October 18, 2018 § 1 Comment
When my kids were younger, there was a nearby house which went all out in the weeks leading up to Halloween. I have never seen anything like it; rumor has it the entire second floor was dedicated to storing the decorations during the other eleven months of the year. There was no discernible theme. It was simply a collection of macabre paraphernalia thrown together on a front lawn: dark hooded figures wielding axes; skeletons with gaping eye sockets; dismembered body parts robotically twitching. For young children, I thought it would have been repulsive at best, terrorizing at worst.
Instead, my children adored it. “If we go to the grocery store, we can drive by the Halloween House,” I’d say, and you’ve never seen kids fly out the door faster. “Can we take our pictures next to the scary guys?” they would shout. And we did.
As it turns out, my kids were not the only ones who came to anticipate the Halloween House as soon as they detected a chill in the air. When the owners finally sold the house and moved away, people came from far and wide to lay claim for a few dollars to a decoration or two. (Sadly, we arrived too late—a grievance which my father-in-law is fond of remedying by gifting us macabre decorations of our own, most recently a set of unassuming book spines, out of which shoots a black and shriveled up hand, accompanied by loud symphonic banging, when I walk by. My kids find this terribly amusing.)
What I have come to understand is that children, like adults, embody a fascinating paradox when it comes to the macabre. Death, which most of us avoid thinking about at all costs, suddenly inspires fascination and enjoyment when represented artistically. In a recent opinion piece for The Guardian, which sings the praises of authors like Roald Dahl under the title, “A touch of the macabre in children’s books is nothing to be scared of,” Eleanor Margolis argues that so long as it is presented with humor, macabre imagery becomes a safe and healthy way for our children to contemplate some of the darker sides of life—elements which might otherwise terrify them:
…the vital ingredient in introducing children to the macabre is humour. This is where old morality tales fall short. The Brothers Grimm, for example, produced a collection of fairytales that manage to be gruesome, preachy, antisemitic and (can you imagine?) not even particularly funny. This need for balance is where Roald Dahl – the king of “too dark for kids” – hits the absolute sweet spot. Sure, after I read The Witches, for a short time I suspected most of my friends’ mums were witches, and I was duly petrified of them. But the book was also packed with silliness. It was, along with Matilda and The Twits, easily the most gross, unsettling and deeply fun book I’d ever read. Because those concepts can coexist, and decent writing sets them off against each other like peanut butter and jam. There’s often a thin line between scary and funny, and children (above all people) know this to be true.
Roald Dahl may be one stellar literary choice for indulging our morbid fascination with a side of good cheer (I concur that sharing The Witches with my kids never gets old), but there are others, including what may be the best purchase you’ll ever make for under five dollars. Alvin Schwartz’s In a Dark, Dark Room and Other Scary Stories (Ages 4-8) is a slim “I can Read” paperback, originally printed in 1984, featuring seven short stories and poems inspired by traditional folktales, each delivered with easy, repetitive vocabulary and lots of white space.
As a child learning to read in the 1980s, I was obsessed with this book (perhaps it’s no coincidence that another book I loved—in fact, the first one I remember reading all by myself—was The Berenstain Bears and the Spooky Old Tree, similarly ripe with macabre imagery). Imagine my delight when both my kids went gaga over Schwartz’s spooky stories. I don’t think it’s a stretch to say that my daughter learned to read so that she could read this book to anyone who would listen. There was actually a time when she would lure unsuspecting friends on playdates to her room so she could read In a Dark, Dark Room to them. (I would stand outside her closed door, grinning at the gasps and giggles which emanated.)
I’m serious. I don’t think there is another book that has received more attention from my children over the past six years.
All signs would point to my kids not being alone. An updated version of In a Dark, Dark Room is set to be released next week, with new illustrations by Victor Rivas (though I have a hunch I will always prefer Dirk Zimmer’s original art, which is what’s photographed here). Part of the book’s enduring appeal is that the storytelling is pitch perfect. In just a few pages, Schwartz uses repetition to build suspense, culminating in a deliciously spine-chilling and uproariously funny reveal.
But it’s more than simply great storytelling. The presence of the macabre here—characters with grotesque facial features; hairy corpses which come alive; ghosts who boo in the night—gives young children the bewitching feeling that they’re getting away with something. Should I even be reading this? Aren’t these the things my parents are always dismissing as not real, as fit only for nightmares? This is bonkers. This. is. awesome.
Nowhere is this delicious thrill more evident than in the book’s third story, “The Green Ribbon.” If you mention In a Dark, Dark Room to someone who read it as a child, chances are they’ll respond with something like, “Is THAT the book with the story about the girl who wears the ribbon around her neck?” Yes. Yes, it is.
Once there was a girl named Jenny.
She was like all the other girls,
except for one thing.
She always wore a green ribbon
around her neck.
Jenny’s friend, Alfred (like us readers), is determined to get to the bottom of this green ribbon. “Why do you wear that ribbon all the time?” Alfred asks her over and over, first as her childhood pal and later as her husband. “I will tell you when the right time comes,” Jenny replies. Finally, as she lies in old age on her death bed, Jenny tells Alfred that he can untie the ribbon and learn her secret. He unties the ribbon.
…and Jenny’s head fell off.
I mean, come on. Find me five better words in children’s literature! Total jaw dropper. Unforgettable. Herein lies all the motivation we need to read: to have the rug yanked out from underneath our feet and to fall back onto the safe, downy softness of our bed in amazement.
I’m not sure anything can live up to the celebrity of In a Dark, Dark Room in our house, but my kids and I found a kindred spirit in the newly-published The Frightful Ride of Michael McMichael (Ages 4-8), a picture book by master storyteller Bonny Becker (Bear and Mouse, need I say more?) and illustrated with an obvious fondness for the macabre by Mark Fearing.
The Frightful Ride of Michael McMichael may be less straightforward than In the Dark, Dark Room, but the delivery is once again perfect: the rhyming text builds with suspense, drawing us into its nebulous world, then turning on us with a reveal we didn’t see coming. Young Michael McMichael looks the picture of innocence as he waits for the bus to take him to his grandmother’s house, his hand grasping a picnic basket lined with red and white checks. He may as well be Little Red Riding Hood. In contrast, the arriving bus, numbered ominous Thirteen, raises the hair on our necks. My kids were quick to point out the multitude of omens, from the fang-like mirrors to the misshapen tires.
The bus was full, barely room inside.
Perhaps he should wait for a different ride?
But he was late. And, well, besides,
It was Gran’s dear pet he transported.
While the passengers seem normal enough, we feel for little Michael, who watches as one by one each person gets off the bus, leaving him with a driver “whose face was thin as bone/ and more and more distorted.” When Michael begins to look around the empty bus, he sees further evidence of a fate quickly approaching—hungry mouths on the seats and hissing snakes hanging from the bars—although we can’t tell what’s real and what’s his imagination. Only when the driver announces his intention of collecting “meat or bone” for payment, do we realize the child is trapped (“Our coffers will not be shorted!”). My son flipped back to the page where the earlier passengers were disembarking: had I noticed they were a bit shimmery around the edges, a bit ghost-like?
Just as the bus accelerates past a graveyard and straight toward a dark forest, as the driver’s facial features become even more grotesque and his advances even more predatory, the narrative takes a (much-welcomed) lighter turn. We begin to realize that quick-thinking Michael is making an escape plan. Playing into the driver’s carnivorous appetite, he offers to sacrifice his Gram’s pet to pay his fare. (Or does he? I won’t dare spoil the ending like I did the green ribbon; suffice it to say that Michael (and his Gram) are feistier than we thought them to be.)
A scary story doesn’t find a receptive audience—doesn’t work—unless our children are allowed a chance to recover some agency while reading it (the equivalent to pointing out that the animatronic hand on the front lawn has inadvertently turned over and stalled). When our children see that, in the story they’re reading, it’s a child’s own cleverness, resourcefulness, or thievery which triumphs over death, they feel likewise empowered to look down death’s nose and cackle right back.
This year, my children are eight and eleven, precisely the ages I’ve been waiting for to break out one of my favorite macabre chapter books. Here is another instance where the horrifying and the hilarious pair perfectly. Adam Gidwitz’s A Tale Dark and Grimm (Ages 8-12), the first in his best-selling trilogy (recently redesigned with tantalizing covers by Caldecott Medalist Dan Santat), hacks traditional Grimm fairy tales into grisly, bloody, gruesome bits, then dishes them out with such irreverence and wit, our children would be left speechless if they weren’t laughing so hard.
We began last night; and while reading aloud by candlelight turns out to be harder than I thought (damn aging eyes), I didn’t learn nothing by reading In a Dark, Dark Room all those years ago. Ambiance counts. Especially when I’m asking my children to use their own imaginations to conjure up the macabre images Gidwitz so alluringly and unapologetically describes.
With the covers half over their faces, they hung on my every word. Of course, that’s precisely what Gidwitz intends when he writes things like this:
Before I go on, a word of warning: Grimm’s stories—the ones that weren’t changed for little kids—are violent and bloody. And what you’re going to hear now, the one true tale in the Tales of Grimm, is as violent and bloody as you can imagine.
So if such things bother you, we should probably stop right now.
You see, the land of Grimm can be a harrowing place. But it is worth exploring. For, in life, it is in the darkest zones one finds the brightest beauty and the most luminous wisdom.
And, of course, the most blood.
The darkness finds us all eventually. While we can, let’s have fun occasionally seeking it out. At least, for one marvelously macabre holiday.
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Review copy of The Frightful Ride of Michael McMichael from Candlewick. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
March 8, 2018 § Leave a comment
When was the last time we steered, bribed, or (come on, we’ve all been there) threatened our children in a direction we thought was in their best interest? When was the last time we worried our child was missing out, or not trying new things, or not duly considering the consequences of his actions? When was the last time we intervened to save our children from themselves?
When was the last time we had all this “help” thrown back in our faces with a crocodile-sized chomp?
I am halfway through one of the most compelling parenting books I’ve ever read. In The Self-Driven Child, clinical neuropsychologist, William Stixrud, along with motivational coach, Ned Johnson, make a convincing case for what our children need most from us. Drawing from personal experience and brain science, they argue that the main driver behind children’s well-being isn’t grades, or where they go to school, or what things they have. Rather, it’s how much control children perceive as having over their lives. Do they feel they can direct their lives in a meaningful way? Do they have the freedom to make mistakes and learn from them?
“Agency may be the one most important factor in human happiness and well-being,” the book puts forth.
Perhaps more than we realize, we parents get in the way of our children developing their agency. We don’t mean to, of course. It’s just incredibly hard to sit back and watch our kids potentially sabotage friendships, tests, or the chance for future success. Maybe we want them to do what we did because it worked out so well, or maybe we’re hoping to save them from making the same mistakes we did. In any case, Stixrud and Johnson write:
So often, parents want to play Edward Scissorhands and start pruning their child like a tree, but the reality is that your tree has just begun to grow, and you don’t even know what kind of tree it is.
Sometimes, I would add, we “prune” our children without ever saying a word.
A few weeks ago, I attended my seven-year-old daughter’s “student-led conference” at her Montessori school, where she presented some of her recent work. To kick off the night, she shared a written “self-assessment,” in which she had noted her temperament, values, and interests. On one page was a list of “strong likes” and “strong dislikes.” Under the likes column, she had listed her brother, her father, and me (phew)—along with chocolate cake, polar bears, Helen Keller, and a few other things I couldn’t make out. Under dislikes, she had put “peppers.”
“Like spicy peppers?” I asked.
“No, like the peppers I eat for lunch.”
Ok, wait. My daughter packs her own lunch every morning. More often than not, she puts in red peppers. “You don’t like the red peppers you pack for lunch everyday?”
“I hate them,” she replied matter-of-factly.
“Then why do you pack them?” I had to ask.
“You put them on the counter, so I know you want me to. It seems important to you.”
Clearly, in their book, Stixrud and Johnson are talking about bigger things than bringing peppers for lunch. Or are they? What would have happened if my daughter had complained about packing peppers for lunch one morning? Would I have interpreted it as whining and glared at her in exasperation? Would I have passive-aggressively suggested she pack carrots instead, knowing how little she cares for those? Would I have barked, “They’re already out. Just pack them so you can hurry up and eat your breakfast.” Did she have any choice but to wait until we were on her turf to deliver this information?
I immediately thought about the heroine in Princess Cora and the Crocodile (Ages 5-9), the delightfully funny but astutely provocative early chapter book by award-winners Laura Amy Schlitz (three words: The Night Fairy) and Brian Floca. Published last year and enjoyed countless times in our house since then, Princess Cora and the Crocodile suddenly seems like the perfect, if hyperbolic, meditation on what it means to give our kids agency—before they have to go and unleash their inner crocodile.
You might say our protagonist, Princess Cora, has an agency problem. Meaning she has none. Her well-meaning royal parents have micromanaged every aspect of her life, beginning moments after her birth, as soon as they remember she will someday be queen. “They stopped thinking she was perfect and started worrying about what might be wrong with her. By the time she was seven years old, there wasn’t a single minute when Princess Cora wasn’t being trained.” Training, pruning: in this case, it’s the same thing.
As it turns out, Cora has grown increasingly resentful about her life in the royal castle. The nanny insists she takes, not one, but three baths a day. (“The nanny thought that being clean was the most important thing in the world.”) The King, determined that Cora grow up to be physically strong, stands over her with a stop watch, while she jumps rope in circles across the floor of the dungeon-now-gym. (“Princess Cora knew that skipping rope was good for her, but that didn’t make her like it any better.”) And the Queen only allows her to read books about running a successful kingdom. (“The books were so dull that Princess Cora yawned until her eyes were full of tears.”)
Why doesn’t Cora say something? Well, she tries. Sometimes, while reading books, she “asked silly questions, just to liven things up.” But then she’s criticized for being “inappropriate.” Sometimes, while asked to jump rope, she starts to protest. But then her father puts on a sad face and asks her, “Princess Cora, are you being a good girl?” To which it is assumed there should be only one answer.
Where questions of agency are concerned, it seems girls have it all the harder, feeling pressure to bend not only to parental demands, but also to society’s expectations. Girls, after all, are supposed to be “good.” To be polite and well-mannered. To never be loud or bossy or messy or angry. To never hurt feelings.
So, Cora does one of the few things allowed of heroines in fairy tales. She writes to her fairy godmother. In this case, the protocol for contacting one’s fairy godmother—my daughter loves this part—is to write a letter, tear it up, and leave it on the window ledge, where each of the scraps turns into a white butterfly and flies away.
Cora writes specifically of her wish for a dog (“a dog wouldn’t tell her what to do”), but she finds something much larger at the foot of her bed the next morning. A crocodile. And not just any crocodile. A crocodile who triumphantly exclaims, “I’ve come to rescue you from your awful parents and your mean nanny.” A crocodile who seems every bit the opposite of the neat, quiet, polite princess. (Or is he?) Did I mention this crocodile bites? That he leaves a wake of destruction in his path? That he says things which are very, very rude? That he demands cream puffs all day and night?
The princess and the crocodile hatch a plan: Cora will run away and experience life outside the castle walls, while the crocodile will stand in for her, donning a dress and a mop for hair. (Cora assures him her parents aren’t very observant.)
What follows is a most entertaining juxtaposition: the sweet revelations of Cora’s tromp through nature, interspersed with the uproarious physical comedy of the crocodile wreaking havoc back home. While we might guess where this is going, the delight comes from the delicious details in Schlitz’s narrative and the whimsy of Floca’s drawings.
Cora climbs trees, stuffs herself full of freshly-picked strawberries, and walks barefoot through cow patties (at first thought, “Ew ew ew;” at second thought, “I’m having an adventure!”). Her petticoats rip and her cheeks pink up.
Back at the castle, the crocodile starts by turning the bathroom into a water slide and tossing Nanny into the bath. Later, bored of his reading lesson (the Queen initially assumes she is talking to Cora), he balances the ink pot on his nose until black splotches cover the table; swings from the chandelier; taunts the Queen with “bad rhymes;” and nips at her ankles. Finally, he chases the King around in circles and ties him up with the skipping rope.
“I don’t want to be a good little girl,” the crocodile declares. “I want to be a bad crocodile. And what’s more, I am one!” And that, of course, is when we realize that the crocodile is none other than a metaphor for the anger and rebellion—the maleness, if you will—which good girl Cora has tried so many years to repress.
As we expect, Cora eventually realizes that she misses her parents, and she decides to return to the castle. Only this time, it’s on her terms. As it turns out, the King and Queen and Nanny have also had a change of heart. (After getting locked in the library, the Queen realizes just how boring her books are and throws them out the window.) The grown-ups begin to do something they have never done before: they begin to listen to Cora. This time, she talks clearly, convincingly, and assertively. (“This time Cora didn’t hang her head or turn red or burst into tears.”) Cora speaks of her interest in reading about “sharks and tigers and fairies”; in climbing trees and learning how to juggle; in taking baths but only after getting very, very dirty. To their surprise, her parents discover that Cora’s overall goals for herself aren’t dramatically different from the ones they have for her; it’s only that she has different ideas about how to achieve them.
The Self-Driven Child raises the unsettling question, “If we’re unable to accept our kids as they are, how can we expect them to accept themselves?” The authors challenge us to listen, really listen to our children. They suggest, what if instead of steering our children down a path we deem best, we begin seeing our job as one of “consultant”—helping our children see the pros and cons of a decision but then, ultimately, leaving that decision up to them? After all, if we accept our children as they are, perhaps they won’t feel the need to unleash their inner crocodile just to get our attention. Perhaps they can embrace all aspects of their personality, not just the ones society tells them are most “appropriate.”
After a brief hiatus, Emily has started packing peppers again in her lunch. Maybe her hatred is softening, or maybe it’s just on her terms now.
(And no, I’m not going to tell you what becomes of the crocodile.)
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Review copy provided by Candlewick. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
February 1, 2018 § 8 Comments
Compared to last week, this week’s book may a lighter pick, but it will do no less to make better parents out of us. In fact, it’s possible I needed this reality check more than my kids.
There are days when it feels like my children leave a trail of oopses in their wake. Days when my daughter—at seven, I tell you!—can’t seem to get a single forkful to her mouth without losing some of it down her shirt and onto the floor. When my son leaves his aircraft carrier outside his sister’s door and she steps on it with bare, now-bloodied feet. When just-poured glasses are knocked over by careless elbows; when Christmas ornaments become dislodged and shatter to pieces on the floor as running feet whiz by; when HOW ABOUT NO ONE MOVE BECAUSE THE HOUSE WAS JUST CLEANED AND I CAN’T TAKE IT ANYMORE!
Of course, I exaggerate. My children are calm, careful, tidy little people who are aware of how much space they take up. Just not all/most/much of the time.
Cartoonist Andrea Tsurumi’s new picture book, Accident! (Ages 5-8), explodes with hyperbole on every page, gently poking fun at the way we—children and parents alike—invoke unnecessary drama around the most common occurrences in life: oopses. By the time we are finish the story, Tsurumi has us wondering, what if we take the emphasis off the mistake itself and ask instead, how do we make it better? It is not an exaggeration to say that this book has become something of a rallying cry for our family in recent weeks.
In order to write a book illustrating how life doesn’t have to fall to pieces every time we unintentionally break, bump, or spill something, it is necessary to fill pages with breaks, bumps, and spills. Tsurumi accomplishes this with a chain-of-events storyline which begins small—cleverly, on the title page itself—and crescendos into complete chaos. A young, high-energy, anthropomorphized armadillo (named Lola) cartwheels across the floor and inadvertently knocks over a pitcher of orange liquid, which spills to cover nearly every inch of an upholstered white chair. Her reaction is one of sheer horror: “Oh No! I’ve ruined everything!”
Presumably fearing the wrath of her parent, the armadillo quickly decides she will run away to her public library (“they have books and bathrooms”) and “stay there until I’m a grownup.” As Lola races headfirst down the block, all she knows is that she’s running from her problem. What she doesn’t yet realize—but what our wise narrator informs us—is that she’s running “right into everyone else’s.”
Sure enough, everywhere Lola turns, there are cries of “Oh no!” A bear sits on a swing and breaks it. An anteater runs her grocery cart into a lamb, who flies up and lands in a freshly-baked cake being delivered by a blowfish. A giraffe slips while carrying a tray of hot cookies. A hairdresser momentarily looks away and ends up scissoring off the entirety of her (equine) client’s mane. Cars crash. Garden hoses get pointed in the wrong direction. Baseballs smash through windows. Both the absurd and the commonplace intersect in visual abundance.
I’ll admit I suffered from a case of visual overload when I first read this book. It took my daughter taking me back through the different pages, pointing out and chuckling over sub-plots too numerous to count, that sold me on the endless opportunities for creative engagement and repeated perusal. (Once again, I am reminded of what visual learners this generation is.)
The cries of dismay and outrage on all sides—victim and offender—become more extreme with every page: “We’re so unlucky!” “Ruined!” “Disaster!” “Big bad trouble!” “Mayhem!” “Fiasco!” “Calamity!” “Catastrophe!” (Talk about a fun lesson on synonyms.) Perhaps the expletive to ring the truest with our little ones—and, if you’re anything like me, may elicit a tiny twinge of guilt: “I AM THE WORST!”
As Lola races through the chaos erupting around her, she pauses three times to invite others facing similar retribution or retaliation to join her in escaping to the library. Soon, she and four others are storming the library doors.
Here, author-illustrator Tsurumi does something wittily unexpected. Conventional literature has taught us to see libraries as sanctuaries: indeed, that’s precisely why Lola has chosen to go to one. And yet—perhaps reminding us readers just how pervasive, how common, accidents are—Tsurumi extends the very chaos of the outside world into the library itself. Shelves tumble like dominoes, and books and office supplies soar into the air. (My favorite detail: the owl, meant to be stamping books, is instead stamping someone’s head.)
Lola again flees the scene, more frantic than ever. Until she comes face to face with a small reddish-orange bird—coincidentally (or not?) the same hue as the liquid spilled in the story’s opener. Repeated readings will reveal that the bird has been there all along, witnessing Lola’s oops and then trailing alongside her, like a quiet guardian. The bird lands on the armadillo’s tail and seems to call a kind of forced time out. In response to Lola’s insistence of “Disaster! Fiasco! Mayhem! Calamity! Cat-as-tro-phe!” the bird replies, simply, “Accident.”
Under the curious gaze of what has now become a crowd of onlookers, the bird gently nudges, “And now we make it better.” At once, brooms and mops are procured, helping hands are offered, and sincere apologies are delivered. Our children are given a road map for what to do following their inevitable oopses: what comes next? and how do you say it?
When Lola returns home, cleaning supplies in hand, she finds her mother has just provoked a minor catastrophe of her own: she is surrounded by scattered papers, an overturned coffee mug, and spilled doughnuts. This time, Lola is able to offer some perspective. “An accident,” she reassures her mother. And, as Lola removes a doughnut from her mother’s ear, the latter responds, “Exactly.”
I remember a particular dinner at our house. It took place years ago, but I still remember it like it was yesterday. Dinner preparation had run long, bedtime loomed, my husband was traveling, and all I wanted was to sit and enjoy the steaming plate of pasta I held in my hands. But, as I carried my plate and glass into the dining room, where my children already sat bent over their food, my socked foot slipped on the hardwood floor and my glass tumbled to the ground. The glass (because I have learned) was super-duper thick and didn’t break, but the water spilled everywhere. I think I must have looked like I was going to cry, because my son jumped up from the table and said without hesitating, “You sit down, Mommy. I will wipe it up.” Oh, how many times I have remembered this incident too late, after I have already barked at one of my children to “Be careful!” “Pay attention!” “Look where you’re going!”
When the pitcher overturns, when the ornament falls, when they mess up the world around them, our children don’t need fingers pointed at them. They don’t need eyes rolled, voices raised, or insults thrown. What they need is the opportunity to “make it better.” And sometimes they even need us to roll up our sleeves and get down in the trenches with them. After all, what goes around comes around, and goodness knows we all make mistakes.
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Book published by Houghton Mifflin Harcourt. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
November 16, 2017 § Leave a comment
Because my Emily loves nothing more than a spirited, emotive, somewhat out-of-sorts heroine who reminds her of a hyperbolic version of herself, I always knew she was going to fall head over heels in love with Clementine. It’s why I waited until now to read the seven books in Sara Pennypacker’s laugh-out-loud but astutely heart-tugging chapter series set in Boston—first published ten years ago (Ages 6-9)—about a third grade girl with “spectacularful ideas” and difficulty paying attention in class. I wanted my Emily to be close enough to Clementine’s age to relate to her. And yet, I wanted her to be just young enough that the reading level was a liiiiiitle beyond her, so she’d perhaps pick up the books again on her own in another year. Which she will—I’m now sure of it.
I was tempted to embark on the Clementine books two years ago after our enormous success with Ramona. (Suffice it to say that when we finished the Ramona books, we had to read all the Henry Huggins titles, simply because Ramona would make occasional appearances.) I was again tempted to start Clementine every time Emily begged me to read Dory Fantasmagory or one of its sequels (I credit the third, about Dory’s struggle to learn to read, with convincing Emily to put forth more effort on the subject herself). Or Lulu’s Mysterious Mission. Or the Cody books. But I bided my time, because I knew I was saving the best for last.
I don’t think I’ve ever enjoyed reading aloud anything this much. I mean, quite literally, that reading aloud these books—narrated in Clementine’s insistently dramatic, alternately confident and bewildered voice—is beyond entertaining. Clementine is the kid who talks with such gumption, such purity of heart, that adults have to do all they can to keep from laughing (or maybe, if they’re related to her, bury their face in their hands).
“I’d better not go to school today,” I told my mom on Wednesday as soon as I woke her up. “I have cracked toes.” I put my foot right up on the pillow next to her face so she could see without getting up. This is called Being Thoughtful.
“Nope,” she said, without even opening her eyes to see if it was true.
“Well, that’s not all,” I said. “I also have the heartbreak of sore irises.”
“Nope,” she said again, and she still didn’t open her eyes.
“Actually, I think I have arthritis,” I said. “Mrs. Jacobi was breathing on me in the elevator the other day, and I must have caught it.”
“Oh, please,” she said, but this time she opened one eye. And then she made exactly the sound Polka Dottie used to make when she had a hairball.
There’s no question that Emily’s own tangible excitement (dare I say obsession?) also enhanced my enjoyment. She even created a secret Clementine signal. When she’d curve her fingers to make the letter “c” at me from across the dinner table, I knew she was thinking about Clementine. On weekend morning, when she’d climb into bed with me and make a “c” with her hands, I knew she was about to procure the book from underneath the covers. “Oh, Mommy, I think about her all day long,” she said one day after school. “I just can’t wait to see what she’s going to do next.”
After all, these books are full of trouble. Of mistakes, of misunderstandings, of escapades that go terribly, often hilariously wrong. Only Clementine would overhear her parents discussing a surprise party—complete with a cake reading “Goodbye and Good Riddance!”—and assume they were plotting to get rid of her. (In fact, they’re celebrating Clementine’s clever solution for relocating the hordes of pigeons sprawled across the stoop of their apartment building.) Only Clementine, in an effort to ensure her favorite teacher won’t win a sabbatical in Egypt and leave her, would submit a letter to the judges filled with fabricated criminal accusations. Only Clementine would turn shoe shopping into such a prolonged calamity of indecision that her parents would begin bribing one another for the chance to avoid taking her shopping ever again.
There’s undeniable appeal in watching life play out from the safe confines of a book’s pages. But I’d argue that the appeal of Clementine goes deeper than simply watching a third grader navigate the shifting expectations of academic, social, and family life.
What author Sara Pennypacker does so brilliantly (and with more than a little help from Marla Frazee’s expressive pencil sketches) is to create a window into the inner-workings of the mind of a girl who is often judged prematurely or incorrectly or unfairly. When Clementine is sent to the principal’s office for not paying attention in class again, we know—because she’s our narrator, after all—that she was paying excellent attention, just not to what her teacher was saying. In fact, she never stops paying attention: to pointy things (which freak her out); to the fourth graders playing outside her class window (as a future fourth grader herself, it’s imperative she understands their “rules”); to devising a list of excuses to get out of performing at the school talent show.
I remember a friend telling me she abandoned the first book after Clementine chops off her friend’s hair, then her own, then colors both scalps with permanent marker. “I don’t need my daughter getting any ideas. That girl is a pain in the you know what!” she relayed to me in horror (only she didn’t say “you know what”). But if we don’t read on, we miss the chance—like most of the adults around Clementine—to understand why she did what she did: how she was trying to help her friend, who had accidentally gotten her hair caught in the scissors in art class. How when she saw that her own actions had made her friend feel even worse, she did the same to herself in solidarity. How she chose the permanent markers because they were the most special thing in her artist mother’s supply closet. Clementine doesn’t understand why the principal, not to mention the two mothers, can’t see this. Heck, she doesn’t understand why they aren’t impressed that she could sheer someone’s head with a pair of plastic scissors in the first place.
[Also] it is very hard to color hair with a marker, let me tell you. But I did it. I colored all of Margaret’s hair chunks Flaming Sunset, and then another really great idea popped into my head and I drew Flaming Sunset curls all over her forehead and the back of her neck so her hair would look more like mine. It looked beautiful, like a giant tattoo of tangled-up worms. When I am a grown-up, I will have hundreds of tattoos.
Here’s what we come to understand about Clementine: she may be the Curious George of chapter books, igniting chaos at every turn, but it’s only because she is trying her very best to put things right, to connect with others, to save the day. She wants so badly to be understood, to have people look at her with that awe-filled “I must be dreaming” expression, as she puts it.
Throughout the books, more and more adults come to see Clementine for the kind, passionate, perceptive soul she is. They take her most infuriating qualities—her impulsivity, her stubbornness, her inattention—and recognize the strengths they belie. She has an eye for things most people miss. She has conviction to take down life’s injustices. She is resourceful. She’s an artist, a writer, a pigeon tamer, a kitten rescuer, and a whiz with numbers. When people, like her beloved teacher Mr. DeMatz, give her a chance to rise to the occasion and put their confidence behind her, she rarely disappoints.
Hands down, my favorite non-Clementine character is her father. As facilities manager for the apartment building where the family lives in the basement, he’s usually around when Clementine returns from school. He takes his daughter’s mood swings or mis-steps and approaches them with calm and humor. You can feel the mutual affection and respect, even while Clementine reminds him that “fathers aren’t supposed to be comedians.” When she’s in a funk, he gives her the keys to the service elevator and lets her ride it up and down. When she pitches a fit upon discovering her parents are having a third baby, he stages Project Pentagon, and the two covertly build a five-sided kitchen table so no one will ever be squished.
Over the course of the six books, which span Clementine’s entire third grade year into summer, we witness significant emotional maturity in her, albeit in realistic fits and starts. She learns to “press her mouth together in a pencil line” rather than to say something inappropriate or hurtful. She learns to stand up to peer pressure; and to stand up for those who can’t stand up for themselves. She realizes that, as much as she detests her name (and insists on calling her brother by different vegetable names, so he can experience what it’s like to have a “food name”), she’s like a clementine in one fundamental way: she is made up of different sections. Sometimes those sections are in harmony with one another and sometimes they are not. Because life—and people—are rarely that straightforward.
This is series writing at its best. The kind of writing where the characters seep into your consciousness, where just when you think you can predict what is going to happen, someone does something so unexpected, so vulnerable, so thrilling, it pulls the rug out from underneath you. Did I mention that every one of the book’s endings left my eyes more than just a little watery?
Ultimately, these pages are testimony that there are often complicated motivations and feelings at work behind outwardly “difficult” behaviors. Daydreamers have rich interior lives. Disruptors have important things to stew about. Indecisive children don’t want to miss out on anything. Impulsivity means someone hasn’t learned to control her passions. If we get rid of labels and try to see the whole of our child, we might begin looking at her or him the way Clementine’s parents do, as if she was “the winning ticket in the kid lottery.”
P.S. Sara Pennypacker is currently through book two of a new series titled Waylon, about a science-loving boy in Clementine’s class who may or may not have actual superhero powers. Obviously, we’ll be reading that…because it’s rumored that our favorite gal makes the occasional appearance.
October 12, 2017 § 2 Comments
Taking inspiration from the great A.A. Milne, what I really wanted to title this post was: In which I catch you up on everything I read to my kids this past summer, while attempting to demonstrate why we should never abandon reading aloud to our children, even when they are happily reading on their own.
Recently, I was chatting with a dad who wanted book recommendations for his newly independent reader. He looked at me, conspiratorially, and said with a chuckle, “I mean, this is it, right? I give him the books and he goes off and reads them. My work is done!”
To which I had to refrain from falling on the sidewalk and wailing, NOOOOOOOOOOOOOOOOOOO!
I hear this all the time. There seems to exist a parental myth that reading aloud is like toilet training. That once our kids can pull down their own underwear, we should herald their independence and get out of the way. That it’s our job as parents to instill a thirst for literature in our children by reading to them when they’re young—but once they’re reading on their own, we should just leave them to it. After all, there are only so many hours in the day.
Don’t get me wrong: it’s the most wonderful sight in the world to see our children curled up with their nose in a book, even when they ignore our pleas to come to dinner or go to sleep. To watch them develop their own tastes for certain genres. Even to have them roll their eyes and reply, “Oh, Mom, you wouldn’t understand,” when we ask, “What’s so funny?”
But there are a multitude of benefits—even for us—in continuing to read aloud to our children for years and years after they’ve built their own independent relationship with reading. And not the least of which is: the books you get to read get better.
#10: Reading aloud pushes our children outside their comfort zones.
Sure, they’re reading, but what are they reading? If it’s my ten-year-old, he’s reading plot-driven adventures by Rick Riordan or graphic novels like Mighty Jack or funny comics like Calvin and Hobbes. He likes what he likes, he rarely heeds my suggestions, and he often rereads favorites more than he picks up new things. But he reads voraciously, and I love it.
When I read to him, I deliberately choose books I know he won’t choose himself (see #9, #8, and #4). Books where, after a few pages, he’d likely deem them too hard, too boring, too slow. I read him the kind of books I hope he will someday choose himself: books with beautiful descriptive passages, with complex characters, with nuanced interpretations of the world. And never do I close the book for the night without him saying, “Oh, I wish you would keep reading.” (Shhh, he thinks I don’t know, but he’ll often pick up the book and continue reading after I leave the room.)
Our children’s world is only as expansive as their exposure. The same goes for vocabulary. Furthermore, children can’t know how a word is pronounced unless they hear it spoken aloud. I thought about this over the summer, as we made our way through all four books in The Familiars series (Ages 10-14, younger if reading aloud), by Adam Jay Epstein & Andrew Jacobsen. For a fast-paced, episodic fantasy series starring three spell-casting animals (I chose it because I was looking for something to tide over my magic-obsessed children in between Harry Potter books, see #2), it incorporates challenging vocabulary. Take this passage from the third installment, Circle of Heroes:
Unfortunately, a penchant for self-indulgence was not all that afflicted the golden toad’s owner. The Baroness seemed to be paranoid as well. There were hippo soldiers in the watchtowers, and more patrolling the perimeter of the grounds with their blowguns. A Fjord Guard, a giant with blue-tinted skin and armpit hair that hung to his elbow, stalked the premises, making sure that no one broke in…or out.
Were my kids to attempt these books on their own, they’d likely skip over the big words, perhaps ignore entire passages in favor of the action or funny bits (of which there is plenty). Hearing these stories read aloud gives them a chance to absorb deliciously descriptive language in ways they otherwise wouldn’t (“armpit hair” and all).
In as much as I choose books relating to my children’s interests or studies, I also use reading aloud as a preview of coming attractions. Nothing enhances a family trip to a museum or a foreign country or even a local nature preserve than some fun advance reading. Before we headed to Boston this past summer, where we knew we wanted to take the kids on The Freedom Trail, I read to my son a book my father read to me: Esther Forbes’ 1943 Newbery Medal winner, Johnny Tremain (Ages 10-14), an historical novel about the days leading up to the Revolutionary War. It’s a difficult book for kids to read on their own, not least because of the 18th century vocabulary. In short, it’s a perfect read aloud.
Johnny Tremain is a fictional character: a silversmith whose apprenticeship abruptly ends when he disfigures his hand, landing him instead a job as a news carrier for the Sons of Liberty. And yet, many of the people with whom Johnny spends his days, as well as the events he witnesses, are straight out of the history books. My son was enraptured from start to finish, and we devoted one entire day of our trip to tracing Johnny’s steps through Boston. We stood in front of the Old South Meeting House, where Johnny awaited the signal from Sam Adams to rush the British ships. We threw crates of tea overboard in a re-enactment at the Boston Tea Party Museum. And we visited Paul Revere’s house, where Johnny watched the silversmith ride off to warn the Yankees of the British descent on Lexington. I am not exaggerating when I say it was one of the loveliest days we’ve ever spent as a family.
Alas, the time has come: my children now meet my explanations about the world with a healthy dose of skepticism. But seeing something in print? Now that’s an authority they still find worthy of genuine respect. (Next up: teaching them how to spot fake news.)
Did you know that if sharks become extinct, the ocean will eventually dry up? This is my new favorite revelation, straight from the pages of Lily Williams’ non-fiction picture book, If Sharks Disappeared (Ages 6-10), which we were inspired to purchase after attending a National Geographic show about sharks this summer. There is so much to love about this book (beginning with the fact that the little girl happens to have brown skin), which simply and elegantly showcases ecological concepts like food chains, “trophic cascades,” and conservation, all as they relate to the over-fishing of sharks. If we follow Williams’ researched logic—and it’s hard not to—then the extinction of sharks is something we should all be working to prevent.
Never underestimate the power of humor to impress children. I love it when my children think I’m funny (as opposed to grumpy or cross or serious or indifferent). As it turns out, they think I’m especially funny when we read funny things (bonus if I read them in funny voices). Some of you will remember my children’s deep fondness for the antics of a porcine caretaker by the name of Nanny Piggins. This summer, it was another British gem—Clever Polly and the Stupid Wolf (Ages 7-10), the first of four books originally written in the 1950s by Catherine Storr and recently reissued in a single volume by The New York Review—which slayed my daughter.
If Little Red Riding Hood were to get a feminist makeover, it might look something like this. Because while young Polly might seem to the anthropomorphized wolf to be the perfect unsuspecting victim, she outsmarts him every single time. Despite an increasing fondness for the hapless beast, Polly never fails to beat him at his own game, twisting the wolf’s words back onto himself until he staggers off as befuddled as unsatiated. Did my Emily ever grow tired of Polly’s somewhat formulaic approach? Of course not. She was laughing too hard.
#5: Reading aloud builds empathy.
As Atticus Finch tells his daughter in To Kill a Mockingbird, “You can never really understand a person until you consider things from his point of view…Until you climb inside of his skin and walk around in it.” Much has been made about the connection between reading fiction and developing empathy (it’s why R.J. Palacio’s Wonder, about a boy bullied for his facial deformity, is being taught in schools around the country). Can our kids get the benefit of empathy from reading on their own? Absolutely. But they are limited by what they choose to read (see #10).
Two years ago, when my daughter was first introduced to the world of American Girl, she wanted nothing to do with the “historical” dolls. I tried to steer her towards Kaya, the Native American doll whose fictional backstory sets her in 1764, with long black braids and a suede fringe dress (I may have been seduced by the idea of adding a horse and a tepee). “Mommy, I just don’t like the look of that doll,” she kept insisting—and I suspected some racially-motivated undertones.
Fast forward to this past summer, when—at a friend’s insistent recommendation, because I have always been skeptical—I started reading some of the early American Girl book series to my daughter, beginning with the six books starring Kaya (Ages 8-12). I was surprisingly impressed, not only by the sophisticated, sometimes daring content, but also by the way in which the stories incorporate actual history. Emily was riveted by Kaya’s life, which looked nothing like her own: undressing each morning to bathe in icy rivers; riding through brush fires on horseback; and escaping captivity. At the end of the summer, Emily came to me and announced she wanted a Kaya doll for her birthday. “You know, Mommy, I really didn’t think I liked Kaya when I first saw her, but now that I know so much about her, I realize she’s totally awesome!”
(Quick note about the American Girl books, of which Kaya, Kit, and Josephina are our favs. It pays to track down the original single books at the library (or buy them used), because the new reissued collections lack not only the color plates but the fantastic afterwards with historical context. Come on, American Girl. Why did you mess with a good thing?)
For the most part, when I’m reading to my children, I read up. I choose things that are slightly beyond what they can or should read themselves, not only in reading level but also in emotional content. Part of this is purely selfish: I will always prefer reading the juicier stuff to the Magic Tree Houses of the world. But part of this is because I believe there is immense value in children first learning about the big, scary, messy parts of life in the security of our embrace. Literature helps to nudge and shape these conversations.
I’m cheating a bit, because I didn’t technically read aloud Jack Cheng’s new middle-grade novel, See You in the Cosmos (Ages 10-14); we listened to it in the car. It’s an incredibly powerful piece of performance art, in large part thanks to Kivlighan de Montebello’s poignant narration as eleven-year-old Alex Petrokski, who records journal-like accounts of his daily life on a “golden iPod” which he intends to launch into space for the benefit of aliens (a la his idol, Carl Sagan). And yet, what Alex understands about his own life on Earth gets called into question when he begins to confront his single mother’s struggle with undiagnosed schizophrenia and the borderline negligence under which he has been living.
It’s a difficult story to stomach at times—made more intense by the audio performances—and I might not have had my seven year old in tow had I screened it in advance (note to self). And yet, my kids and I had conversations while listening to this book which I will never forget. Conversations about mental illness. About why our society attaches a stigma to it, often at the expense of helping. About what it means to be a parent and what happens when a parent can no longer handle that responsibility. And my favorite: about Alex’s unrelenting drive—as inspiring as it is risky—to see the best in people, even when their behavior suggests otherwise. About how this fervent belief in someone’s potential can be exactly what that someone needs to rise to the occasion.
When asked in an interview why she writes for children versus adults, Newberry award-winner Kate DiCamillo replied that when you write for children, there’s an unspoken understanding that you will end your stories with hope. Perhaps it’s this undercurrent of optimism that seduces me, too. As much as children’s literature informs or delights, it creates a lens through which our children see the world. And if we’re lucky, some of that perspective rubs off on our own (more jaded) selves.
Take Kit (Ages 8-12), another of our favorite heroines from the American Girl books. Set during the Great Depression, Kit Kittredge’s story begins with her father’s inability to find a job. Quickly, the comforts of her middle-class life disappear. But what personal resentment Kit feels is overshadowed by the starving, tattered bodies she notices at her local soup kitchen, or the “hobo jungles” on the outskirts of the rail yards. Not content to stand on the sidelines, Kit pitches in at home and in her community, even channeling her passion for writing into newspaper columns debunking stereotypes associated with poverty and homelessness. As in the best children’s literature, hardship yields opportunity, pain yields compassion, and where there’s a will, there’s a way.
I’ll admit it. As my children get older, I sometimes feel a little left out of their lives. They come home from school, and where they used to want to linger over snacks and show me their art projects, they now run to join the neighbors in a nerf gun battle. It’s exactly what they should be doing, but a part of me longs for the days when having fun meant hanging around me. This is where reading aloud has never failed me: when I’m reading to my children, we are bonding over a shared experience. We’re having fun together. We laugh, we gasp, we lean in. Sometimes we cry (or, as my daughter likes to point out, my son and I usually do the crying).
Of course, it’s a big plus if the book is as enjoyable for me as it is for them. And it’s an even bigger plus if we can get Dad to join in. On vacation this summer, my husband and I alternated reading aloud chapters from Harry Potter and the Chamber of Secrets (Ages 8-12), the second in J.K. Rowling’s series. There is perhaps nothing in the world better than listening to these books read aloud, and I am doing my darndest to limit my children’s exposure to one per year (they are free to re-read what we’ve read as many times as they want). As Rowling herself intended, I want my kids to age alongside their pals Harry, Ron, and Hermione. Furthermore, I want them to remember hearing each book for the first time out of the mouths of their kooky, dramatic parents, whose love for these books only grows when they catch sight of the amazement reflected back at them.
And that brings me to my last point.
#1: Reading aloud slows down time.
How often do we slow down and savor time with our children? How often do we stop feeling overwhelmed or wrestle ourselves out from under the weight of our responsibilities, even for a few minutes? Well, duh, we all know that answer. Reading aloud is my breather. It’s my pause button. It’s the moment when I get to gather my babes into my arms, to sniff the tops of their heads, and to engage alongside them. To read paragraphs that give us chills, that make us erupt into laughter, that transport us out of the mundane and into the magical.
And maybe, just maybe, if I keep reading to them, they won’t grow up quite so fast.
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All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
June 18, 2017 § 2 Comments
When I was around the same age my children are now, my father used to play Kick the Can with my sister and me in the backyard after dinner on summer nights. Sweaty and exhausted—and probably owing to the giant glass of milk my mother insisted we drink with dinner—the time would predictably come when I would have to go to the bathroom. I would be crouched in my hiding position behind a bush, trying to keep quiet, but mostly trying not to pee. I could easily have run inside, used the bathroom, and come out again. But I didn’t dare. I would rather have hopped about, wincing with every step, risking an accident (and there were some)—all because I never wanted these moments to end. I never wanted to break the spell. The only thing better than the anticipation of my father coming home was the joy of being with him.
I lost my father when I was eighteen—much too young, by all accounts. And yet, the experience of being with my dad still feels as tangible to me as if it took place yesterday. As a parent now myself—one more tired and distracted and grumpy than I sometimes care to admit—what impresses most upon me is how my father seemed when he was with us. He was not merely present when we were together. He delighted in our presence.
My father’s eyes would twinkle as he’d sit across from us over grilled cheeses at the pavilion in the park, and they would widen when we brought him handfuls of chestnuts. His head would lean in as I described every detail of my day and roll back only for a conspiratorial chuckle. He genuinely seemed as excited to read aloud each night as I was to listen (to this day, I cannot read the Little House on the Prairie series with my children without thinking of him). Though I knew sometimes his work would take him overseas or far into the night, I never questioned for a second that he would rather be with us.
Of course, such is the bias of a child who loves her father and thinks he can do no wrong.
“My father, without the slightest doubt, was the most marvelous and exciting father any boy ever had.” So begins the second chapter of Danny the Champion of the World (Ages 8-12), a story by Roald Dahl starring quite possibly the sweetest and most unusual father-son relationship in children’s literature. (Am I really still talking about Roald Dahl? YES. Yes, I am. And that is because, while at first our favorite was Charlie and the Chocolate Factory, then it was Matilda, and then it was James and the Giant Peach, The BFG, and The Witches, the thing about Roald Dahl is that every one becomes the new favorite. Plus, I’m frantic to think you might not know about Danny the Champion of the World—because I didn’t. And it is FABULOUS. And outlandish. And hysterical. And heartwarming beyond words.)
The first few chapters of Danny the Champion of the World read as an incredibly touching tribute to a single father—something rarely dwelt on in children’s literature—as seen through the eyes of his adoring son. The two share an intimate world, both physically and emotionally. They live in a single-roomed, 150-year-old gypsy caravan, parked behind the filling station which serves as the family business (Danny’s mother died when he was just four months old). Rather than complain of his scanty, isolated accommodations, Danny relishes the closeness his house brings him to his “smiling-eyes” father—and to the wildly entertaining stories which his father spins for him each night (including one your kids will be quick to recognize from a previous Roald Dahl book).
It is impossible to tell you how much I loved my father. When he was sitting close to me on my bunk, I would reach out and slide my hand into his, and then he would fold his long fingers around my fist, holding it tight.
Danny’s father isn’t just a comforting presence and a keen storyteller: he’s also an eccentric, unpredictable, and endlessly fascinating plotter—and it is this quality which endears him as fervently to us readers as it does to our young hero. Who wouldn’t like to imagine himself the son of this quirky, fun-loving man? “It was impossible to be bored in my father’s company…plots and plans and new ideas came flying off him like sparks from a grindstone.” Danny’s father trains Danny “from birth” to be a mechanic, to take apart engines and put them back together. They make and fly kites which soar miles above the ground and “fire balloons” which levitate like lanterns in the dark night. With only the materials around them, they make tree houses and stilts and boomerangs and even a giant soapbox car with a real working engine. And all this before Danny turns nine and our real story begins.
While they may be narrated through Danny’s adoring eyes, these scenes create the unmistakable impression that Danny’s father enjoys being with his son every bit as much as his son enjoys being with him. He delights in tinkering, inventing, playing, and laughing alongside him. This is what makes him so special as a father.
This is also what makes him decide to let Danny in on “the deepest, darkest secret of my whole life”—and here is where a seemingly simple story about a father and son takes a wild and wacky turn (lest you forget this is a Roald Dahl book). The father, as it turns out, has a long history with—and a very heated passion for—the sublegal sport of pheasant poaching. What the what, you say? Pheasant poaching (which, I might add, is a real thing in Britain, even to this day) involves sneaking onto the property of wealthy, stuffy landowners, who stock their backyard trees with expensive pheasants for fancy-pants shooting parties, and stealthily making off with said pheasants in the dead of night. (Roald Dahl never misses an opportunity to subvert the Upperclass.)
“You mean stealing them?” I said, aghast.
“We don’t look at it that way,” my father said. “Poaching is an art. A great poacher is a great artist.”
…I was shocked. My own father a thief! This gentle, lovely man! I couldn’t believe he would go creeping into the woods at night to poach valuable birds belonging to somebody else.
Danny is even more horrified to discover this sport is also highly dangerous, bringing with it the risk of “poacher’s bottom” from the armed “keepers” hired to guard the pheasants. (Again, only in a Roald Dahl book.)
…”You’ve missed the point, Danny boy! You’ve missed the whole point! Poaching is such a fabulous and exciting sport that once you start doing it, it gets into your blood and you can’t give it up.”
In subsequent chapters, as Danny’s father invokes his storytelling prowess to describe the “secret methods” used by him and his own father over the years to catch pheasants—one called “The Horsehair Stopper,” involving soaked raisins strung on single strands of horsehair, another aimed at getting a pheasant to stick its beak into a sticky paper hat—we understand all too well why Danny begins to soften to the idea. Heck, we are softening. My kids are looking at me out of the corner of their eyes like, Mom, are you really reading this to us? Is this even OK? And PLEASE GO ON.
(Don’t worry: no pheasants suffer in the telling of this book. I’m not saying they don’t end up as dinner.)
Ultimately, though, Danny becomes determined to join the fun when he discovers the target of his father’s next pheasant poaching plot. The wealthy landowner Mr. Victor Hazell is not only a “roaring snob,” but he has a history of making nasty, disparaging comments to Danny and his father when bringing his Rolls-Royce to the filling station for a tune up. What’s worse, Mr. Hazell has been plotting to drive Danny and his father out of town for years, desperate to get his hands on their tiny piece of land to complete his massive estate.
Oh, so he’s a bad guy. That’s why it’s OK to steal his pheasants. Heck, it’s better than OK. Let’s get on with it! (This is classic Roald Dahl logic. We can’t help it. We’re all in.)
The last 150 pages—three fourths of the novel—are equal parts hilarious and hair-raising, as father and son cook up and attempt to carry out the most elaborate, unlikely, and daring (nonviolent) plot to poach Mr. Hazell’s 120 pheasants and share them with their working-class neighbors. I would never dare spoil the spoils for you and your children. All I will say is: you will never see it coming.
But amidst pheasants swaddled in baby carriages and our own Danny high tailing an “Austin 7” in a police chase, it remains the relationship between Danny and his father which steals the show: this beautiful, joyful dance between two people who love each other unconditionally, who would journey to the moon and back if it meant being together.
Pheasant poaching might seem a hard act to follow, but Danny wants us to know it’s just one of many wondrous things comprising daily life with his dad (it just happens to make a particularly great story). As the two come down from the high of their mission, dangling their feet off the front step of their cozy caravan (which, by the way, my kids haven’t stopped talking about wanting to live in), they dream about catching trout in a nearby stream and buying an electric oven and making sandwiches for lunch.
And after that?
There would be something else after that.
And after that?
Ah yes, and something else again.
Because what I am trying to tell you…
What I have been trying so hard to tell you all along is simply that my father, without a doubt, was the most marvelous and exciting father any boy ever had.
When our parent delights in us as much as we delight in him (or her)—well, we feel for a moment like the Champion of the World. Happy Father’s Day to all the dads who share their craftiness, their playfulness, their goofiness, and their mischief-making with their children. And to my own dad, I’ll never forget how much fun we had.
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Book published by Penguin Young Readers Group. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
May 25, 2017 § 2 Comments
It never fails to astonish me how long my kids can withstand a game of Rock, Paper, Scissors. Earlier this spring, we waited in line for three hours to get tickets to an art exhibit, and they entertained themselves for at least an hour playing this hand game. Long after myself—and every adult around us—was ready to banish the words “rock,” ‘paper,” and “scissors” from the English language, my kids kept going. Alas, this is not a quiet game.
Perhaps when I could have been pondering nobler pursuits, I have instead been asking myself: What is it about this highly repetitive game (“Rock, paper, scissors, shoot! Rock, paper, scissors, shoot!”) that lends itself to such welcome repetition? The answer, I’ve decided, is larger than simply immediate gratification or the apparent thrill of saying “shoot” over and over. RPS is the perfect game of chance. Rock trumps scissors trumps paper trumps rock. (That’s all the Trumps you’ll get out of me.) It’s an equilateral triangle—a closed system, if you will–where each opponent has an equal shot at winning and losing. (Apparently, this is not strictly true, as some professional players—yup, they exist—are able to “recognize and exploit unconscious patterns in their opponents’ play.”)
Apparently, I am not the only one spending quality time contemplating a greater meaning behind this mundane game. Two of the cleverest, funniest, and most subversive children’s book creators—Drew Daywalt (author of the wildly popular The Day the Crayons Quit) and Adam Rex (illustrator of Chloe and the Lion and How This Book Was Made, to name a few musts)—have teamed up to imagine what the backstory to this age-old game might look (and sound) like. Let’s just say it didn’t take me more than half a second to decide we needed to own The Legend of Rock, Paper, Scissors (Ages 5-10). (It’s also a beautiful reminder that elementary children are not too old for picture books.)
Long before they make one another’s acquaintance, the anthropomorphized Rock, Paper, and Scissors have a taste for battle. Each spends his or her days seeking out opponents. Rock, for example, who lives “in an ancient and distant realm called the Kingdom of Backyard,” baits a clothespin on the laundry line: “Drop that underwear and battle me, you ridiculous wooden clip-man!” To which the clothespin replies, “I will pinch you and make you cry, Rock Warrior!”
A battle ensues—and yet, despite Clothespin’s big talk, Rock is quickly victorious.
As we quickly understand, no matter whose buttons Rock pushes (“You, sir, look like a fuzzy little butt,” he says to an apricot, to which the latter responds, “What?! I challenge you to a duel!”), Rock always dominates. And yet—as anyone who has antagonized a younger sibling will understand—rather than feeling satisfied with this predictable turn of events, Rock finds himself disheartened by what he realizes are not “worthy challenges.” “Smooshing you has brought me no joy,” he mutters atop a squashed apricot.
A similar search for a worthy foe is simultaneously taking place in both the “Empire of Mom’s Home Office” and the “tiny village of Junk Drawer,” where Paper and Scissors respectively take on computer printers (“Noooo! Not a paper jam! Paper is victorious!”) and adhesive tape.
Probably because I’m always asking my children to lower their voices, they think my reading a book which demands shouting and taunting and battle noises is absolutely hysterical (puts me in mind of this). But I must admit: with writing like this, I kinda do, too. If you can’t beat ‘em, sometimes you have to join ‘em. (Plus, the scene where Scissors forges into “the frigid wastes of Refrigerator/Freezer” and refuses to bow down before a bag of cocky dinosaur-shaped chicken nuggets—she spears them to bits instead—is sheer brilliance.)
Like mine, your children will relish the anticipation of the inevitable: Rock, Paper, and Scissors at last meet (in the “great cavern of Two-Car Garage”) and discover worthy opponents in one another. The battles are “epic and legendary” and the trash talk even better. Says Scissors, “I hope you’re wearing your battle pants, rock warrior.” Replies Rock: “If by ‘battle plants’ you mean ‘no pants, but I’m willing to fight you,’ then yes…yes, I am wearing my battle pants, weird scissory one!”
The surprise comes when each in turn is finally beaten. Where we might expect sorrow from the defeated, instead there is elation. “You have made me so happy by beating me!” cries Scissors to Rock. The latter (not having challenged Paper yet, to whom he will fall) responds, “I wish I felt your joy, Scissors, for I have yet to meet a warrior who can beat me.”
There’s pride to be taken in a hard-fought loss to a worthy opponent. And perhaps this message is not all that foreign to our children. After all, they beg and plead for “one more minute” of playtime—sweaty and grassy, they chase each other back and forth across the backyard—but when we bring down the parental “That’s enough,” when we guide them through the front door and into the bathroom and over to the dinner table and into the bath and into bed, they know they’ve lost. They’re free at last to give up the good fight and surrender—with a sleepy smile on their face.
And prepare for Round Two tomorrow.
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Book published by Balzer & Bray, an imprint of HarperColllins. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!