with a measure of excitement and caution. It is yet anotWhenever a new author debuts on the children's literature scene, I always approach their work with a measure of excitement and caution. It is yet another publishing cog whose teeth are just set to roll along the mainstream line or has a publisher taken a leap of faith and presented us with a unique and engaging voice? I can assure you that Balen's debut stands firmly in the latter.
Having completed an MPhil in exploring the impact of stories on autistic children, Balen turned her writing towards a domestic novel. It tells of a family of four: Mum is artistic, caring, thoughtful and has sacrificed her painting to raise her sons. Dad's life revolves around his work and although he loves his wife and boys, they remain somewhat on the periphery. Frank is ten, enjoys football, exploring the wild with his friends and cracking codes whilst Max is five, only eats quavers and repeatedly reads The Baby's Catalogue. Everyone in the family must work around Max who is soon to start school and whose severe autism means that he requires a lot of attention and needs. What happens then when a singular event throws the whole family into disarray?
Told from Frank's perspective, Balen invites us to view and empathise with a ten year old's struggles to cope with and understand not only his brother but also the great changes that shake his life. We may recognise bias and even be familiar with it but Frank's voice is so perfectly handled that Balen deftly offers us insights into the lives of all those around Max. This is a story as tender and heartbreaking as it is true.
But the real magic comes from this being a story shared in its telling. Lauren Carlin, whose illustrations and codes are thoughtfully set throughout the book bring the tale to life in a way that words alone would not have accomplished. Her codes, full page illustrations and abstract images invite us into Frank's world and the possibility of unraveling some of his deeper thoughts. It is rare to find an illustrator being able to enrich an already engaging reading experience but Carlin is masterful in her application.
The Space We're In, sadly, won't work for all readers. It is deep and clever in a way that many won't have the time for. Yet to not acknowledge its pace, characters and timely plotting is to miss out on the subtle craft of the book. If this is the only book Balen writes then she should know that she has left us all with something very special and deeply memorable....more
Aiken has written 3 other collections of fairy tales like this as this specific gathering celebrates the retelling of eleven East European folk tales.Aiken has written 3 other collections of fairy tales like this as this specific gathering celebrates the retelling of eleven East European folk tales. Aiken never puts a word wrong in this collection involving dragons, knights, helpful animals and angels and does not hold back in her rich imagery and language. Many pages are accompanied again by Pienkowski's familiar silhouette style. In order to find the right balance between word and image, he had more control over where the narrative went, charted the progression of colours and was allowed to colour the initials of the first word of each story (which is a gorgeous addition). Great to learn and retell to KS1 or read aloud and explore with KS2.
My first reading of this book was an unfair, slightly negative one that hooked upon the understanding that I had only recently read the perfectly execMy first reading of this book was an unfair, slightly negative one that hooked upon the understanding that I had only recently read the perfectly executed Me And My Fear by Francesca Sanna. Both books use the same concept of a personified, rotund feeling following around the main protagonist until they learn to accept its place in their lives. But a break from Eland's book and an acknowledgement of the similarities allowed me to see that the messages, style and approach are very different and that this is a book to be celebrated and shared.
In a scene reminiscent of Alfie Gets in First, Eland introduction to Sadness uses the gutter as a door frame separating our large rounded minty-green walking globule from its host; a young child sat reading a book. In a rare second-person narrative, presented in child-like typography, the story guides us through what it is to be sad and how we can manage it. There is something wise and brave here in Eland's storytelling; asking the reading to face the sadness, to welcome it, to try to understand why it has visited and to not be afraid.
Eland uses very limited backgrounds, much like that stark scenes in Burningham's Granpa calling on minimal backgrounds to echo a feeling or an inner states. Pencilled colourings are reduced to just three colours and it is remarkable how much feeling and sense of humanism she portrays in the lines and white spaces - a real gift. I particularly loved the comparative endpapers which show, at the start, a host of characters ignoring their sadness and at the end, once the lesson has been learnt, embracing it content, reflective and at ease. An incredible idea for any reader to contemplate. ...more
The sequel to The Boy, the Bear, the Baron, the Bard this wordless, graphic-nove is packed to the brim with adventure and Bardic references. PresentedThe sequel to The Boy, the Bear, the Baron, the Bard this wordless, graphic-nove is packed to the brim with adventure and Bardic references. Presented in a large hardback (lovely for sharing and pouring over for details), we follow an armoured, but cuddly looking bear as he leaves the Thames and enters Shakespeare's the world and characters of A Midsummer Night's Dream. Entering a magical forest he discovers a place of mystery and must work out who is causing fear and mayhem in the palace of the fairy king and queen.
Rogers must have spent an age thinking about perspective, pace and timing for they're all pitch perfect. Ideas, tension and moments of excitement are all captured with such grace and all without a single word. I don't think you need to know the play to enjoy this but it would make for a richer reading experience. ...more
One of the things that I think makes children's literature so appealing is the gaps that it leaves between the reader and the text. It is those momentOne of the things that I think makes children's literature so appealing is the gaps that it leaves between the reader and the text. It is those moments, where meaning is made by what the reader brings to the text that can strengthen connections and enrich the reading experience. The greatest books then, invite multiple interpretations and revisitations as we grow up and it is exactly that that Haworth-Booth's debut achieves.
When the young prince grows up to be King, he swears that he will remove that one thing that has always unsettled him: the dark. Initially his advisors ask him to reconsider but they begin to see how propaganda and fake news could sway to public into believing that they would benefit from losing the dark. It is only when the people begin to suffer that an underground resistance rises and plots to show the King that the dark is not to be feared and is, instead, something we cannot live without.
Although the book's inspiration was initially about celebrating the beauty of the dark and how removing something so vital could only truly be valued in its absence, Haworth-Booth also saw potential in developing as a more Canutian cautionary tale. The story explores how the general public can be manipulated through dirty politics.
But the book has an uplifting end. An active member of the Extinction Rebellion, Haworth-Booth shows us that power need not lie in the hands of those at the top. Instead, grassroots movements can collectively take action and change the state of their own future: something that we are seeing happening across the globe at this very moment. And as with such movements, The King Who Banned the Dark has within it the seeds of such change. It invites readers to question those in power and invites them to consider revolting against a regime in which only those at the top benefit. As I stated at the start of this review, great books invites multiple reading and interpretations; The King Who Banned the Dark is one of the books and it is no wonder that it found itself shortlisted for the prestigious Klaus Flugge prize.
An insightful overview of Haworth-Booth illustrative process can be found . Special thanks to Ellie Labbett for pointing me in this direction. ...more
Matthew has a problem that is suffocating his lifestyle. He sees germs everywhere. On his parents, on the family cat and all the surfaces in his houseMatthew has a problem that is suffocating his lifestyle. He sees germs everywhere. On his parents, on the family cat and all the surfaces in his house and most importantly - himself. He will do anything he can to stop them spreading even if it means remaining in his bedroom, with a computer and a solitary window to stare out of, for the rest of his life. Matthew wasn't always this way, something happened in the past that triggered this illness and Goldfish Boy is, largely, a book about one young boy's resilience in facing up to this past and embracing it - germs and all.
Lisa Thompson's debut is well executed. A novel woven in multiple-mysteries, Goldfish Boy's central story revolves around a series of shocking events Matthew witnesses out of his germless, bedroom window which sets the whole community alive with intrigue. As the mystery unfolds from Matthew's window-space so do the stories of the cul-de-sac's residents as our protagonist begins to see the patterns of other people's pasts begin to unravel as well. Behind each door resides a carefully plotted story each of which has its part to play in untangling the greatest mystery of all: the guilt the chokes Matthew's past.
I thoroughly enjoyed this book. It reminded me of Hitchock's Rear Window but for children and this should take nothing away from the writer at all. Thompson's prose is so well balanced - she plays the slow reveals with real skill and presents a story that will keep the readers guessing right until the end. A great observer of people, Thompson draws us into the lives of this little community and, like Matthew, want to know each of their stories too. A very impressive debut by a writer who, I hope, is here for the long haul!...more
Yanka’s past is steeped in folkloric mystery. From bear kings and queens to wish-granting trees and fiery three-headed dragons, her story stands upon Yanka’s past is steeped in folkloric mystery. From bear kings and queens to wish-granting trees and fiery three-headed dragons, her story stands upon the borders of reality and fantasy. When Yanka wakes up one day to find that her legs are no longer the normal legs of a twelve-year-old but those of a bear, she realises that she must leave one realm for another in order to uncover her past and reclaim her future... My review continues here ...more
I am a HUGE Daisy Hirst fan and this third book in her delightful canon does not disappoint. As a counter-nod of sorts to The Elephant and the Bad BabI am a HUGE Daisy Hirst fan and this third book in her delightful canon does not disappoint. As a counter-nod of sorts to The Elephant and the Bad Baby, Hirst has her escapee baby under the guidance and support of Hilda, a pig who thought that her life was complete. Yet when a bond forms between with this adventurous little creature, she finds that life might be richer in the company of others.
Deceptively simple (as are all Hirst's stories), Hilda and the Runaway baby is explores community, inner-self and how opposites can attract. Hirst's use of 'extras' in her cast made for a lovely nod to those incidental characters in the work of Shirley Hughes and Janet Ahlberg and I thank her for it. It brought the place to life and spread a sense of warmth around the baby's shenanigans.
For a MUCH better and far richer understanding of what Daisy was trying to achieve, see her own blog . ...more
A fascinating illustrated text, presented in portrait format with aboriginal-stylised paintings and patterns, Stradbroke Dreamtime is a book of two haA fascinating illustrated text, presented in portrait format with aboriginal-stylised paintings and patterns, Stradbroke Dreamtime is a book of two halves. Penned by Oodgeroo, a name given to her by the Nukukul tribe, the first half is autobiographical and sees the author (then known as Kath Walker) reflect on her time on the island under the guidance and tutelage of her aboriginal father who shows her the cultures and customs of their heritage. The second is a retelling of the myths that Oodgeroo has inherited.
I enjoyed both halves equally. Her childhood stories did much to highlight the oppression and devastation that colonialism brought with it but there are moments of humour and warmth here too. Stradbroke island itself is alive, in memory, with the flora and fauna of the land. The myths themselves were written well - you could hear them being told rather than read aloud which I felt was far more in the spirit of what all traditional tales should set out to achieve.
I'm not sure why it's considered a children's book save for the fact that these are memories of her childhood and although there is much here that a young reader will enjoy (all of it, in fact) it felt like its audience was rather nebulous. ...more
Grobblechops is another wonderful addition to the Tiny Owl catalogue and fourth in the Tales of Rumi series. It marks a joyful collaboration between tGrobblechops is another wonderful addition to the Tiny Owl catalogue and fourth in the Tales of Rumi series. It marks a joyful collaboration between the highly-acclaimed children’s writer, Elizabeth Laird and Finnish illustrator, Jenny Lucander (whose subtle nod to the Moomins throughout it well-received). The story is based upon one of Rumi’s tales; a thirteenth-century Persian poet, philosopher and scholar whose teachings and writings are known throughout the world.
With a warm, tongue-in-cheek approach, Grobblechops explores the ‘monster under the bed� story. Amir isn’t ready for bed yet: his fear of the dark is exacerbated by his fear of what lies under his bed and he’ll do all that he can to avoid sleeping alone in his bedroom. Luckily for Amir, he has a quick-witted, patient and empathetic father dad who takes the time to assure his son that for every problem there is a solution. As Amir shares his worries about the monster, his father retorts with a series of witty, and well-considered resolutions that gradually ask Amir to look beneath the surface of a stranger and try to stand in their shoes (or clawed feet when referring to Grobblechops!)
Laird’s narrative is well-paced and embraces that sense of traditional tale with its fable-like cumulative build up to a wise and warm finale in which our protagonist learns a valuable lesson about life and living. For a traditional tale, Laird is sparse with the dialogue leaving great creative space for Lucander to explore Amir’s rich imaginings of Grobblechops and the monster’s grotesquely-wonderful parents. Full of feathers and fangs and fur, Grobblechops is like something that has crawled out of The Dark Crystal set. Using a mixed-media collage approach which is then finished in photoshop, Lucander uses of perspective and positioning to heighten the chaotic mirroring of Amir’s anxiety.
Both my boys adored this book. Each time I read it with them, they grow closer to Grobblechops and his parents, delighting in his expressions and actions. It’s a lovely bedtime read which not only assures the reader but also leaves us reflecting upon how quick we are to judge others and the how empathy and understanding are key. ...more
Bo-Belle (beautiful-beautiful in French), or Bobble as it becomes shortened to, has spent her whole life in a large tricycle with her parents, Moss anBo-Belle (beautiful-beautiful in French), or Bobble as it becomes shortened to, has spent her whole life in a large tricycle with her parents, Moss and Pina. They live a meagre life but seem content and happy if not trapped by the fact that they have no money. One day, Bobble becomes disillusioned by the fact that her mother, a talented artist, cannot afford paper to draw on and so requests to stay with her wealthy uncle so that she can learn how to become rich.
But being a child whose social and culture norms are so different from both her uncle and aunt and her school, Bobble finds it difficult to fit in and although she finds a soul-mate in another class outcast, Toby, she knows that this is not the life for her.
Originally written by Leeuwen and translated by Salway, Bobble is like nothing I have read before. I have become very interested in Dutch children’s literature and their perspectives on childhood and childness. Bobble is a fascinating character and her perceptions of life are intriguing. Leeuwen leaves much that is unsaid but through Bobble’s eyes we can an interesting insight into the rest of society from an outsider’s perspective. She may have a cabbage nose, letter-box mouth, little piggy eyes and shoehorn ears but there is something quite beautiful about Bobble that I cannot quite put my finger on. ...more
A lovely celebration of a childhood that involves the impossible task of holding back the tide. Two boys head down to the beach in the hope of creatinA lovely celebration of a childhood that involves the impossible task of holding back the tide. Two boys head down to the beach in the hope of creating a dam to stop the sea. Illustrated in watercolour and wax crayon with ink lines, McClure's poetry and imagery captures the moments of celebration, delight and panic that come with building and competing against an unstoppable force. The typography and illustrations play well with each other and I can see how this was nominated for both the UKLA and Kate Greenway awards when it first was published. ...more
For King Leonard, an anthropomorphic lion who world is on of wealth, ignorance and mass consumerism, life is very good. What he no longer needs or breFor King Leonard, an anthropomorphic lion who world is on of wealth, ignorance and mass consumerism, life is very good. What he no longer needs or breaks, he tosses away and replaces with no concept of the effect on others or the planet. Under the servitude a very patient raccoon, Leonard neither cleans nor fixes anything choosing instead to toss them away. That is until something breaks which cannot be replaced.
Child's Play is an independent publisher who specialises in producing books that celebrate play and life skills. In King Leonard's Teddy, we find the story of a thoughtless lion who learns the importance of valuing (and repairing) what he has: it is a story whose 'make do and mend' heart celebrates a reduce, reuse, recycle philosophy.
Swan's illustrations are digitally composed with a rather beautiful lino-print effect. I enjoyed the busy pages in which we find Leonard's discard pile and the subtle differences in the town prior to and after Leonard's philosophy around mass consumerism changes. The power of his change in philosophy also has an impact on the community and this offers some lovely discussion points for children of many ages. There are plenty of messages throughout; all subtle enough to be picked up and explored on repeat readings. ...more
It takes a lot to make science and magic come together within a contemporary setting but that's exactly what Daykin manages in her third novel. Set wiIt takes a lot to make science and magic come together within a contemporary setting but that's exactly what Daykin manages in her third novel. Set within Peru, Daykin's dual-narrative story is one which explores the exploitation of land from greedy corporations and the loss of identity and culture that comes with this. Through the eyes of Maya, a fiery Scottish girl, visiting Peru with her father (a celebrated scientist) and Raul, a Peruvian native who had been forced to leave his home due to illegal logging, Daykin tells the story of a girl out of touch with a grief-striken father and a young boy who hides from a guilt-ridden past. Daykin has already proven in her previous novels that she can handle complex themes with a steady touch and her latest novel does the same. Although both characters are interesting and fully believable, I was mostly drawn to Matias, the boy who would not leave his village to the loggers, and I suspect Daykin was too. He is the link that brings together Maya and Raul's differing worlds and he is the eyes that show them and the reader, the rot of greed which eats away at our natural resources. Together, the three youths try to uncover the purpose behind Maya's father's involvement with these corporations whilst also attempting to fathom why strange glowing orbs are gradually emanating from Maya herself. Are they the spirits of the forest aiding them on their quest or do they surface because of a secret within her. Whatever the case, their origin must be faced if they are to save the rainforest. Fire Girl, Forest Boy is an excellent novel with worthy, timely themes. Its short, gripping chapters and use of dual narrative make it a quick and engaging read. There is much here to discuss and explore and, as with all Daykin's stories, the characters are well rounded with a fleck of vulnerability....more
With the other Melendy children away at boarding school and their father away on business for most of the book, the two youngest: Randy and Oliver musWith the other Melendy children away at boarding school and their father away on business for most of the book, the two youngest: Randy and Oliver must find some way to pass the time before the next summer arrives. Although at first it would appear that they have little in common except to annoy each other, a mysterious blue letter arrives in the mail box which sets them off a series of puzzle-solving quests set around their home and community. As they solve each quest together, both Randy and Oliver gain a respect and understanding for one another. The final Melendy story in the quartet, I was intrigued to read reviews of the time bemoan the fact that the elder siblings were not present but for me, whose first outing with with the family was this book, I enjoyed sensing the creative freedom Randy and Oliver had without the others being around. Both were surrounded by broad open settings, far from the effects of the war and there was certainly a celebration here of a child's inquisitive nature. ...more
This was smashing fun and great to see Abi just let all her imaginings pour out onto the page. Don't let this make you think the book is unwieldly undThis was smashing fun and great to see Abi just let all her imaginings pour out onto the page. Don't let this make you think the book is unwieldly under the pressure of too much fantasy - it really isn't. Elphinstone knows exactly what she is doing here and children are going to love the sheer magnitude of the world that she has created here....more
Far darker than its predecessors, Enemy sees the holiday return of both Ping and Tolly to Green Knowe and its guardian, Mrs. Oldknow. Shortly after arFar darker than its predecessors, Enemy sees the holiday return of both Ping and Tolly to Green Knowe and its guardian, Mrs. Oldknow. Shortly after arriving, a letter is arrives from a Dr. Melanie Powers who shows an unhealthy interest in a dark secret buried within Green Knowe: that of an occultist who, centuries before, had summoned something horrific into this world and paid the price with his soul. The Dr wishes to explore the house in the hope of unearthing any of the occultist’s texts for ‘historical and cultural research�. So begins the most uncomfortable and invasive story of Green Knowe yet with the most unnerving villain in children’s literature.
From those I have spoken to, there are mixed opinions on this book. Is is too dark for children? Does it go against the spirit of the earlier books? But this is Boston’s story to tell and if anyone is the patron of this world it is her. The more I reflect on her books the more I wonder if she is contemplating and perhaps impressing the concerns of her time and her place (Hemingford Grey) on the narrative world. The threat to Green Knowe this time is unrelenting and no longer lies beyond the Manor but in its floorboards and oakbeams to the point where I could not see how the boys could overcome this dark shadow. It is the objects of Green Knowe, again, that help us to see the ‘truth� of the place and know it and a special mirror which proves all important.
There is much to consider here. I need to go back and read it carefully whilst, perhaps, finding out more about the author herself. �'What's thought cannot be unthought' says the necromancer, Dr. Vogel. I wonder then what thoughts would not leave Boston when she wrote this. ...more
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